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An account of Indian serpents, collected on the coast of Coromandel
London :Printed by W. Bulmer and Co. Shakespeare-Press; for G. Nicol,1796-1801 [i.e. 1796-1809?]
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
I revisited Cove Bay this afternoon Thursday 21st February 2019.
I have visited many times in the past and have posted hundreds of photos I have taken duiring these visits here on my Flickr account .
I read a few weeks ago that a fire had broke out at the harbour destroying fishing boats and equipment, this prompted my visit today , the charred vessels have been removed though you can still clearly see evidence of where the fire had taken place, its a sad story indeed .
News Report From 6th Jan 2019
Police investigating fires at Cove and Aberdeen harbours are carrying out additional patrols as efforts continue to trace the culprits.
Several boats and a boathouse were destroyed in the" suspicious" fire at Cove Harbour at the weekend.
Police were already investigating vandalism and fire-raising at the site of the Aberdeen Harbour expansion.
Officers said they were keeping an "open mind" over whether the incidents are linked.
Det Insp Norman Stevenson urged anyone with information about the Cove fire to get in touch as soon as possible.
He said the "malicious act" had "deeply affected" the fishermen.
He added: "We also continue to carry out enquiries into a fire-raising and vandalisms at the site of the Aberdeen Harbour expansion.
"I appreciate the similarities of both incidents and the close proximity. However, we need to keep an open mind as to whether they are linked.
"In the meantime additional patrols are being dedicated to both areas to help prevent any similar incidents from occurring.
From My Previous Posts - pre fire.
I love this bay, its a beautiful tranquil place, however after reading news reports on a court judgement 13/7/2018 forcing the fisher men to remove their boats within 28 days it saddened me, hence I made a trip today Friday 13th July 2018 to capture the views and scenery before this unpopular ruling is implemented, what a sad situation indeed, I have included the news report on the legal wrangle at the end of this description.
Cove is a 20 minute drive from my home in Aberdeen Scotland, it was a pleasure to visit today and capture the tranquility that it presented.
Scattered across the harbour are stones with various sealife characters carved into them.
Cove Bay is a suburb on the south-east edge of Aberdeen, Scotland.
Today Cove is home to over 7000 people. It is a popular residential location owing to its extremely village-like status.
It is a quiet suburb just at the edge of the City and in 2015 won the Silver award for Scotland in bloom. Nearby Altens and Tullos Industrial Estates, affording ample employment opportunities.
History
Cove Bay is situated to the east of the ancient Causey Mounth, which road was built on high ground to make passable this only available medieval route from coastal points south from Stonehaven to Aberdeen.
This ancient trackway specifically connected the River Dee crossing (where the Bridge of Dee is located) via Portlethen Moss, Muchalls Castle and Stonehaven to the south.
The route was that taken by William Keith, 7th Earl Marischal and the Marquess of Montrose, who led a Covenanter army of 9000 men in the battle of the Civil War in 1639.
Cove Bay was a village in the extreme north-east corner of Kincardine, governed from Stonehaven, until 1975, when it was added to the City of Aberdeen. Though simply referred to as Cove, in the 19th and early 20th centuries it was known as The Cove, becoming Cove Bay around 1912.
Industry
Cove has been noted for industries such as granite, which was quarried in several locations to the south of the village. Owing to its close-grained texture, Cove granite was one of the hardest in north-east Scotland and proved highly resistant to frost, making it ideal for causeway stones used in the construction of roads. It was widely exported to cities in England, including Billingsgate Market in London.
Fishing
The village itself sprung up around the fishing industry, with the boats berthed on a shingle beach, a gap in the rocks that afforded a natural harbour. During this time, it is estimated that approximately 300 people lived in the area. In the mid 19th century the fishing was at its height, which, over years, has included cod, haddock, salmon, herring and shellfish. The piers and breakwater were constructed in 1878. At the end of World War I the fishing began to decline. At present only a couple of boats pursue shellfish on a part-time basis.
Between 1894 and 1937, Cove also housed a fishmeal factory, the Aberdeen Fish Meal Factory, which was located at the edge of the cliffs. It produced quality manure which was exported to both Europe and America. It became locally known as "the stinker" because of the processing odour, which was highlighted by the Aberdeen entertainer Harry Gordon in a parody entitled A Song of Cove.
Amenities
Retail
Cove has just had a brand new Co-operative built just off of Earnshugh Circle.
To the west of Loirston Road is the Cove Shopping Centre, which overlooks Loirston Primary School. This houses a pharmacist, the Wee China Chinese takeaway/Chip shop, Ruby Tuesdays beauty salon and the Harr Rock cafe (Cove's second).
Within the new development of cove a local Sainsbury's has opened. There is also the Harr Rock Cafe (the first one), a hairdressers and a gift shop within the new development.
There are also 2 RS McColl newsagents. One located at Bervie Brow in Altens, and a second located on the corner of Loirston Road and Cove Road which also houses a Post Office.
Hospitality
The Cove Bay hotel is located on Colsea Road. There is also The Aberdeen Altens Hotel in Altens, which has 216 bedrooms, making it the largest of the three Thistle Hotels in Aberdeen.
There is also a pub, the Langdykes which now has an Indian restaurant situated inside called The Curry lounge which you can sit in or take away.
Transport
Bus services to and from Cove and the wider area of Aberdeen are available. These are run by First Aberdeen with the numbers 3 (to Mastrick) and the 18 to Dyce, via Kincorth. Stagecoach also cover cove partially, with numbers 7A & 8 (Both to the City Centre).
Healthcare
Cove Bay has its own medical centre, the Cove Bay Medical Centre. It was originally located on Catto Walk, but moved to a new facility off Earns Hugh Road. Cove Dental Care has since moved into the old surgery building.
Sport
Cove is currently home to two football teams: Cove Rangers, who currently play in the Highland Football League, they temporarily play in Harlow Park, Inverurie, as their old home Allan park was demolished to make way for housing. Cove Thistle, who hold amateur status. Sunday amateur team Cove Revolution folded in 2010.
There are also many youth teams in the area that are run by Cove Youth FC. The Cove Youth FC area SFA credited community club, organizing players from 6 years old up to 19 years old. They also have a girls section. The Cove Community Football Trust is run by Cove Rangers FC, Cove Thistle FC and Cove Youth FC.
Other Amenities
A state-of-the-art library was recently built between Loirston Primary School and the Cove Shopping Centre. There are blueprints for a local sports centre to also be built in the near future.
Education
Cove has two primary schools, Charleston Primary School and Loirston Primary School. Most secondary pupils attend the nearby Kincorth Academy, but some choose to go to Portlethen Academy.
Future Developments
Aberdeen Gateway[edit]
Construction on a new Aberdeen Gateway industrial development began in 2008. It will see new offices and industrial units built to the south of the village. Current tenants at the site include National Oilwell Varco (NOV), Driving Standards Agency and Hydrasun. A Community football pitch is also inlcluded within the development.
Cove Academy
Plans for a secondary school in Cove have now been approved and will be situated alongside Wellington Road. It is thought that once this is built pupils from Cove, Torry as well as Kincorth will attend this school.
The Legal Wrangle - Landowner V Fishermen - Judgement 13/7/18
Fishermen told to move boats from Cove Bay after legal dispute
Fishermen have been told to move their boats from an Aberdeen bay after a long-running dispute.
Several fishermen were fighting an eviction order on behalf of landowner Pralhad Kolhe at Cove Bay, where they had been fishing for many years.
In a written judgement, a sheriff has given them 28 days to move their boats and equipment from Mr Kolhe's land.
However, Sheriff Andrew Miller also ordered the removal of obstructions to vehicular access onto the pier.
The case was heard at Aberdeen Sheriff Court earlier this year.
One of the fisherman, Jim Adam, told a court he was "stunned" to receive a legal letter telling him to remove his boat.
He had been fishing from Cove Bay since 1966.
'We were hopeful'
The first day of the hearing heard the letter said the landowner, who lives in a house overlooking the harbour, was unable to make use of his land for amenity purposes and that he did not wish Mr Adam's vessel, or any other vessel, on his land.
In the ruling, Sheriff Miller also gave Mr Kolhe 28 days to remove the obstructions to vehicle access to the pier.
Mr Adam told BBC Scotland: "We are disappointed, we were hopeful.
"The good news is at least for the recreational folks they have got vehicle access.
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Bueno gente decidí cambiar de flickr, la única razón es que ya no me gusta el nombre de este y tampoco mi galería.
Por respeto a las personas que le han gustado mis fotos y las ha puesto como favorita*, no las eliminare lo dejare tal como esta.
Espero que me agreguen a mi nuevo flickr por que yo "sí" lo haré con ustedes :3 .
www.flickr.com/photos/lepetitoiseau/
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
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The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...
Saving Account Kit
Pradhan Mantri Jan Dhan Yojana (IPA: Pradhān Mantrī Jana Dhan Yōjanā) (Hindi: प्रधानमंत्री जन धन योजना, English: Prime Minister's People Money Scheme) (PMJDY) is National Mission for Financial Inclusion to ensure access to financial services, namely Banking Savings & Deposit Accounts, Remittance, Credit, Insurance, Pension in an affordable manner.This financial inclusion campaign was launched by the Prime Minister of India Mr. Narendra Modi, on 28 August 2014[1] He had announced this scheme on his first Independence Day speech on 15 August 2014
Run by Department of Financial Services, Ministry of Finance, on the inauguration day, 1.5 Crore (15 million) bank accounts were opened under this scheme.Guinness World Records Recognises the Achievements made under PMJDY, Guinness World Records Certificate says "The most bank accounts opened in 1 week as a part of financial inclusion campaign is 18,096,130 and was achieved by Banks in India from 23 to 29 August 2014". By 05 August 2015, 17.45 crore accounts were opened, with around ₹22032.68 crore (US$3.3 billion) were deposited under the scheme.
For More Details
I made a new flickr account..
www.flickr.com/photos/thismaniac/
Basically to encourage me to spend more time taking pictures and I get to start all fresh and stuff! :)
Would also really like y'all to add me as it's kinda lonely over there? :D
Also my shop updates will be there from now!
Check out lazy Melora :3
**PLEASE DO NOT POST TO YOUR OWN TUMBLR ACCOUNT - THESE PHOTOS ARE ONLY TO BE POSTED ON MY OWN PERSONAL TUMBLR ACCOUNT - PLEASE REBLOG FROM THAT ACCOUNT IF YOU HAVE TO - THANK YOU** inefekt69.tumblr.com/
copyright: © R-Pe 1764.org All rights reserved. Please do not use this image, or any images from my flickr photostream, fb account or g+, without my permission.
I want to thank you my friend Andrés Castañeda (videoplacebo) for gaving me the best gift this year and that was my PRO account, I enjoyed it so much. Today is my last day with my account, I'm so grateful with everyone for your comments, awards and I appreciate.
BTW this has been the most comment picture.
I'm not lucky to receive another gift like this but I'll save my money to get another Pro account. Thank you.
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Slimbridge War Memorial
The memorial was dedicated in May 1921. An account of the dedication was published in the Gloucester Citizen of 25 May 1921, p. 2. The version in the British Newspaper Archive has been digitised from microfilm, so is quite difficult to decipher (although the general meaning is clear).
Slimbridge.
WAR MEMORIAL DEDICATION.
In the presence of a very large gathering of parishioners and visitors, the memorial [erected?] in Slimbridge Parish Churchyard by [its?] parishioners, in memory of the 22 [?] men from the parish who fell in the war was dedicated on Sunday evening. The ex-Service men of the parish, headed by the Halmore Brass Band walked in procession to the church, where a short service was held, which was conducted by the Rev. A. S. Crawley, M.C., Diocesan Organising Secretary to the C.E.M.S. [the Church of England Men’s Society]. A procession was formed, headed by the choir, [illegible] the singing of the hymn, “O God, our help in ages past,” this proceeded to the [memorial?]. The memorial was unveiled by Mrs. [illegible] mother of one of the fallen men, and the [Rev.?] A. S. Crawley formally dedicated it. An appropriate address was given by the Rev. A. S. Crawley, and the impressive service was [illegible] with “Last Post.” A muffled peal was afterwards rung on the bells. Many [illegible] wreaths were placed on the memorial by [relatives?] of the fallen soldiers. The Rector of Slimbridge (the Rev. J. O. H. Carter) who [lost a?] son in the war was unable to attend [due to?] illness.
The Rev. Arthur Stafford Crawley (1876-1948) was the son of George Baden and Inez Crawley, and was educated at Harrow and Magdalen College, Oxford. He afterwards went to Cuddesdon and was ordained, serving in London parishes before moving to Benenden, Kent. In 1903, he married Anstice (Nancy) Gibbs, one of the children of Antony and Janet Gibbs of Tyntesfield. In 1915, Stafford Crawley volunteered to become an Army Chaplain, and served with the Guards Division on the Western Front and in Italy, being awarded the MC in 1916 for rescuing wounded soldiers while under fire. After the war he worked for the Church of England Men’s Society, then as vicar at East Meon, before taking up mainly administrative posts in York, Canterbury and St. Albans. He was appointed a canon of St George’s Chapel, Windsor in 1934, becoming a chaplain-in-ordinary to the King (George VI) in 1944. See: apps.nationalarchives.gov.uk/nra/lists/GB-0260-M.126.htm
The Panels (reading anticlockwise from front of memorial)
Panel 1:
In loving memory of the men from this parish who gave their lives for their country in the Great War, 1914-1918
Panel 2:
Albert C Brading -- Private Albert Brading (Service No: 8183), 1st Bn., Gloucestershire Regiment; died 16 September 1914; name recorded on the La Ferté-sous-Jouarre Memorial, Seine-et-Marne, France; [the Cheltenham Chronicle, 31 October 1914, p. 3, under “Berkeley Vale Gleanings”: “News has reached Halmore of the death of Private Albert Brading of the 1st Gloucesters, son of Mr. George Brading, of Halmore, who was killed in action in France. He was an Army Reservist, and had been married about a year. He resided at Slimbridge, and was in the employ of Mr. John Burnett, of Old Hurst Farm. A memorial service was held in the Slimbridge Parish Church, and was largely attended.” The Cheltenham Chronicle, 29 May 1915, p. 2, also reported on the death of his brother: “Two brothers from Rendcomb, near Cirencester, have lost their lives in the war. Private Albert Brading of the 1st Gloucesters, was killed in action at the battle of the Aisne on Sept. 16, and Corporal Henry Brading, of the 2nd Gloucesters, was killed in action on May 9 while helping a wounded comrade. They were brothers of Mrs. Taylor, of 34 Rendcomb-buildings, Rendcomb.”]: www.cwgc.org/find-war-dead/casualty/877826/BRADING,%20ALBERT
Richard Brindle -- Private R. W. C. Brindle (Service No: 34657), 2nd Bn., Oxford and Bucks Light Infantry; died 1 October 1918; buried in Anneux British Cemetery, Nord, France (III. D. 12.): www.cwgc.org/find-war-dead/casualty/187753/BRINDLE,%20R%2...
Walter G Browning -- Serjeant Walter G. Browning (Service No: 8001), 1st/6th Bn., Gloucestershire Regiment; died 9 October 1917, aged 33; name recorded on the Tyne Cot Memorial, West-Vlaanderen (Panel 72 to 75.); son of George and Elizabeth Browning, of Old Hurst, Slimbridge, Glos.; husband of Emma E. Browning, of Jasmine Cottage, Tilsdown, Dursley, Glos.; [Sergeant Browning was previously reported wounded in the Gloucester Journal, 24 June 1916; the Cheltenham Chronicle, 10 November 1917, p. 3, under Berkeley Vale Gleanings: “The local roll of honour is increased this week by the names of three more gallant soldiers, all killed on the Western Front. News reached Cam on Saturday of the loss of Sergeant Walter Browning. He belonged to the Regular Army, and had seen service on two battle fronts.”]: www.cwgc.org/find-war-dead/casualty/843432/BROWNING,%20WA...
William J. Burnett -- Flight Sub-Lieutenant William Josiah Burnett, No. 1 Sqdn., Royal Naval Air Service; died 26 September 1917, aged 26; name recorded on the Arras Flying Services Memorial, Pas-de-Calais, France; son of John Francis Burnett, of Hampton House, Hardwicke, Gloucester; [From the Cheltenham Chronicle, 20 October 1917, p. 3, under Berkley Vale Gleanings: “The sacrifices in this war are not confined to one class; all classes are sharing in the sorrow which is resulting from the fighting. So far as our local Roll of Honour is concerned, it has grown rapidly during the past six months, and it is a melancholy task recording week after week some of the bravest and best of our young manhood. I mentioned last week that Flight Sub-Lieutenant W. J. Burnett, of the R.N.A.S., son of Mr. John Burnett , of Hurst Farm, Slimbridge, one of the best known farmers in the Vale, had been reported missing, and news has since come to hand which leaves no doubt that he has laid down his life for his country. He is another of the many Wycliffe College “old boys” who have died during the war, and will be remembered by many Stroud people as a former employee at Dudbridge Iron Works. “Willy” Burnett was a nice young fellow, and he will be mourned by many friends. “; the Gloucester Journal, 22 December 1917, p. 6: “KILLED OVER GERMAN LINES. Mr J. F. Bennett [sic], of Slimbridge, has received information from a German source to the effect that his son, Lieut. W. J. Bennett [sic], was killed whilst flying over the German lines. Some months ago he was reported missing. Deceased was a Wycliffe College boy, and prior to the war was engaged at Dudbridge Iron Works.”]: www.cwgc.org/find-war-dead/casualty/743086/BURNETT,%20WIL...
Bernard R. H. Carter -- Second Lieutenant Bernard Robert Hadow Carter, Royal Flying Corps; died 7 November 1917, aged 19; buried in Slimbridge (St John the Evangelist) Churchyard; Son of the Rev. J. H. Carter and Mrs. Beatrice Helen Carter of Knowle Rd., Boscombe, Hants.; [a bellringer at Slimbridge; the Gloucester Journal, 24 November 1917, p. 6: “THE LATE SEC.-LIEUT. B. R. H. CARTER. Second-Lieutenant Bernard Robert Hadow Carter, R.F.C., third son of the Rev. J. O. H. and Mrs. Carter, of Slimbridge Rectory, Glos., who was killed on November 7th, was educated at Magdalen College School, where he was a chorister, and at St. Edward’s School, Oxford, where he was a Prefect, Captain of the Boats, and Sergeant in the O.T.C. He was also a very good swimmer. He attested while still at school, and at the earliest opportunity entered the Inns of Court O.T.C. From this he was transferred to the R.F.C. and had just earned his “wings.” Writing of his death the Captain of his squadron says: ‘He was engaged on special duty; having been selected as one of my best pilots to go on this special mission. It is of great grief to myself and to everyone in the squadron. Personally I had a very high opinion of your son, so much so that I had asked him to be posted to my squadron as an assistant instructor, and he had just been posted in that capacity.’”]: www.cwgc.org/find-war-dead/casualty/358543/CARTER,%20BERN...
Panel 3:
Percy C Cuff – Private Percy C. Cuff (Service No: 26302), 14th Bn., Gloucestershire Regiment; died 22 October 1917, aged 21; name recorded on the Tyne Cot Memorial, West-Vlaanderen (Panel 72 to 75.); son of William and Fanny Cuff, of Whitney Cottages, Cambridge; [also a bellringer at Slimbridge; the Cheltenham Chronicle, 10 November 1917, p. 3, under Berkeley Vale Gleanings: “The local roll of honour is increased this week by the names of three more gallant soldiers, all killed on the Western Front. […] Private Percy Cuff, of Slimbridge, another of the fallen, had previously served in Mesopotamia. From there he was invalided home, and afterwards sent to France. His major speaks of him as “a splendid fellow, always willing and energetic.”]: www.cwgc.org/find-war-dead/casualty/842028/CUFF,%20PERCY%20C
Charles Fryer – Private C. W. Fryer (Service No: 18922), "B" Coy., 10th Bn., Gloucestershire Regiment ; died 4 April 1916, aged 26; buried in Maroc British Cemetery, Grenay, Pas-de-Calais, France (I. A. 21.); son of Edwin Henry and Elizabeth Ann Fryer; husband of Margaret Hill (formerly Fryer), of Slymbridge St., Cambridge, Stonehouse, Glos.; [there is another Charles Fryer (26921 Private Charles Christopher Fryer, 12th Bn., Gloucestershire Regiment), from nearby Frampton on Severn; there seems to be no report of Private Fryer’s death, but there is this curious account of a serious family dispute in the Gloucester Citizen, 11 April 1910, p. 6, under “Petty Sessions”: “Charles Fryer, a young man of Slimbridge, pleaded ‘guilty under great provocation’ to an assault upon his father-in-law, Edward Theyers. Complainant, answering the Clerk, said that he didn’t know that he was any relation to defendant, but “he married my daughter, that’s all!” (Laughter.) His account of the assault was that defendant came along on a bicycle, and, without any altercation, knocked him on the side of the head. The blow stunned him and he fell to the ground, injuring his arm. Some time ago they had “afew [sic] words” and complainant told Fryer he could leave his house – in which he lived with his wife. They left the same night. The row was over an accusation which defendant made concerning his conduct towards his (Fryer’s) wife. This complainant declared was untrue. He had not seen his daughter since she left the house two months ago – “nor don’t want to,” added Theyers. He had not spoken to Fryer since the night of the row until the assault. – Defendant questioned complainant as to his conduct towards his daughter, and Theyers denied the serious allegation made, or that his wife accused him in his (defendant’s) presence. Fryer told the magistrates that Theyers offered him a sovereign to settle the matter, but (indignantly added defendant) “if I dared I would tar and feather him for what he has done.” – P.C. White spoke to receiving a complaint from Fryer and his wife on February 14th concerning alleged indecent behaviour on the part of Theyers towards his daughter (defendant’s wife). – George Fryer also spoke on the same matter. – Defendant stated that he was married to complainant’s daughter in September of last year, and they lived comfortably at his father-in-law’s house at Cambridge until January last, when he had reason to complain of the conduct of Theyers towards his (Fryer’s) wife. Later he watched certain happenings through a window, and later his wife told him what had occurred on several occasions, and that she had been afraid to tell him before. He spoke to Theyers about it, and the latter ordered him to leave the house in a week. Witness said he would no stay there another night with him, and left at once. He promised complainant a thrashing, and considered he was justified in striking him. -- The Bench dismissed the case under the Probation of Offenders’ Act, but told defendant he must not take advantage of the lenient treatment to commit a further assault. Fryer said he would not strike him again.”]: www.cwgc.org/find-war-dead/casualty/523057/FRYER,%20C%20W
Frederick C Hobbs – Private F. C. Hobbs (Service No: 57806), 2nd/7th Bn., Royal Warwickshire Regiment; died 9 August 1918, aged 18; buried in Aire Communal Cemetery, Pas-de-Calais, France (IV. A. 9.); additional Information:Son of Caleb and Susannah Hobbs, of Cambridge, Stonehouse, Glos.; [the Gloucester Journal , 7 September 1918, p. 6: “Private F. C. Hobbs, of Slimbridge, attached to the Warwickshire Regiment, has been killed in action in France. He was only 18 years old. He joined up last December, and formerly was employed at Cam Mills. He died in hospital following severe wounds.”]: www.cwgc.org/find-war-dead/casualty/467090/HOBBS,%20F%20C
Frederick Medcroft – Lance Corporal Frederick Medcroft (Service No: 355878), 25th (Montgomeryshire and Welsh Horse Yeomanry) Bn., Royal Welsh Fusiliers; died 21 September 1918; name recorded on the Vis-en-Artois Memorial, Pas-de-Calais, France (Panel 6.): www.cwgc.org/find-war-dead/casualty/1746695/MEDCROFT,%20F...
Edward S Morgan – Lieutenant E. S. Morgan, Royal Air Force, 211th Sqdn.; died 7 September 1918; buried in Dunkirk Town Cemetery, Pas-de-Calais, France (IV. C. 16.); [At the time of the 1911 Census, Edward Stanley Morgan was living at Churchend, Slimbridge with his widowed mother (Elizabeth Florence Morgan), three siblings, an aunt and a servant. The census describes him as an 18-year old auctioneer, and he had been born at Hambrook, Gloucestershire. Lieutenant Edward Stanley Morgan of 211 Squadron, Royal Air Force died on 7 September 1918 flying a D.H.9 with Lieut. R. Simpson as 2nd Observer on a bombing raid, being shot down and crashing into the sea north of Gravelines. Morgan’s part in a previous raid had resulted in the award of a Distinguished Flying Cross: Supplement to the London Gazette, 2nd November 1918, p. 12970; Flight, 7th November 1918, p. 1250: “Lieut. Edward Stanley Morgan. -- On August 16th this officer took part in a bomb raid on enemy docks--a well-guarded objective. The weather conditions were most unfavourable. A strong wind compelled the machines to move slowly, and high white clouds made them an easy target for anti-aircraft fire. On nearing the objective the flight leader was shot down and Lieut. Morgan assumed command. He was met by an intense barrage. A second machine was seen to fall, and the pilot of a third was severely wounded, but Lieut. Morgan, persisting in his attack, reached and successfully bombed the objective. The cool determination and gallantry displayed by this officer deserves high praise.”]: www.cwgc.org/find-war-dead/casualty/617341/MORGAN,%20E%20S
Arthur Noad – Private A. Noad (Service No: 16052), 10th Bn., Gloucestershire Regiment; died 13 October 1915, aged 22; buried in Dud Corner Cemetery, Loos, Pas-de-Calais, France ; [a bellringer at Slimbridge; Arthur Noad’s enlistment in “Lord Kitchener’s Army” on 21st November 1914 was recorded in the Gloucester Journal, 28 November 1914, p. 6, listing his residence as Gossington, near Stonehouse.]:
Panel 4:
Samuel Redding -- Private Samuel Redding, Labour Corps
Joseph Robins – Corporal Joseph Robins (Service No: RMA/4190), R.M.H.Q. (Eastney), Royal Marine Artillery; died 31 January 1915, aged 41; buried in Slimbridge (St. John the Evangelist) Churchyard, Gloucestershire (new Ground); husband of Eliza Catherine Robins, of Cambridge, Gloucester: www.cwgc.org/find-war-dead/casualty/358544/ROBINS,%20JOSEPH
Charles J Savage -- Lance Corporal Charles John Savage, 14th Bn., Gloucestershire Regiment
Frederick Simmons -- Corporal Frederick Mahone Simmons, 2nd Bn., Royal Berkshire Regiment
William Smart -- Driver William Smart, Army Service Corps
Frederick Tudor -- Private Frederick Henry Tudor, 7th Bn., Gloucestershire Regiment
Panel 5:
Alfred M Underwood -- Private Alfred M. S. Underwood (Service No: 6641), 1st Bn., Gloucestershire Regiment; died 23 October 1914, aged 30; name recorded on the Ypres (Menin Gate) Memorial, Ieper, West-Vlaanderen (Panel 22 and 34.); son of the late John Underwood, of Westend, Stonehouse; husband of Mary Louisa Underwood, of Cossington, Slimbridge, Stonehouse, Glos.: www.cwgc.org/find-war-dead/casualty/1627280/UNDERWOOD,%20...
George E P Watts -- Private George Edward Watts, Army Veterinary Corps
Frederick A Wherrett – Private F. A. Wherrett (Service No: 40200), Worcestershire Regiment; died 20 June 1917, aged 22; buried in Slimbridge (St. John the Evangelist) Churchyard, Gloucestershire (new Ground); [The Cheltenham Chronicle, 30 June 1917, p. 3, under “Berkeley Vale Gleanings”: “The toll of the brave continues. Scarcely a day passes without the sad news, “Killed in action,” being recorded. Here in the Vale, as elsewhere throughout the land, there is a heavy toll being exacted of the best of our young manhood, and citizens generally will have a sympathetic thought for those who mourn husband, or son, or brother. […] Private Joseph Wherrett [sic?], son of the late Mr. Joseph Wherrett, of Hope House Farm, Slimbridge, died in a London hospital from wounds received in action in the Somme last November. In civil life he was a popular young farmer in the Vale, and a host of friends lament his death. The remains were brought to his native village on Saturday, and buried with full military honours. The family mourners included a brother who is at home receiving treatment for wounds received in action on the Somme.”]: www.cwgc.org/find-war-dead/casualty/358545/WHERRETT,%20F%20A
Joseph Wherrett -- Private Joseph Wherrett, Royal Defence Corps; died 6 June 1920
James Williams
George Shipway -- Lance Corporal George Shipway, Labour Corps
Panel 6:
True love by life, True love by death is tried; Live thou for England, We for England died
Panel 7:
William D Porter
Henry J Granger
Ronald Brown
Arthur Wall
William J Workman
1939-1945
Panel 8: [Quotation from John 15:13]
Greater love hath no man than this, that a man lay down his life for his friends
Picture taken 1987 during my 5-month-trip around the world - digitally captured from paper print. Sorry for the bad quality.
I have uploaded a lot of my digitally captured photos, which I took since 2004. But the most interesting journeys I did between 1979 and 2004! Those photos are on slide.
__________________________________________
Fiji (Listeni/ˈfiːdʒiː/ FEE-jee Fijian: Viti; Fiji Hindi: फ़िजी), officially the Republic of Fiji[8] (Fijian: Matanitu Tugalala o Viti; Fiji Hindi: रिपब्लिक ऑफ फीजी[10] Fiji Hindi: Ripablik af Fījī), is an island country in Melanesia in the South Pacific Ocean about 1,100 nautical miles (2,000 km) northeast of New Zealand's North Island. Its closest neighbours are Vanuatu to the west, New Caledonia to the southwest, New Zealand's Kermadec Islands to the southeast, Tonga to the east, the Samoas and France's Wallis and Futuna to the northeast, and Tuvalu to the north.
Fiji is an archipelago of more than 330 islands, of which 110 are permanently inhabited, and more than 500 islets, amounting to a total land area of about 18,300 square kilometres. The farthest island is Ono-i-Lau. The two major islands, Viti Levu and Vanua Levu, account for 87% of the population of almost 860,000. The capital, Suva on Viti Levu, serves as Fiji's principal cruise port. About three-quarters of Fijians live on Viti Levu's coasts, either in Suva or in smaller urban centres like Nadi (tourism) or Lautoka (sugar cane industry). Viti Levu's interior is sparsely inhabited due to its terrain.
Fiji has one of the most developed economies in the Pacific due to an abundance of forest, mineral, and fish resources. Today, the main sources of foreign exchange are its tourist industry and sugar exports. The country's currency is the Fijian dollar. Fiji's local government, in the form of city and town councils, is supervised by the Ministry of Local Government and Urban Development.
The majority of Fiji's islands were formed through volcanic activity starting around 150 million years ago. Today, some geothermal activity still occurs on the islands of Vanua Levu and Taveuni. Fiji has been inhabited since the second millennium BC, and was settled first by Austronesians and later by Melanesians, with some Polynesian influences. Europeans visited Fiji from the 17th century, and, after a brief period as an independent kingdom, the British established the Colony of Fiji in 1874. Fiji was a Crown colony until 1970, when it gained independence as a Commonwealth realm. A republic was declared in 1987, following a series of coups d'état.
In a coup in 2006, Commodore Frank Bainimarama seized power. When the High Court ruled in 2009 that the military leadership was unlawful, President Ratu Josefa Iloilo, whom the military had retained as the nominal Head of State, formally abrogated the Constitution and reappointed Bainimarama. Later in 2009, Iloilo was replaced as President by Ratu Epeli Nailatikau. After years of delays, a democratic election was held on 17 September 2014. Bainimarama's FijiFirst party won with 59.2% of the vote, and the election was deemed credible by international observers.
ETYMOLOGY
Fiji's main island is known as Viti Levu and it is from this that the name "Fiji" is derived, though the common English pronunciation is based on that of their island neighbours in Tonga. Its emergence can be described as follows:
Fijians first impressed themselves on European consciousness through the writings of the members of the expeditions of Cook who met them in Tonga. They were described as formidable warriors and ferocious cannibals, builders of the finest vessels in the Pacific, but not great sailors. They inspired awe amongst the Tongans, and all their Manufactures, especially bark cloth and clubs, were highly valued and much in demand. They called their home Viti, but the Tongans called it Fisi, and it was by this foreign pronunciation, Fiji, first promulgated by Captain James Cook, that these islands are now known.
"Feejee", the Anglicised spelling of the Tongan pronunciation, was used in accounts and other writings until the late 19th century, by missionaries and other travellers visiting Fiji.
HISTORY
EARLY HISTORY
Pottery art from Fijian towns shows that Fiji was settled before or around 3500 to 1000 BC, although the question of Pacific migration still lingers. It is believed that the Lapita people or the ancestors of the Polynesians settled the islands first but not much is known of what became of them after the Melanesians arrived; they may have had some influence on the new culture, and archaeological evidence shows that they would have then moved on to Samoa, Tonga and even Hawai'i.The first settlements in Fiji were started by voyaging traders and settlers from the west about 5000 years ago. Lapita pottery shards have been found at numerous excavations around the country. Aspects of Fijian culture are similar to the Melanesian culture of the western Pacific but have a stronger connection to the older Polynesian cultures. Trade between Fiji and neighbouring archipelagos long before European contact is testified by the canoes made from native Fijian trees found in Tonga and Tongan words being part of the language of the Lau group of islands. Pots made in Fiji have been found in Samoa and even the Marquesas Islands.Across 1,000 kilometres from east to west, Fiji has been a nation of many languages. Fiji's history was one of settlement but also of mobility. Over the centuries, a unique Fijian culture developed. Constant warfare and cannibalism between warring tribes were quite rampant and very much part of everyday life. During the 19th century, Ratu Udre Udre is said to have consumed 872 people and to have made a pile of stones to record his achievement. According to Deryck Scarr, "Ceremonial occasions saw freshly killed corpses piled up for eating. 'Eat me!' was a proper ritual greeting from a commoner to a chief." Scarr also reported that the posts that supported the chief's house or the priest's temple would have sacrificed bodies buried underneath them, with the rationale that the spirit of the ritually sacrificed person would invoke the gods to help support the structure, and "men were sacrificed whenever posts had to be renewed". Also, when a new boat, or drua, was launched, if it was not hauled over men as rollers, crushing them to death, "it would not be expected to float long". Fijians today regard those times as "na gauna ni tevoro" (time of the devil). The ferocity of the cannibal lifestyle deterred European sailors from going near Fijian waters, giving Fiji the name Cannibal Isles; as a result, Fiji remained unknown to the rest of the world.The Dutch explorer Abel Tasman visited Fiji in 1643 while looking for the Great Southern Continent. Europeans settled on the islands permanently beginning in the 19th century. The first European settlers to Fiji were beachcombers, missionaries, whalers, and those engaged in the then booming sandalwood and bêche-de-mer trade.Ratu Seru Epenisa Cakobau was a Fijian chief and warlord from the island of Bau, off the eastern coast of Viti Levu, who united part of Fiji's warring tribes under his leadership. He then styled himself as Tui Viti or King of Fiji, and then Vunivalu, or Protector, after the cession of Fiji to the United Kingdom. The British subjugated the islands as a colony in 1874, and the British brought over Indian contract labourers to work on the sugar plantations as the first governor of Fiji, Arthur Charles Hamilton-Gordon, adopted a policy disallowing the use of native labour or any interference in their culture or way of life. In 1875–76, an epidemic of measles killed over 40,000 Fijians, about one-third of the Fijian population. The population in 1942 was approximately 210,000 of whom 94,000 were Indians, 102,000 native Fijians, 2,000 Chinese and 5,000 Europeans.
INDEPENDENCE (1970)
The British granted Fiji independence in 1970. Democratic rule was interrupted by two military coups in 1987 precipitated by a growing perception that the government was dominated by the Indo-Fijian (Indian) community. The second 1987 coup saw both the Fijian monarchy and the Governor General replaced by a non-executive president and the name of the country changed from Dominion of Fiji to Republic of Fiji and then in 1997 to Republic of the Fiji Islands. The two coups and the accompanying civil unrest contributed to heavy Indo-Fijian emigration; the resulting population loss resulted in economic difficulties and ensured that Melanesians became the majority.
In 1990, the new constitution institutionalised ethnic Fijian domination of the political system. The Group Against Racial Discrimination (GARD) was formed to oppose the unilaterally imposed constitution and to restore the 1970 constitution. In 1992 Sitiveni Rabuka, the Lieutenant Colonel who had carried out the 1987 coup, became Prime Minister following elections held under the new constitution. Three years later, Rabuka established the Constitutional Review Commission, which in 1997 wrote a new constitution which was supported by most leaders of the indigenous Fijian and Indo-Fijian communities. Fiji was re-admitted to the Commonwealth of Nations.
The year 2000 brought along another coup, instigated by George Speight, which effectively toppled the government of Mahendra Chaudhry, who in 1997 had become the country's first Indo-Fijian Prime Minister following the adoption of the new constitution. Commodore Frank Bainimarama assumed executive power after the resignation, possibly forced, of President Ratu Sir Kamisese Mara. Later in 2000, Fiji was rocked by two mutinies when rebel soldiers went on a rampage at Suva's Queen Elizabeth Barracks. The High Court ordered the reinstatement of the constitution, and in September 2001, to restore democracy, a general election was held which was won by interim Prime Minister Laisenia Qarase's Soqosoqo Duavata ni Lewenivanua party.
In 2005, the Qarase government amid much controversy proposed a Reconciliation and Unity Commission with power to recommend compensation for victims of the 2000 coup and amnesty for its perpetrators. However, the military, especially the nation's top military commander, Frank Bainimarama, strongly opposed this bill. Bainimarama agreed with detractors who said that to grant amnesty to supporters of the present government who had played a role in the violent coup was a sham. His attack on the legislation, which continued unremittingly throughout May and into June and July, further strained his already tense relationship with the government.
In late November and early December 2006, Bainimarama was instrumental in the 2006 Fijian coup d'état. Bainimarama handed down a list of demands to Qarase after a bill was put forward to parliament, part of which would have offered pardons to participants in the 2000 coup attempt. He gave Qarase an ultimatum date of 4 December to accede to these demands or to resign from his post. Qarase adamantly refused either to concede or resign, and on 5 December the president, Ratu Josefa Iloilo, was said to have signed a legal order dissolving the parliament after meeting with Bainimarama.
In April 2009, the Fiji Court of Appeal ruled that the 2006 coup had been illegal. This began the 2009 Fijian constitutional crisis. President Iloilo abrogated the constitution, removed all office holders under the constitution including all judges and the governor of the Central Bank. He then reappointed Bainimarama as prime minister under his "New Order" and imposed a "Public Emergency Regulation" limiting internal travel and allowing press censorship.
For a country of its size, Fiji has fairly large armed forces, and has been a major contributor to UN peacekeeping missions in various parts of the world. In addition, a significant number of former military personnel have served in the lucrative security sector in Iraq following the 2003 US-led invasion.
GEOGRAPHY
Fiji covers a total area of some 194,000 square kilometres of which around 10% is land.
Fiji is the hub of the South West Pacific, midway between Vanuatu and Tonga. The archipelago is located between 176° 53′ east and 178° 12′ west. The 180° meridian runs through Taveuni but the International Date Line is bent to give uniform time (UTC+12) to all of the Fiji group. With the exception of Rotuma, the Fiji group lies between 15° 42′ and 20° 02′ south. Rotuma is located 220 nautical miles (410 km) north of the group, 360 nautical miles (670 km) from Suva, 12° 30′ south of the equator.
Fiji consists of 332 islands (of which 106 are inhabited) and 522 smaller islets. The two most important islands are Viti Levu and Vanua Levu, which account for about three-quarters of the total land area of the country. The islands are mountainous, with peaks up to 1,324 metres, and covered with thick tropical forests.
The highest point is Mount Tomanivi on Viti Levu. Viti Levu hosts the capital city of Suva, and is home to nearly three-quarters of the population. Other important towns include Nadi (the location of the international airport), and Lautoka, Fiji's second city with large sugar cane mills and a seaport.
The main towns on Vanua Levu are Labasa and Savusavu. Other islands and islandgroups include Taveuni and Kadavu (the third and fourth largest islands, respectively), the Mamanuca Group (just off Nadi) and Yasawa Group, which are popular tourist destinations, the Lomaiviti Group, off Suva, and the remote Lau Group. Rotuma, some 270 nautical miles (500 km) north of the archipelago, has a special administrative status in Fiji. Ceva-i-Ra, an uninhabited reef, is located about 250 nautical miles (460 km) southwest of the main archipelago.
CLIMATE
The climate in Fiji is tropical marine and warm year round with minimal extremes. The warm season is from November to April and the cooler season lasts from May to October. Temperatures in the cool season still average 22 °C.
Rainfall is variable, with the warm season experiencing heavier rainfall, especially inland. Winds are moderate, though cyclones occur about once a year (10–12 times per decade).
On 20 February 2016, Fiji was hit by the full force of Cyclone Winston, the only Category 5 tropical cyclone to make landfall in the nation. Winston destroyed tens of thousands of homes across the island, killing 44 people and causing an estimated FJ$2 billion ($1 billion USD) in damage.
POLITICS
Politics in Fiji normally take place in the framework of a parliamentary representative democratic republic wherein the Prime Minister of Fiji is the head of government and the President the Head of State, and of a multi-party system. Executive power is exercised by the government, legislative power is vested in both the government and the Parliament of Fiji, and the judiciary is independent of the executive and the legislature.
2006 MILIARY TAKEOVER
Citing corruption in the government, Commodore Josaia Voreqe (Frank) Bainimarama, Commander of the Republic of Fiji Military Forces, staged a military takeover on 5 December 2006 against the prime minister that he had installed after a 2000 coup. There had also been a military coup in 1987. The commodore took over the powers of the presidency and dissolved the parliament, paving the way for the military to continue the takeover. The coup was the culmination of weeks of speculation following conflict between the elected prime minister, Laisenia Qarase, and Commodore Bainimarama. Bainimarama had repeatedly issued demands and deadlines to the prime minister. A particular issue was previously pending legislation to pardon those involved in the 2000 coup. Bainimarama named Jona Senilagakali as caretaker prime minister. The next week Bainimarama said he would ask the Great Council of Chiefs to restore executive powers to the president, Ratu Josefa Iloilo.
On 4 January 2007, the military announced that it was restoring executive power to president Iloilo, who made a broadcast endorsing the actions of the military. The next day, Iloilo named Bainimarama as the interim prime minister, indicating that the military was still effectively in control. In the wake of the takeover, reports emerged of alleged intimidation of some of those critical of the interim regime.
On 9 April 2009, the Court of Appeal overturned the High Court decision that Cdre. Bainimarama's takeover of Qarase's government was lawful and declared the interim government to be illegal. Bainimarama agreed to step down as interim PM immediately, along with his government, and president Iloilo was to appoint "a distinguished person independent of the parties to this litigation as caretaker Prime Minister, ...to direct the issuance of writs for an election."
On 10 April 2009, President Iloilo suspended the Constitution of Fiji, dismissed the Court of Appeal and, in his own words, "appoint[ed] [him]self as the Head of the State of Fiji under a new legal order". As President, Iloilo had been Head of State prior to his abrogation of the Constitution, but that position had been determined by the Constitution itself. The "new legal order" did not depend on the Constitution, thus requiring a "reappointment" of the Head of State. "You will agree with me that this is the best way forward for our beloved Fiji", he said. Bainimarama was re-appointed as Interim Prime Minister; he, in turn, re-instated his previous cabinet.
On 2 May 2009, Fiji became the first nation ever to have been suspended from participation in the Pacific Islands Forum, for its failure to hold democratic elections by the date promised. Nevertheless, it remains a member of the Forum.
On 1 September 2009, Fiji was suspended from the Commonwealth of Nations. The action was taken because Cdre. Bainimarama failed to hold elections by 2010 as the Commonwealth of Nations had demanded after the 2006 coup. Cdre. Bainimarama stated a need for more time to end a voting system that heavily favoured ethnic Fijians at the expense of the multi-ethnic minorities. Critics, however, claimed that he had suspended the constitution and was responsible for human rights violations by arresting and detaining opponents.
In his 2010 New Year's address, Cdre. Bainimarama announced the lifting of the Public Emergency Regulations (PER). The PER had been put in place in April 2009 when the former constitution was abrogated. The PER had allowed restrictions on speech, public gatherings, and censorship of news media and had given security forces added powers. He also announced a nationwide consultation process leading to a new Constitution under which the 2014 elections will be held.
On 14 March 2014, the Commonwealth Ministerial Action Group voted to change Fiji's full suspension from the Commonwealth of Nations to a suspension from the councils of the Commonwealth, allowing them to participate in a number of Commonwealth activities, including the 2014 Commonwealth Games. The suspension was lifted in September 2014.
A general election took place on 17 September 2014. Bainimarama's FijiFirst party won with 59.2% of the vote, and the election was deemed credible by a group of international observers from Australia, India and Indonesia.
ARMED FORCES AND LAW ENFORCEMENT
The military consists of the Republic of Fiji Military Forces (RFMF) with a total manpower of 3,500 active soldiers and 6,000 reservists, and includes a Navy Unit of 300 personnel.
The Land Force comprises the Fiji Infantry Regiment (regular and territorial force organised into six light infantry battalions), Fiji Engineer Regiment, Logistic Support Unit and Force Training Group. The two regular battalions are traditionally stationed overseas on peacekeeping duties.
The Law Enforcement branch is composed of:
Fiji Police Force
Fiji Corrections Service
ADMINISTRATIVE DIVISIONS
Fiji is divided into Four Major Divisions which are further divided into 14 provinces. They are:
Central Division has 5 provinces: Naitasiri, Namosi, Rewa, Serua, and Tailevu.
Eastern Division has 3 provinces: Kadavu, Lau, and Lomaiviti.
Northern Division has 3 provinces: Bua, Cakaudrove, and Macuata.
Western Division has 3 provinces: Ba, Nadroga-Navosa, and Ra.
Fiji was also divided into 3 Confederacies or Governments during the reign of Seru Epenisa Cakobau, though these are not considered political divisions, they are still considered important in the social divisions of the indigenous Fijians:
ECONOMY
Endowed with forest, mineral, and fish resources, Fiji is one of the most developed of the Pacific island economies, though still with a large subsistence sector. Some progress was experienced by this sector when Marion M. Ganey, S.J., introduced credit unions to the islands in the 1950s. Natural resources include timber, fish, gold, copper, offshore oil, and hydropower. Fiji experienced a period of rapid growth in the 1960s and 1970s but stagnated in the 1980s. The coup of 1987 caused further contraction.
Economic liberalisation in the years following the coup created a boom in the garment industry and a steady growth rate despite growing uncertainty regarding land tenure in the sugar industry.[citation needed] The expiration of leases for sugar cane farmers (along with reduced farm and factory efficiency) has led to a decline in sugar production despite subsidies for sugar provided by the EU; Fiji has been the second largest beneficiary of sugar subsidies after Mauritius.[citation needed] Fiji's vital gold mining industry based in Vatukoula, which shut down in 2006, was reactivated in 2008.
Urbanisation and expansion in the service sector have contributed to recent GDP growth. Sugar exports and a rapidly growing tourist industry – with tourists numbering 430,800 in 2003 and increasing in the subsequent years – are the major sources of foreign exchange. Fiji is highly dependent on tourism for revenue. Sugar processing makes up one-third of industrial activity. Long-term problems include low investment and uncertain property rights. The political turmoil in Fiji in the 1980s, the 1990s, and 2000 had a severe impact on the economy, which shrank by 2.8% in 2000 and grew by only 1% in 2001.
The tourism sector recovered quickly, however, with visitor arrivals reaching pre-coup levels in 2002, resulting in a modest economic recovery which continued into 2003 and 2004 but grew by a mere 1.7% in 2005 and by 2.0% in 2006. Although inflation is low, the policy indicator rate of the Reserve Bank of Fiji was raised by 1% to 3.25% in February 2006 due to fears of excessive consumption financed by debt. Lower interest rates have so far not produced greater investment in exports.
However, there has been a housing boom due to declining commercial mortgage rates. The tallest building in Fiji is the fourteen-storey Reserve Bank of Fiji Building in Suva, which was inaugurated in 1984. The Suva Central Commercial Centre, which opened in November 2005, was planned to outrank the Reserve Bank building at seventeen stories, but last-minute design changes ensured that the Reserve Bank building remained the tallest.
Trade and investment with Fiji have been criticised due to the country's military dictatorship. In 2008, Fiji's interim Prime Minister and coup leader Frank Bainimarama announced election delays and said that Fiji would pull out of the Pacific Islands Forum in Niue, where Bainimarama was to have met with Australian Prime Minister Kevin Rudd and New Zealand Prime Minister Helen Clark.
The South Pacific Stock Exchange (SPSE) is the only licensed securities exchange in Fiji and is based in Suva. Its vision is to become a regional exchange.
TOURISM
Fiji has a significant amount of tourism with the popular regions being Nadi, the Coral Coast, Denarau Island, and Mamanuca Islands. The biggest sources of international visitors by country are Australia, New Zealand and the United States. Fiji has a significant number of soft coral reefs, and scuba diving is a common tourist activity.
Fiji's main attractions to tourists are primarily white sandy beaches and aesthetically pleasing islands with all-year-round tropical weather. In general, Fiji is a mid-range priced holiday/vacation destination with most of the accommodations in this range. It also has a variety of world class five-star resorts and hotels. More budget resorts are being opened in remote areas, which will provide more tourism opportunities.
Official statistics show that in 2012, 75% of visitors stated that they came for a holiday/vacation. Honeymoons are very popular as are romantic getaways in general. There are also family friendly resorts with facilities for young children including kids' clubs and nanny options.
Fiji has several popular tourism destinations. The Botanical Gardens of Thursten in Suva, Sigatoka Sand Dunes, and Colo-I-Suva Forest Park are three options on the mainland (Viti Levu). A major attraction on the outer islands is scuba diving. Most visitors arriving to Fiji on short term basis are from the following countries or regions of residence:
TRANSPORT
The Nadi International Airport is located 9 kilometres north of central Nadi and is the largest Fijian hub. Nausori International Airport is about 23 kilometres northeast of downtown Suva and serves mostly domestic traffic. The main airport in the second largest island of Vanua Levu is Labasa Airport located at Waiqele, southwest of Labasa Town. The largest aircraft handled by Labasa Airport is the ATR42. Airports Fiji Limited (AFL) is responsible for the operation of 15 public airports in the Fiji Islands. These include two international airports: Nadi international Airport, Fiji’s main international gateway, and Nausori Airport, Fiji’s domestic hub, and 13 outer island airports. Fiji's main airline was previously known as Air Pacific, but is now known as Fiji Airways.
Fiji's larger islands have extensive bus routes that are affordable and consistent in service. There are bus stops, and in rural areas buses are often simply hailed as they approach. Buses are the principal form of public transport and passenger movement between the towns on the main islands. Buses also serve on roll-on-roll-off inter-island ferries. Bus fares and routes are heavily regulated by the Land Transport Authority (LTA). Bus and taxi drivers hold Public Service Licenses (PSVs) issued by the LTA.
Taxis are licensed by the LTA and operate widely all over the country. Apart from urban, town-based taxis, there are others that are licensed to serve rural or semi-rural areas. The flagfall for regular taxis is F$1.50 and tariff is F$0.10 for every 200 meters. For taxis that are allowed to charge Value Added Tax (VAT), the flagfall is F$1.50 and tariff is F$0.30 for the first 200 meters, and F$0.11 for every 200 meters thereafter. Taxis operating out of Fiji's international airport, Nadi charge a flagfall of F$5. The elderly and Government welfare recipients are given a 20% discount on their taxi fares.
Inter-island ferries provide services between Fiji's principal islands and large vessels operate roll-on-roll-off services, transporting vehicles and large amounts of cargo between the main island of Viti Levu and Vanua Levu, and other smaller islands.
SOCEITY
DEMOGRAPHICS
The 2007 census found that the permanent population of Fiji was 837,000. The population density at the time was 45.8 inhabitants per square kilometre. The life expectancy in Fiji was 72.1 years. Since the 1930s the population of Fiji has increased at a rate of 1.1% per year. The population is dominated by the 15–64 age segment. The median age of the population was 27.9, and the gender ratio was 1.03 males per 1 female.
ETHNIC GROUPS
The population of Fiji is mostly made up of native Fijians, who are Melanesians (54.3%), although many also have Polynesian ancestry, and Indo-Fijians (38.1%), descendants of Indian contract labourers brought to the islands by the British colonial powers in the 19th century. The percentage of the population of Indo-Fijian descent has declined significantly over the last two decades due to migration for various reasons. Indo-Fijians suffered reprisals for a period after the Fiji coup of 2000. There is also a small but significant group of descendants of indentured labourers from the Solomon Islands.
About 1.2% are Rotuman—natives of Rotuma Island, whose culture has more in common with countries such as Tonga or Samoa than with the rest of Fiji. There are also small but economically significant groups of Europeans, Chinese, and other Pacific island minorities. The total membership of other ethnic groups of Pacific Islanders is about 7,300.
Relationships between ethnic Fijians and Indo-Fijians in the political arena have often been strained, and the tension between the two communities has dominated politics in the islands for the past generation. The level of political tension varies among different regions of the country.
DEMONYM
Within Fiji, the term Fijian refers solely to indigenous Fijians: it denotes an ancestral ethnicity, not a nationality. Constitutionally, citizens of Fiji are referred to as "Fiji Islanders" though the term Fiji Nationals is used for official purposes. In August 2008, shortly before the proposed People's Charter for Change, Peace and Progress was due to be released to the public, it was announced that it recommended a change in the name of Fiji's citizens. If the proposal were adopted, all citizens of Fiji, whatever their ethnicity, would be called "Fijians". The proposal would change the English name of indigenous Fijians from "Fijians" to itaukei, the Fijian language endonym for indigenous Fijians.
Deposed Prime Minister Laisenia Qarase reacted by stating that the name "Fijian" belonged exclusively to indigenous Fijians, and that he would oppose any change in legislation enabling non-indigenous Fijians to use it. The Methodist Church, to which a large majority of indigenous Fijians belong, also reacted strongly to the proposal, stating that allowing any Fiji citizen to call themselves "Fijian" would be "daylight robbery" inflicted on the indigenous population.
In an address to the nation during the constitutional crisis of April 2009, military leader and interim Prime Minister Voreqe Bainimarama, who has been at the forefront of the attempt to change the definition of "Fijian", stated:
I know we all have our different ethnicities, our different cultures and we should, we must, celebrate our diversity and richness. However, at the same time we are all Fijians. We are all equal citizens. We must all be loyal to Fiji; we must be patriotic; we must put Fiji first.
In May 2010, Attorney-General Aiyaz Sayed-Khaiyum reiterated that the term "Fijian" should apply to all Fiji nationals, but the statement was again met with protest. A spokesperson for the Viti Landowners and Resource Owners Association claimed that even fourth-generation descendants of migrants did not fully understand "what it takes to be a Fijian", and added that the term refers to a legal standing, since legislation affords specific rights to "Fijians" (meaning, in legislation, indigenous Fijians). Fiji academic Brij Lal, although a prominent critic of the Bainimarama government, said he "would not be surprised" if the new definition of the word "Fijian" were included in the government's projected new Constitution, and that he personally saw "no reason the term Fijian should not apply to everyone from Fiji".
LANGUAGES
Fijian is an Austronesian language of the Malayo-Polynesian family spoken in Fiji. It has 350,000 first-language speakers, which is less than half the population of Fiji, but another 200,000 speak it as a second language. The 1997 Constitution established Fijian as an official language of Fiji, along with English and Fiji Hindi, and there has been discussion about establishing it as the "national language", though English and Hindi would remain official. Fijian is a VOS language.
The Fiji Islands developed many dialects, which may be classified in two major branches — eastern and western. Missionaries in the 1840s chose an Eastern dialect, the speech of Bau Island off the southeast coast of the main island of Viti Levu, to be the written standard of the Fijian language. Bau Island was home to Seru Epenisa Cakobau, the chief who eventually became the self-proclaimed King of Fiji.
RELIGION
According to the 2007 census, 64.4% of the population at the time was Christian, followed by 27.9% Hindu, 6.3% Muslim, 0.8% non-religious, 0.3% Sikh, and the remaining 0.3% belonging to other religions. Among Christians, 54% were counted as Methodist, followed by 14.2% Catholic, 8.9% Assemblies of God, 6.0% Seventh-day Adventist, 1.2% Anglican, with the remaining 16.1% belonging to other denominations.
The largest Christian denomination is the Methodist Church of Fiji and Rotuma. (The general secretary is Revd Tuikilakila Waqairatu.) With 34.6% of the population (including almost two-thirds of ethnic Fijians), the proportion of the population adhering to Methodism is higher in Fiji than in any other nation. In 2012, permission was granted by the government for Methodists to hold their annual conference, for the first time in four years, with the conditions that the conference not coincide with the national Hibiscus Festival and should only last for three days, and that no political matters were to be discussed, only church matters.
Roman Catholics is headed by the Metropolitan Archdiocese of Suva, whose province also includes the dioceses of Raratonga (on the Cook Islands, for those and Niue, both New Zealand-associated countries) and Tarawa and Nauru (with see at Tarawa on Kiribati, also for Nauru) and the Mission Sui Iuris of Tokelau (again with New Zealand). This reflects that much major Roman Catholic missionary activity was conducted through the former Apostolic Prefecture (created in 1863 from the Apostolic Vicariate of Central Oceania), then Apostolic Vicariate of Fiji, which has since been promoted to Archdiocese of Suva, which spans the whole of Fiji.
Furthermore, the Assemblies of God, the Seventh-day Adventists and The Church of Jesus Christ of Latter-day Saints (LDS Church) are significant. Fiji also is the base for the Anglican Diocese of Polynesia (part of the Anglican Church in Aotearoa, New Zealand and Polynesia). These and other denominations have small numbers of Indo-Fijian members; Christians of all kinds comprise 6.1% of the Indo-Fijian population.
Hindus belong mostly to the Sanatan sect (74.3% of all Hindus) or else are unspecified (22%). The small Arya Samaj sect claims the membership of some 3.7% of Hindus in Fiji. Muslims are mostly Sunni (96.4%) following the Hanafi school of jurisprudence, with a small Ahmadiyya minority (3.6%). The Sikh religion comprises 0.9% of the Indo-Fijian population, or 0.4% of the national population in Fiji. Their ancestors originated from the Punjab region of India; they are a fairly recent wave of immigrants who did not live through[clarification needed] the indenture system.[citation needed] The Bahá'í Faith has over 21 local Spiritual Assemblies throughout Fiji, and Baha'is live in more than 80 localities. The first Baha'i in the islands was a New Zealander who arrived in 1924. There is also a small Jewish population of about 60 people. Every year the Israeli Embassy organises a Passover celebration with about 50-60 people attending.
EDUCATION
Primary school education in Fiji is compulsory, and free for eight years. As of 2001, attendance was decreasing due to security concerns and the burden of school fees, often due to the cost of transport. Following the government coup in May 2000, more than 5,000 students were reported to have left school.
CULTURE
Fiji's culture is a rich mosaic of indigenous Fijian, Indo-Fijian, Asian and European traditions, comprising social polity, language, food (coming mainly from the sea, plus casava, dalo (taro) and other vegetables), costume, belief systems, architecture, arts, craft, music, dance, and sports.
While indigenous Fijian culture and traditions are very vibrant and are integral components of everyday life for the majority of Fiji's population, Fijian society has evolved over the past century with the introduction of traditions such as Indian and Chinese as well as significant influences from Europe and Fiji's Pacific neighbours, particularly Tonga and Samoa. Thus, the various cultures of Fiji have come together to create a unique multicultural national identity.
Fiji's culture was showcased at the World Exposition held in Vancouver, Canada, in 1986 and more recently at the Shanghai World Expo 2010, along with other Pacific countries in the Pacific Pavilion.
HOLIDAYS AND FESTIVALS
This is a list of holidays celebrated in Fiji:
New Year's Day
Good Friday
Easter Saturday
Easter Monday
Fiji Day
Diwali
Christmas
Boxing Day
Prophet Mohammed's Birthday
The exact dates of public holidays vary from year to year, but the dates for the next year can be found at the Fiji Government Web Site
The following holidays are no longer celebrated in Fiji:
Queen's Official Birthday
National Youth Day
Ratu Sir Lala Sukuna Day
SPORT
Sports are very popular in Fiji, particularly sports involving physical contact. Fiji's national sport is Rugby Sevens.
RUGBY UNION
Rugby Union is the most-popular team sport played in Fiji.
Fiji is one of the few countries where rugby union is the main sport. There are about 80,000 registered players from a total population of around 900,000. One of the problems for Fiji is simply getting their players to play for their home country, as many have contracts in Europe or with Super Rugby teams, where monetary compensation is far more rewarding. The repatriated salaries of its overseas stars have become an important part of some local economies. In addition, a significant number of players eligible to play for Fiji end up representing Australia or New Zealand; notable examples are Fiji-born cousins and former New Zealand All Blacks, Joe Rokocoko and Sitiveni Sivivatu, current All Blacks Waisake Naholo and Seta Tamanivalu as well as Australian Wallabies former winger, Lote Tuqiri and current Wallabies Tevita Kuridrani , Samu Kerevi and Henry Speight. Fiji has won the most Pacific Tri-Nations Championships of the three participating teams.
RUGBY LEAGUE
The Fiji national rugby league team, nicknamed the Bati (pronounced [mˈbatʃi]), represents Fiji in the sport of rugby league football and has been participating in international competition since 1992. It has competed in the Rugby League World Cup on three occasions, with their best results coming when they made consecutive semi-final appearances in the 2008 Rugby League World Cup and 2013 Rugby League World Cup. The team also competes in the Pacific Cup.
Members of the team are selected from a domestic Fijian competition, as well as from competitions held in New Zealand and Australia. For the 2000, 2008 and 2013 World Cups, the Bati were captained by Lote Tuqiri, Wes Naiqama and the legendary Petero Civoniceva respectively. Fiji have also produced stars like Akuila Uate, Jarryd Hayne, Kevin Naiqama, Semi Tadulala, Marika Koroibete, Apisai Koroisau, Sisa Waqa and the Sims brothers Ashton Sims, Tariq Sims and Korbin Sims
RUGBY WAR DANCE (CIBI AND BOLE) AND FIJIAN HYMN
The Cibi (pronounced Thimbi) war dance was traditionally performed by the Fiji rugby team before each match. It was replaced in 2012 with the new "Bole" (pronounced mBolay) war cry.
Tradition holds that the original Cibi was first performed on the rugby field back in 1939 during a tour of New Zealand, when then Fijian captain Ratu Sir George Cakobau felt that his team should have something to match the Haka of the All Blacks. The 'Cibi' had perhaps been used incorrectly though, as the word actually means "a celebration of victory by warriors," whereas 'Bole' is the acceptance of a challenge.
The Fiji Bati rugby league team also gather in a huddle and perform the noqu masu before each match.
NETBALL
Netball is the most popular women's participation sport in Fiji. The national team has been internationally competitive, at Netball World Cup competitions reaching 6th position in 1999, its highest level to date. The team won gold medals at the 2007 and 2015 Pacific Games.
CRICKET
Cricket is a minor sport in Fiji. The Cricket Fiji is an Associate member of International Cricket Council. Fiji U19 cricket team won the 2015 edition of the tournament, and consequently qualified for the 2016 Under-19 World Cup, becoming the first team outside of Papua New Guinea to qualify from the region.
WIKIPEDIA
McDonald's Westfield Stratford City 28/11/2018 20h27
One of the 1270 McDonald's restaurants in the United Kingdom as we speak (*May 2018). This McDonald's is part of a foodcourt together with KFC, Subway and Pizza Hut Express and some others. In the near vicinity there are 5 other McDonald's locations, 2 featuring a Drive-Thru.
McDonald's Westfield Stratford City
Lower Ground, 1 Food Court
Westfield Stratford City
London E20 1EH
Phone: +44 20 8522 0432
Featuring: instore / foodcourt
Westfield Stratford City
Westfield Stratford City is a shopping centre in Stratford, London, which opened on 13 September 2011. With a total retail floor area of 177,030.6 m2 it is one of the largest urban shopping centres in Europe, and the third-largest shopping centre in the UK by retail space, behind the MetroCentre and the Trafford Centre. Taking the surrounding shopping area into account, it is the largest urban shopping centre in the European Union.
Westfield Stratford City is adjacent to the London Olympic Park, East Village, Stratford Regional and Stratford International stations. The shopping centre is part of a large multi-purpose development project called Stratford City. It is promoted as contributing significantly to the local economy, with the creation of up to 10,000 permanent jobs including 2,001 going to local people.
The shopping centre is anchored by a 22,000 m2 John Lewis department store, a 3,000 m2 Waitrose supermarket, a 12,600 m2 Marks & Spencer department store, a 24-hour casino (Aspers) and a seventeen screen all-digital Vue cinema. The shopping centre also has a 267-room Premier Inn hotel, and a Holiday Inn with 350 rooms. The shopping centre has approximately 280 stores and 70 restaurants.
To the south of the site lies Stratford station which is served by London Underground's Central and Jubilee lines, Greater Anglia, TfL Rail, London Overground, Docklands Light Railway, and a number of c2c services. The Elizabeth line is scheduled to serve the station from 2018. To the north lies Stratford International station which is served by Southeastern High Speed and Docklands Light Railway services.
Stratford bus station and Stratford City bus station are served by numerous London Buses routes[ and National Express and Terravision long distance services.
According to Westfield, while the site supports a 5,000 space car park, 80% of the shoppers arrive at the centre on public transport.
[ Source and more Info: Wikipedia - Westfield Straford City ]
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Good Friday[nb 1] is a religious holiday observed primarily by Christians commemorating the crucifixion of Jesus Christ and his death at Calvary. The holiday is observed during Holy Week as part of the Paschal Triduum on the Friday preceding Easter Sunday, and may coincide with the Jewish observance of Passover. It is also known as Holy Friday, Great Friday, Black Friday,[1] or Easter Friday,[2] though the latter properly refers to the Friday in Easter week.
Based on the details of the Canonical gospels, the Crucifixion of Jesus was most likely to have been on a Friday (John 19:42).[3] The estimated year of the Crucifixion is AD 33, by two different groups, and originally as AD 34 by Isaac Newton via the differences between the Biblical and Julian calendars and the crescent of the moon.[4] A third method, using a completely different astronomical approach based on a lunar Crucifixion darkness and eclipse model (consistent with Apostle Peter's reference to a "moon of blood" in Acts 2:20), points to Friday, 3 April AD 33.[5]
According to the accounts in the Gospels, the Temple Guards, guided by Jesus' disciple Judas Iscariot, arrested Jesus in the Garden of Gethsemane. Judas received money (30 pieces of silver) (Matthew 26:14-16) for betraying Jesus and told the guards that whomever he kisses is the one they are to arrest. Following his arrest, Jesus was brought to the house of Annas, the father-in-law of the high priest, Caiaphas. There he was interrogated with little result and sent bound to Caiaphas the high priest where the Sanhedrin had assembled (John 18:1-24).
Conflicting testimony against Jesus was brought forth by many witnesses, to which Jesus answered nothing. Finally the high priest adjured Jesus to respond under solemn oath, saying "I adjure you, by the Living God, to tell us, are you the Anointed One, the Son of God?" Jesus testified ambiguously, "You have said it, and in time you will see the Son of Man seated at the right hand of the Almighty, coming on the clouds of Heaven." The high priest condemned Jesus for blasphemy, and the Sanhedrin concurred with a sentence of death (Matthew 26:57-66). Peter, waiting in the courtyard, also denied Jesus three times to bystanders while the interrogations were proceeding just as Jesus had predicted.
A Good Friday procession in Mumbai by Indian Roman Catholics, depicting the Way of the Cross
In the morning, the whole assembly brought Jesus to the Roman governor Pontius Pilate under charges of subverting the nation, opposing taxes to Caesar, and making himself a king (Luke 23:1-2). Pilate authorized the Jewish leaders to judge Jesus according to their own law and execute sentencing; however, the Jewish leaders replied that they were not allowed by the Romans to carry out a sentence of death (John 18:31).
Pilate questioned Jesus and told the assembly that there was no basis for sentencing. Upon learning that Jesus was from Galilee, Pilate referred the case to the ruler of Galilee, King Herod, who was in Jerusalem for the Passover Feast. Herod questioned Jesus but received no answer; Herod sent Jesus back to Pilate. Pilate told the assembly that neither he nor Herod found guilt in Jesus; Pilate resolved to have Jesus whipped and released (Luke 23:3-16). Under the guidance of the chief priests, the crowd asked for Barabbas, who had been imprisoned for committing murder during an insurrection. Pilate asked what they would have him do with Jesus, and they demanded, "Crucify him" (Mark 15:6-14). Pilate's wife had seen Jesus in a dream earlier that day, and she forewarned Pilate to "have nothing to do with this righteous man" (Matthew 27:19). Pilate had Jesus flogged and then brought him out to the crowd to release him. The chief priests informed Pilate of a new charge, demanding Jesus be sentenced to death "because he claimed to be God's son." This possibility filled Pilate with fear, and he brought Jesus back inside the palace and demanded to know from where he came (John 19:1-9).
Antonio Ciseri's depiction of Ecce Homo with Jesus and Pontius Pilate, 19th century
Coming before the crowd one last time, Pilate declared Jesus innocent and washed his own hands in water to show he has no part in this condemnation. Nevertheless, Pilate handed Jesus over to be crucified in order to forestall a riot (Matthew 27:24-26) and ultimately to keep his job. The sentence written was "Jesus of Nazareth, King of the Jews." Jesus carried his cross to the site of execution (assisted by Simon of Cyrene), called the place of the Skull, or "Golgotha" in Hebrew and in Latin "Calvary". There he was crucified along with two criminals (John 19:17-22).
Jesus agonized on the cross for six hours. During his last 3 hours on the cross, from noon to 3 p.m., darkness fell over the whole land.[6] With a loud cry, Jesus gave up his spirit. There was an earthquake, tombs broke open, and the curtain in the Temple was torn from top to bottom. The centurion on guard at the site of crucifixion declared, "Truly this was God's Son!" (Matthew 27:45-54)
Joseph of Arimathea, a member of the Sanhedrin and secret follower of Jesus, who had not consented to his condemnation, goes to Pilate to request the body of Jesus (Luke 23:50-52). Another secret follower of Jesus and member of the Sanhedrin named Nicodemus brought about a hundred pound weight mixture of spices and helped wrap the body of Christ (John 19:39-40). Pilate asks confirmation from the centurion whether Jesus is dead (Mark 15:44). A soldier pierced the side of Jesus with a lance causing blood and water to flow out (John 19:34), and the centurion informs Pilate that Jesus is dead (Mark 15:45).
Joseph of Arimathea took Jesus' body, wrapped it in a clean linen shroud, and placed it in his own new tomb that had been carved in the rock (Matthew 27:59-60) in a garden near the site of crucifixion. Nicodemus (John 3:1) also brought 75 pounds of myrrh and aloes, and placed them in the linen with the body, in keeping with Jewish burial customs (John 19:39-40). They rolled a large rock over the entrance of the tomb (Matthew 27:60). Then they returned home and rested, because Shabbat had begun at sunset (Luke 23:54-56). On the third day, Sunday, which is now known as Easter Sunday (or Pascha), Jesus rose from the dead.
[edit]In the Roman Catholic Church
[edit]Day of Fasting
Crucifix prepared for veneration
The Catholic Church treats Good Friday as a fast day, which in the Latin Rite of the Church is understood as having only one full meal (but smaller than a regular meal) and two collations (a smaller repast, two of which together do not equal one full meal) and on which the faithful abstain from eating meat. In countries where Good Friday is not a day of rest from work, the afternoon liturgical service is usually put off until a few hours after the recommended time of 3 p.m.
[edit]Services on the day
The Latin Rite has no celebration of Mass between the Lord's Supper on Holy Thursday evening and the Easter Vigil unless a special exemption is granted for rare solemn or grave occasions by the Vatican or the local bishop. The only sacraments celebrated during this time are Baptism (for those in danger of death), Penance, and Anointing of the Sick.[7] While there is no celebration of the Eucharist, it is distributed to the faithful only in the Service of the Passion of the Lord, but can also be taken at any hour to the sick who are unable to attend this service.[8] During this period crosses, candlesticks, and altar cloths are removed from the altar which remains completely bare.[9] It is also customary to empty the holy water fonts in preparation of the blessing of the water at the Easter Vigil.[10] Traditionally, no bells are rung on Good Friday or Holy Saturday until the Easter Vigil.
The Celebration of the Passion of the Lord takes place in the afternoon, ideally at three o'clock, but for pastoral reasons a later hour may be chosen.[11] The vestments used are red (more commonly) or black (more traditionally).[12] Before 1970, vestments were black except for the Communion part of the rite when violet was used.[13] Before 1955 black was used throughout.[14] If a bishop or abbot celebrates, he wears a plain mitre (mitra simplex).[15]
[edit]Liturgy
Communion from the Blessed Sacrament on Good Friday (Our Lady of Lourdes, Philadelphia)
The liturgy consists of three parts: the Liturgy of the Word, the Veneration of the Cross, and Holy Communion.
The Liturgy of the Word, consists of the clergy and assisting ministers entering in complete silence, without any singing. They then silently make a full prostration, "[signifying] both the abasement of 'earthly man,'[16] and also the grief and sorrow of the Church."[17] Then follows the Collect prayer, and the reading or chanting of Isaiah 52:13-53:12, Hebrews 4:14-16, 5:7-9, and the Passion account from the Gospel of John, traditionally divided between three deacons,[18] yet often divided between the celebrant and more than one singer or reader. This part of the liturgy concludes with the orationes sollemnes, a series of prayers for the Church, the Pope, the clergy and laity of the Church, those preparing for baptism, the unity of Christians, the Jewish people, those who do not believe in Christ, those who do not believe in God, those in public office, those in special need.[19] After each prayer intention, the deacon calls the faithful to kneel for a short period of private prayer; the celebrant then sums up the prayer intention with a Collect-style prayer.
The Adoration of the Cross, has a crucifix, not necessarily the one that is normally on or near the altar at other times, solemnly displayed to the congregation and then venerated by them, individually if possible and usually by kissing the wood of the cross, while hymns and the Improperia ("Reproaches") with the Trisagion hymn are chanted.[20]
Holy Communion is done according to a rite based on that of the final part of Mass, beginning with the Our Father, but omitting the ceremony of "Breaking of the Bread" and its related chant, the "Agnus Dei". The Eucharist, consecrated at the Evening Mass of the Lord's Supper on Holy Thursday is distributed at this service.[21] Before the reform of Pope Pius XII, only the priest received Communion in the framework of what was called the "Mass of the Presanctified", which included the usual Offertory prayers, with the placing of wine in the chalice, but which omitted the Canon of the Mass.[14] The priest and people then depart in silence, and the altar cloth is removed, leaving the altar bare except for the cross and two or four candlesticks.[22]
[edit]Stations of the Cross
The Way of the Cross, celebrated at the Colosseum in Rome on Good Friday
Rome: canopy erected at the "Temple of Venus and Rome" during the "Way of the Cross" ceremony
In addition to the prescribed liturgical service, the Stations of the Cross are often prayed either in the church or outside, and a prayer service may be held from midday to 3.00 p.m., known as the Three Hours' Agony. In countries such as Malta, Italy, Philippines, Puerto Rico and Spain, processions with statues representing the Passion of Christ are held.
In Rome, since the papacy of Blessed John Paul II, the heights of the Temple of Venus and Roma and their position opposite the main entrance to the Colosseum have been used to good effect as a public address platform. This may be seen in the photograph below where a red canopy has been erected to shelter the Pope as well as an illuminated cross, on the occasion of the Way of the Cross ceremony. The Pope, either personally or through a representative, leads the faithful through meditations on the stations of the cross while a cross is carried from there to the Colosseum.
In Polish churches, a tableau of Christ's Tomb is unveiled in the sanctuary. Many of the faithful spend long hours into the night grieving at the Tomb, where it is customary to kiss the wounds on the Lord's body. A life-size figure of Christ lying in his tomb is widely visited by the faithful, especially on Holy Saturday. The tableaux may include flowers, candles, figures of angels standing watch, and the three crosses atop Mt Calvary, and much more. Each parish strives to come up with the most artistically and religiously evocative arrangement in which the Blessed Sacrament, draped in a filmy veil, is prominently displayed.
[edit]Acts of Reparation to Jesus Christ
El Greco's Jesus Carrying the Cross, 1580
The Roman Catholic tradition includes specific prayers and devotions as acts of reparation for the sufferings and insults that Jesus suffered during his Passion on Good Friday. These Acts of Reparation to Jesus Christ do not involve a petition for a living or deceased beneficiary, but aim to repair the sins against Jesus. Some such prayers are provided in the Raccolta Catholic prayer book (approved by a Decree of 1854, and published by the Holy See in 1898) which also includes prayers as Acts of Reparation to the Virgin Mary.[23][24][25][26]
In his encyclical Miserentissimus Redemptor on reparations, Pope Pius XI called Acts of Reparation to Jesus Christ a duty for Catholics and referred to them as "some sort of compensation to be rendered for the injury" with respect to the sufferings of Jesus.[27]
Pope John Paul II referred to Acts of Reparation as the "unceasing effort to stand beside the endless crosses on which the Son of God continues to be crucified".[28]
[edit]Malta
The Holy Week commemorations reach their peak on Good Friday as the Roman Catholic Church celebrates the passion of Jesus. Solemn celebrations take place in all churches together with processions in different villages around Malta and Gozo. During the celebration, the narrative of the passion is read in some localities. The Adoration of the Cross follows. Good Friday processions take place in Birgu, Bormla, Għaxaq, Luqa, Mosta, Naxxar, Paola, Qormi, Rabat, Senglea, Valletta, Żebbuġ (Città Rohan) and Żejtun. Processions in Gozo will be in Nadur, Victoria (St. George and Cathedral), Xagħra and Żebbuġ, Gozo.
[edit]The Philippines
In predominantly Roman Catholic Philippines, the day is commemorated with street processions, the Way of the Cross, the chanting of the Pasyon, and performances of the Senakulo, a Passion play. Church bells are not rung and Masses are not celebrated. Some devotees engage in self-flagellation and even have themselves crucified as expressions of penance despite health issues and strong disapproval from the Church.[29]
After three o'clock in the afternoon (the time at which Jesus is traditionally believed to have died), the faithful venerate the cross in the local church and follow the procession of the Burial of Jesus. The image of the dead Christ is then laid in state to be venerated, and sometimes treated in accordance with local burial customs.
In Cebu and other Visayan Islands, people usually eat binignit and biko as a form of fasting.
[edit]In Eastern Christianity
Icon of the Crucifixion, 16th century, by Theophanes the Cretan (Stavronikita Monastery, Mount Athos)
Byzantine Christians (Eastern Christians who follow the Rite of Constantinople: Orthodox Christians and Greek-Catholics) call this day "Great and Holy Friday", or simply "Great Friday".
Because the sacrifice of Jesus through his crucifixion is commemorated on this day, the Divine Liturgy (the sacrifice of bread and wine) is never celebrated on Great Friday, except when this day coincides with the Great Feast of the Annunciation, which falls on the fixed date of March 25 (for those churches which follow the traditional Julian Calendar, March 25 currently falls on April 7 of the modern Gregorian Calendar). Also on Great Friday, the clergy no longer wear the purple or red that is customary throughout Great Lent,[30] but instead don black vestments. There is no "stripping of the altar" on Holy and Great Thursday as in the West; instead, all of the church hangings are changed to black, and will remain so until the Divine Liturgy on Great Saturday.
The faithful revisit the events of the day through public reading of specific Psalms and the Gospels, and singing hymns about Christ's death. Rich visual imagery and symbolism as well as stirring hymnody are remarkable elements of these observances. In the Orthodox understanding, the events of Holy Week are not simply an annual commemoration of past events, but the faithful actually participate in the death and resurrection of Jesus.
Each hour of this day is the new suffering and the new effort of the expiatory suffering of the Savior. And the echo of this suffering is already heard in every word of our worship service - unique and incomparable both in the power of tenderness and feeling and in the depth of the boundless compassion for the suffering of the Savior. The Holy Church opens before the eyes of believers a full picture of the redeeming suffering of the Lord beginning with the bloody sweat in the Garden of Gethsemane up to the crucifixion on Golgotha. Taking us back through the past centuries in thought, the Holy Church brings us to the foot of the cross of Christ erected on Golgotha, and makes us present among the quivering spectators of all the torture of the Savior.[31]
Great and Holy Friday is observed as a strict fast, and adult Byzantine Christians are expected to abstain from all food and drink the entire day to the extent that their health permits. "On this Holy day neither a meal is offered nor do we eat on this day of the crucifixion. If someone is unable or has become very old [or is] unable to fast, he may be given bread and water after sunset. In this way we come to the holy commandment of the Holy Apostles not to eat on Great Friday."[31]
[edit]Matins of Holy and Great Friday
The Byzantine Christian observance of Holy and Great Friday, which is formally known as The Order of Holy and Saving Passion of our Lord Jesus Christ, begins on Thursday night with the Matins of the Twelve Passion Gospels. Scattered throughout this Matins service are twelve readings from all four of the Gospels which recount the events of the Passion from the Last Supper through the Crucifixion and burial of Jesus. Some churches have a candelabrum with twelve candles on it, and after each Gospel reading one of the candles is extinguished.
Good Friday cross from the Catholicon at Holy Trinity Monastery, Meteora, Greece
The first of these twelve readings John 13:31-18:1 is the longest Gospel reading of the liturgical year, and is a concatenation from all four Gospels. Just before the sixth Gospel reading, which recounts Jesus being nailed to the cross, a large cross is carried out of the sanctuary by the priest, accompanied by incense and candles, and is placed in the center of the nave (where the congregation gathers), with a two-dimensional painted icon of the body of Christ (Greek: soma) affixed to it. As the cross is being carried, the priest or a chanter chants a special antiphon, Sēmeron Kremātai Epí Xýlou:
Today He who hung the earth upon the waters is hung upon the Cross (three times).
He who is King of the angels is arrayed in a crown of thorns.
He who wraps the Heavens in clouds is wrapped in the purple of mockery.
He who in Jordan set Adam free receives blows upon His face.
The Bridegroom of the Church is transfixed with nails.
The Son of the Virgin is pierced with a spear.
We venerate Thy Passion, O Christ (three times).
Show us also Thy glorious Resurrection.[32][33]
During the service, all come forward to kiss the feet of Christ on the cross. After the Canon, a brief, moving hymn, The Wise Thief is chanted by singers who stand at the foot of the cross in the center of the nave. The service does not end with the First Hour, as usual, but with a special dismissal by the priest:
May Christ our true God, Who for the salvation of the world endured spitting, and scourging, and buffeting, and the Cross, and death, through the intercessions of His most pure Mother, of our holy and God-bearing fathers, and of all the saints, have mercy on us and save us, for He is good and the Lover of mankind.
[edit]Royal Hours
Main article: Royal Hours
The next day, in the forenoon on Friday, all gather again to pray the Royal Hours, a special expanded celebration of the Little Hours (including the First Hour, Third Hour, Sixth Hour, Ninth Hour and Typica) with the addition of scripture readings (Old Testament, Epistle and Gospel) and hymns about the Crucifixion at each of the Hours (some of the material from the previous night is repeated). This is somewhat more festive in character, and derives its name of "Royal" from both the fact that the Hours are served with more solemnity than normal, commemorating Christ the King who humbled himself for the salvation of mankind, and also from the fact that this service was in the past attended by the Emperor and his court.
[edit]Vespers of Holy and Great Friday
The crucified Christ, just before the Deposition from the Cross and the placing of the Epitaphios in the Sepulcher.
The epitaphios ("winding sheet"), depicting the preparation of the body of Jesus for burial
In the afternoon, around 3 pm, all gather for the Vespers of the Taking-Down from the Cross, commemorating the Deposition from the Cross. The Gospel reading is a concatenation taken from all four of the Gospels. During the service, the body of Christ (the soma) is removed from the cross, as the words in the Gospel reading mention Joseph of Arimathea, wrapped in a linen shroud, and taken to the altar in the sanctuary. Near the end of the service an epitaphios or "winding sheet" (a cloth embroidered with the image of Christ prepared for burial) is carried in procession to a low table in the nave which represents the Tomb of Christ; it is often decorated with an abundance of flowers. The epitaphios itself represents the body of Jesus wrapped in a burial shroud, and is a roughly full-size cloth icon of the body of Christ. Then the priest may deliver a homily and everyone comes forward to venerate the epitaphios. In the Slavic practice, at the end of Vespers, Compline is immediately served, featuring a special Canon of the Crucifixion of our Lord and the Lamentation of the Most Holy Theotokos by Symeon the Logothete.
[edit]Matins of Holy and Great Saturday
The Epitaphios being carried in procession
The Epitaphios mounted upon return of procession
On Friday night, the Matins of Holy and Great Saturday, a unique service known as The Lamentation at the Tomb (Epitáphios Thrēnos) is celebrated. This service is also sometimes called Jerusalem Matins. Much of the service takes place around the tomb of Christ in the center of the nave.
A unique feature of the service is the chanting of the Lamentations or Praises (Enkōmia), which consist of verses chanted by the clergy interspersed between the verses of Psalm 119 (which is, by far, the longest psalm in the Bible). The Enkōmia are the best-loved hymns of Byzantine hymnography, both their poetry and their music being uniquely suited to each other and to the spirit of the day. They consist of 185 tercet antiphons arranged in three parts (stáseis or "stops"), which are interjected with the verses of Psalm 119, and nine short doxastiká ("Gloriae") and Theotókia (invocations to the Virgin Mary). The three stáseis are each set to its own music, and are commonly known by their initial antiphons: "Life in a grave", "Worthy it is", and "All the generations". Musically they can be classified as strophic, with 75, 62, and 48 tercet stanzas each, respectively. The climax of the Enkōmia comes during the third stásis, with the antiphon "Ō glyký mou Éar", a lamentation of the Virgin for her dead Child ("O, my sweet spring, my sweetest child, where has your beauty gone?"). The author(s) and date of the Enkōmia are unknown. Their High Attic linguistic style suggests a dating around the 6th century, possibly before the time of St. Romanos the Melodist.
At the end of the Great Doxology, while the Trisagion is sung, the epitaphios is taken in procession around the outside the church, and is then returned to the tomb. Some churches observe the practice of holding the epitaphios at the door, above waist level, so the faithful most bow down under it as they come back into the church, symbolizing their entering into the death and resurrection of Christ. The epitaphios will lay in the tomb until the Paschal Service early Sunday morning. In some churches, the epitaphios is never left alone, but is accompanied 24 hours a day by a reader chanting from the Psalter.[citation needed]
The Troparion (hymn of the day) of Good Friday is:
The noble Joseph, when he had taken down Thy most pure Body from the tree, wrapped it in fine linen, and anointed it with spices, and placed it in a new tomb.
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto ages of ages. Amen.
The angel came to the myrrh-bearing women at the tomb and said:
Myrrh is fitting for the dead, but Christ has shown Himself a stranger to corruption.
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When I moved to Poland I gave myself 5 years to decide whether or not I wanted to stay here. It was a big move and I have lost things which I miss from time to time BUT my wife, daughter and I have also gained a lot more in many other ways.
Now I have decided that I have no wish to return to the troubled UK which has lost its way in every aspect of life - I needen't add more.
I still love my home country, but although nowhere is perfect, Poland has a far better identity; they are proud to fly THEIR flag, have respect for older people and harsher laws for criminals. This suits me fine, so now I consider Poland as my preferred home. I won't say I'll never leave, because of my Irish blood and itchy feet, but I can't think of anywhere else I'd rather be permanently at this time.
Whoever organised the raising of this flag either forgot which way it should hang, drank too much or couldn't be bothered to change the rings. 'To jest Polska!' (This is Poland!) I always say when things go wrong or irritate me. If I didn't like it or accept it the way it is, I wouldn't be here now, so I don't criticise my adopted country - well, hardly :-)
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(Courtesy of www.kuykendall.info/abraham.htm)
The most fascinating account is that of Abraham, whose life spans the colonial, revolutionary, and frontier eras of the United States. Even more intriguing are the mystery of a pot of buried gold and tales of Abraham's ghost still said to haunt a creek called Pheasant Branch near Flat Rock, North Carolina. Born in Deerpark and baptized on October 18, 1719, Abraham moved to the Minisink area with his parents, then south into Pennsylvania, then down into western North Carolina through the famous Cumberland Gap. He married his first wife, Elizabeth, about 1743 and fathered eleven children between 1755 and 1792.
Abraham's story begins with the Revolutionary War, during which he mostly served in civil rather than military roles. Listed as a member of the North Carolina Militia in 1770, he was also a member of the Safety Committee for Tryon County, North Carolina, from July 26, 1775. Historical records of Tryon County list Abraham as Captain Kuykendall on and after July 1776. Very little of the war was fought in North Carolina and records suggest Abraham served in procuring supplies in North Carolina and sending them to Washington's army farther north. Shortly after the war began, he was also appointed Commissioner of Tryon County, responsible for building a courthouse, prison, and stocks, and for establishing a boundary line between Tryon and Mecklenburg Counties. He also became Justice of the Peace of Tryon County in December of 1778, and continued in these roles when Rutherford County was formed during or after the Revolutionary War. These appointments show Abraham to be a man held in high regard by his fellow citizens.
He stayed in this area east of what is now Asheville until about 1800 when, for unknown reasons, he moved further west to sparsely populated Henderson County, closer to Asheville. By this time he was over eighty and having lost his first wife Elizabeth, he had quickly remarried a young, attractive woman named Bathseba. As a veteran of the Revolutionary War, he was given a grant of land of six hundred acres by the State of North Carolina in an area that was primarily virgin timber. In time, he came to own over one thousand acres, including all of the Flat Rock community. There he established a tavern to accommodate travelers along the Old State Road used by people driving herds of cattle, horses, and mules from Kentucky and Tennessee to the markets in lower South Carolina and Georgia. It was a busy road because it was one of the few that linked the mountain areas of western North Carolina and eastern Tennessee to towns further east.
Abraham built the tavern and holding pens for livestock; we are told the inn was unusually large and its accommodations better than the average pioneer inn offered in those days. Family tradition also makes much of his beautiful young wife Bathseba who bore him four sons and helped entertain travelers. He had a reputation for serving good food and drinks of strong, raw whiskey made at his own still. The tavern was established sometime between 1800 and 1804, and its reputation for good lodgings made Abraham a rich man. He insisted travelers pay in gold or silver coins and only accepted gold when selling parts of his huge tract of land. Soon the old soldier-pioneer innkeeper had accumulated quite a fortune and began to fear for its safety. There were no banks in this remote area or anywhere in the state of North Carolina, so valuables were kept in strong boxes, large trunks made of thick white oak, held together with strips of iron and locked with large padlocks. These precautions did not satisfy the aging Abraham, especially since his young wife had a habit of spending her husband's treasure on frivolous goods brought in by pack peddlers. Family tradition maintains that Bathseba liked to dress in bright colors and wear lots of rings, bracelets, necklaces, and earrings. The peddlers served as traveling department stores, bringing all kinds of goods to frontier women in isolated areas, and they must have realized what a good customer Abraham's young wife was, with all her husband's wealth at her disposal.
One dark night, old Abraham secretly transferred his gold and silver coins from his strong box to a large iron wash pot, an item common to pioneer households. He then awoke two of his slaves who were very strong and young. He blindfolded them and ordered them to carry the pot down the road and into the forest with only a pine knot torch lighting the way. He guided them through the dense forest where he removed their blindfolds and told them to dig a hole under a bent white oak tree near a clear sparkling branch. When it was deep enough to satisfy him, Abraham had the two slaves bury the pot, covering the spot with leaves and brush to hide it. Again he blindfolded the young men and led them back to the inn. On pain of death he warned them never to tell a soul a single word of what they had done for him that night.
Some time after, when Abraham was 104 years old, he set out alone to get some of his treasure for a business deal. Taking a shovel, he left the inn, never again to be seen alive. When he failed to return, a search begun and he was found dead, lying face down in a mountain stream that flowed through the forest. Those who found him concluded that he had stumbled or tripped while trying to cross the branch, probably hitting his head. Either badly dazed or unconscious, he had rolled into the stream and drowned. Only then did it become common knowledge that Abraham had buried his wealth in a large iron pot. The two frightened slaves told the family what they could of that strange night, but all they could tell was that the money was beneath a large white oak near a mountain stream. Thus began frantic searches along the banks of Pheasant Branch where Abraham was found, and some still search today.
Soon after the old man's death, stories began to be told at campfires and hearths around Flat Rock. People traveling at night during the full moon told of seeing the figure of a bent old man frantically digging first in one place and then another. Those brave enough to go after the phantom recalled how it disappeared before their very eyes. Stories persisted and grew. One terrified traveler on horseback told of crossing Pheasant Branch just as he heard the rattling of a wagon just ahead and then saw a solitary figure of an old man in a one horse wagon, beside which sat a large black wash pot. As the traveler drew along side, the wagon, horse, man and wash pot suddenly vanished.
Soon only the most foolhardy traveled after dark near the vicinity of Pheasant Branch, and family traditions kept the story of the gold and the ghost alive. Many have searched in vain for the treasure, including descendants of the two slaves Abraham blindfolded and led through the woods to bury the pot, but none of it has ever been found.
I am very proud to be descended to this man. He fought for our freedom from England in the Revolutionary War and became a surveyor, a father of eleven children, a taven owner, a large land owner and so much more. He is the reason I started doing my family history in the 8th grade.
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RE-ADD PLEASE
I'M SO THANKFULL
So, unfortunately Flickr doesn't allow you to change the URL of your photostream. I wanted a new URL, so I've signed up for a new Flickr account, where I'll be posting my photos from here on out. Here's the new URL: www.flickr.com/photos/elisabethrobson/
See you there!
Beth -> E li s a beth
new account: www.flickr.com/photos/71817921@N03/
I had to make a new account, only because I filled up the hole 200 photos! so pleas feel free to check out me new page!
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