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I was hard at work on a project all through the weekend until today. Now I'm freeeeee....! Perhaps I didn't need quite so much depth of field here, but I was experimenting.
This was my favorite chain that I wore everyday for years. It got tarnished and a little worn out before finally breaking. After a while, I decided to replace it with a new one.
No 20 of Sharon Boggon's stitches was the Butterfly chain stitch and this week we were offered a beaded variety.
TAST is found at
pintangle.com/category/challenges/take-a-stitch-tuesday/
I hope you visit the site.
It is easy to learn new stitches there, sometimes challenging but that's part of the fun of learning.
Waiting for a taxi while at a client's.
The building is pretty devoid of colour. Just concrete walls everywhere. However, I do like these chains. They help drain the excess water from the roof.
Udaipur is a major city, municipal corporation and the administrative headquarters of the Udaipur district in the Indian state of Rajasthan. It is the historic capital of the kingdom of Mewar in the former Rajputana Agency. Maharana Udai Singh of the Sisodia clan of Rajput founded the city 1553, and shifted his capital from the city of Chittorgarh to Udaipur. It remained as the capital city till 1818 when it became a British princely state, and thereafter the Mewar province became a part of Rajasthan when India gained independence in 1947.
Udaipur is a very popular tourist destination. Known for its history, culture, scenic locations and the Rajput-era palaces, Udaipur was also voted as the best city in the world in 2009 by the Travel + Leisure magazine.
HISTORY
Udaipur was founded in 1553, by Maharana Udai Singh II in the fertile circular Girwa Valley to the southwest of Nagda, on the Banas River. The city was established as the new capital of the Mewar kingdom. This area already had a thriving trading town, Ayad, which had served as capital of Mewar in the 10th through 12th centuries. The Girwa region was thus already well-known to Chittaud rulers who moved to it whenever the vulnerable tableland Chittaurgarh was threatened with enemy attacks. Maharana Udai Singh II, in the wake of 16th century emergence of artillery warfare, decided during his exile at Kumbhalgarh to move his capital to a more secure location. Ayad was flood-prone, hence he chose the ridge east of Pichola Lake to start his new capital city, where he came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and guided him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In November 1567, the Mughal emperor Akbar laid siege to the venerated fort of Chittor. To protect Udaipur from External attacks, Maharana Udai Singh built a six kilometer long city wall, with seven gates, namely Surajpole, Chandpole, Udiapole, Hathipole, Ambapole, Brahmpole and so on. The area within these walls and gates is still known as the old city or the walled city.
As the Mughal empire weakened, the Sisodia rulers, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence despite much pressure. At present, Arvind Singh Mewar is the 76th custodian of the Mewar dynasty.
GEOGRAPHY
TOPOGRAPHY
Udaipur is located at 24.525049°N 73.677116°E. The city covers an area of 37 km2 and lies at an altitude of 598.00 m above sea level. It is located in the southern region of Rajasthan, near the Gujarat border. The city lies 403 kilometres southwest of the state capital, Jaipur and 250 km northeast from Ahmedabad.
Udaipur with its lakes lies on the south slope of the Aravalli Range in Rajasthan. The Northern part of the district consists generally of elevated plateaus, while the eastern part has vast stretches of fertile plains. The southern part is covered with rocks, Hills and dense Forest. There are two important passages in the Aravali ranges viz. Desuri Nal and Saoke which serves as a link between Udaipur and Jodhpur
DISTRICT CITYSCAPE
The lakes of the city being interconnected form a lake system which supports and sustains the ground water recharge, water availability for drinking, agriculture, industries and is a source of employment through tourism. The lake system has three main lakes in its upper catchment area, six lakes within its municipal boundary and one lake in the downstream. The Udaipur lake system, arising out of the river Berach (Banas Basin) and its tributaries, is an integral component of the upper Berach basin. The upper Berach basin is a part of the Gangetic river system, wherein the river Berach meets river Ganga through the rivers Banas, Chambal & Yamuna.
The Udaipur Lake System can be divided into the following categories:
- Upper lakes: Lake Badi, Chhota Madar & Bada Madar.
- City Lakes: Lake Pichola, Fateh Sagar Lake, Swaroop Sagar, Rang Sagar, Kumharia Talab, Goverdhan Sagar.
- Downstream Lake: Lake Udai Sagar.
- River: River Ahar.
Watershed or the catchment areas include :
- Bada Madar: 8780.48 ha
- Chhota Madar: 2987.23 ha
- Badi Lake: 1906.55 ha
The city lacks an organised sewerage system and treatment facility for the solid wastes and sewage generated. With an absence of waste segregation, processing and scientific disposal facilities, the city's lakes have been facing increased levels of pollution, thereby threatening an ecological degradation. Five of the major lakes have been included under the restoration project of the National Lake Conservation Plan (NLCP) of the Government of India in order to preserve the cleanliness of the water bodies in the city.
These are :
- Fateh Sagar Lake
- Pichola Lake
- Swaroopsagar
- Rangsagar
- Doodh Talai Lake
In a judgement passed by the Rajasthan High Court, all bathing activities at the lake shores and immersion of religious idols in the lake waters was banned in the city.
The city recently scored poorly in the Swachh Bharat list of the cleanest cities in India, getting placed at 417th position out of a total 476 cities.
CLIMATE
Udaipur city has particularly a tropical climate. The three main seasons, summer, monsoon and winter respectively, dominate the city of Udaipur. Being located in the desert lands of Rajasthan, the climate and weather of Udaipur is usually hot. The summer season runs from mid-March to June and touches temperature ranging from 23 °C to 44 °C in the months of March to June. Monsoons arrive in the month of July heralded by dust and thunderstorms. With lush greenery and enchanting lakes, the sporadic rainfalls enhance the beauty of the city, making it one of the top monsoon destinations of the country. The winter season prevails from the month of October till the month of March. Humidity, which prevails during monsoons, diminishes at the arrival of winters. The city observes pleasant sunny days and enjoyable cool nights with the temperature ranging from 5 °C to 30 °C.
Udaipur's winter climate is the most appealing time to visit. Tourists arrive in large numbers, anytime between mid-September to late March or early April. Even in January, the coldest month, the days are bright, sunny and warm with maximum temperature around 28.3 °C. Mornings, evenings and nights are cold
DEMOGRAPHICS
According to the 2011 census, the total urban population of Udaipur district was 608,426. and the population density was 262/km2. As per the data, the male population of the city was 315,485 and the female population was 292,941 in 2011. The total population for the age group of 0–6 years old was 67,068. The sex-ratio of the urban area was 929 while that for the rural area was 966, the average being 958. The child sex-ratio (0–6 years of age) was 865.
Udaipur has an average effective literacy rate of 90.43 percent, as compared to the national average of 74.04 percent: male literacy rate being 95.41 percent while the female literacy rate being 85.08 percent.
Hindi, Mewari and English are the major languages spoken in Udaipur. Marwari, Wagdi and Gujarati are some others which are in use in the city.
Hinduism is the major religion followed in the city. With a large Jain community, Jainism is amongst the other main religions practised. Jains makes about 10% of the population, as compared to the national average of 0.37%.
ECONOMY
Udaipur has a diversified economic base. The major contributions to the city's economy come from tourism, agriculture and mineral industries. The handicraft and cottage industry sectors play an important part in contributing to the growing economy. The city has also been included under the Smart Cities mission initiated by the Government of India, and is selected in the list of first 20 cities to be developed as smart cities.
HANDICRAFTS
Udaipur is well known for handicrafts such as paintings, marble articles, silver arts and terracotta. The Shilpgram is a platform where regional handicraft and hand-loom products is developed. Craft bazaars are organized by the Shilpgram, with an aim to encourage the regional arts and crafts, the handicraft and hand-loom works.
TOURISM
Udaipur, with its picturesque landscape, lakes, and historic palaces and architecture, is a major destination for most tourists, both domestic and foreign nationals visiting the state. With numerous hotels to serve visiting tourists, Udaipur is home to some of the world's most renowned and the country's best luxury hotels and resorts. The Oberoi Udaivilas has been ranked as the world's number 1 hotel in 2015. The Taj Lake Palace and the Leela palace Udaipur are also amongst the most expensive hotels in the country. With various other renowned hotel chains present in the city, the tourism sector has been a fairly large contributor to the economic growth and fame of Udaipur.
METALS AND MINERALS INDUSTRIES
Udaipur district is particularly rich in mineral resources as a large variety of important minerals are found here. Copper, lead, zinc and silver, industrial minerals like phosphate, asbestos, calcite, lime-stone, Talc (soap stone), barites, wollastonite and marble are the major driving resources behind the industries based in the city. Marble is exclusively mined, processed and exported from here around the world. The marble industry is well set and established with proper infrastructure and technological support for mining and processing. It is the largest sector giving employment to many people of the city and the immigrants from nearby areas. Udaipur is also home to the world's second largest Zinc producer, Hindustan Zinc.
AGRICULTURE
Agriculture like most other parts of the country, remains a leading sector in the city's economy. The Major crops of the area are Maize and Jowar in Kharif season and Wheat and Mustard in the Rabi season.[38] Pulses, Groundnut and vegetables like brinjals are some of the major food products grown in the city. The Maharana Pratap University of Agriculture and Technology, along with its affiliated institutions, has been working towards identifying, designing, preparing and adapting new techniques in the field of production technology for agricultural development since its establishment.
RETAIL
Udaipur has both traditional as well as modern retail shopping destinations. The traditional markets include Bapu Bazaar, Chetak Circle, Suraj Pole, Nehru Bazaar, Bada Bazaar and Chand Pole, while the areas including Durga Nursery Road, Shakti Nagar and Sudkhadia Circle provide opportunities to new entrants. Udaipur is also progressing towards a mall culture, and has witnessed many retail malls including Celebration Mall, Lakecity Mall, Arvana Shopping Mall, Chetak Shopping Mall, City Centre Mall, Mangalam Square Mall and R.Kay Mall.
TOURISM
CITY PALACE - 1559
Standing on the east bank of Lake Pichola is a massive series of palaces built at different times from 1559. Its main entrance is through the triple-arched gate - the Tripolia, built in 1725. This gate leads to a series of courtyards, overlapping parations, terraces, corridors and gardens. The palace now houses a museum with many antique articles, paintings, decorative furniture and utensils from the royal era.
LAKE PALACE - 1743-1746
Situated over an island in Lake Pichola, the Lake Palace was constructed to serve as a royal summer palace. Built of white marble, the palace is now a luxury 5 Star hotel, operating under the "Taj Hotels Resorts and Palaces" banner.
JAG MANDIR - 1551-1652
Jag Mandir is a palace built on an island in the Lake Pichola. Also known as the "Lake Garden Palace", it was constructed by three Maharanas of the Mewar kingdom. The construction started in 1551, and was completed by 1652. The royal family used the palace as a summer resort and pleasure palace.
MONSOON PALACE
Monsoon Palace, also known as Sajjan Garh Palace, was built as an astronomical centre to keep track of the movement of monsoon clouds in the area and also served as the summer resort of the Maharanas. Built with white marble, it is located on Bansdara peak of the Aravalli hill range at an elevation of 944 m above mean sea level. The palace offers a panoramic view of the city's lakes, palaces and surrounding countryside.
JAGDISH TEMPLE - 1651
The Jagdish Temple is a large Hindu temple in the middle of Udaipur, built by Maharana Jagat Singh I. A key tourist place in the city, this temple is an example of Māru-Gurjara Architecture.
FATEH SAGAR LAKE - 1678
Lake Fatehsagar is an artificial lake situated in the north-west part of Udaipur. The lake was originally built by Maharana Jai Singh and later reconstructed and extended by Maharana Fateh Singh. It is one of the most popular destinations in the city for tourists and the city residents.
SUKHADIA CIRCLE
Sukhadia Circle (square) is large roundabout in the city's northern suburb and is a popular recreational centre. The square has in its centre, a small pond admist which lies a 21 ft high three-tiered fountain. The fountain, made of marble is surmounted by a wheat-ear motif, a symbol of prosperity.
SAHELIYON-KI-BARI - 1710-1734
Sahelion ki Bari is a major garden and a popular tourist space in the northern part of the city. The garden with its fountains and kiosks, a lotus pool and marble elephants, was laid for a group of forty-eight young women attendants who accompanied a princess to Udaipur as part of her dowry.
LAKE PICHOLA - 1362
Lake Pichola is an artificial fresh water lake and is one of the several contiguous lakes in the city of Udaipur. The lake’s surroundings and the several islands within the lake have been developed over the centuries, with palaces, marble temples, family mansions, bathing ghats and chabutaras (a raised platform, normally within a courtyard).
MOTI MAGRI
Moti Magri or Pearl Hill, is a memorial of the Rajput hero Maharana Pratap. It is basically a small hilloc, atop of which there is a bronze statue of the Maharana astride his favourite horse "Chetak". It was initiated by Maharana Bhagwat Singh Mewar, and carried over and completed with the help of a public trust.
NEEMACH MATA TEMPLE
Neemach mata is located on a hill near fateh sagar lake. The temple is 900 meters above on the top of the hill. One can see a beautiful view of Udaipur from the temple.
CULTURE
Udaipur has received a rich cultural heritage from the bygone ages. The lakes, temples, huge forts and palaces boast about the rich legacy of this city. The city has kept a balance between preserving the rituals and traditions of the past while keeping up with the modern advancements and changes in lifestyle. Like any other place in the state of Rajasthan, folk dance and music have an important place in adding to the city's cultural richness. The dynamic and vibrant dances of Bhavai, Ghoomar, Kachchhi Ghodi, Kalbeliya and Terahtaali add a sparkle to the rich cultural heritage of Udaipur.
- Ghoomar dance is a part of the tribal culture of the Mewar Region of Rajasthan. This is a community dance for women and performed on auspicious occasions where the ladies move gracefully in circles.
- Kalbelia, one of the most sensuous dance forms of Rajasthan, is performed by the Kalbeliya snake charmers’ community with the sapera dancers wearing long, black skirts embroidered with silver ribbons.
- Bhavai dance consists of veiled women dancers balancing up to seven or nine brass pitchers as they dance nimbly, pirouetting and then swaying with the soles of their feet perched on the top of a glass or on the edge of the sword
- Kachchhi Ghodi dance dance is performed on dummy horses where men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes.
Following a lineage of age old traditions and adhering to religious significance, the various dances complement the fairs and festivals held in the city. The city's music consists mainly of the use of Morchang, Naad, Tanpura, and Sarangi, among many other instruments, that used to echo in the courts of the erstwhile rulers of the state.
Miniature paintings are amongst the most famous paintings developed under the patronage of the rulers of Rajasthan. The simplest among these are done on walls, and though folk in style, they nevertheless have some of the flavour of frescoes one sees in the old palaces. The tradition on painting the wall of houses with scenes from mythological and chivalric tales has been prevalent in Rajasthan for the past many centuries. The people of the city make use of such wall paintings for decorations during wedding celebrations. Noted amongst the miniature style of paintings are particularly the Pichvais, which are those made on cloth, and Phad, made on cloth scroll in folk style.
The Bharatiya Lok Kala Mandal is a cultural institution based in the city. The institute with its museum is a platform which displays a collection of Rajasthani culture. Offering an insight into the lifestyle of the royal era in Udaipur, the museum has a fine collection of dresses, tribal jewellery, turbans, dolls, masks, musical instruments, paintings and puppets. With various cultural events including folk song and dance performances, theatre and puppetry, the institute highlights the different social stigmas, thereby proving to be a powerful education tool for the masses.
FESTIVALS
GANGAUR FESTIVAL
Gangaur is one of the most important local festivals in Rajasthan. In some form or the other it is celebrated all over Rajasthan. “gan” is a synonym for Lord Shiva and “gauri” or “gaur” stands for Goddess Parvati, the heavenly consort of Lord Shiva. Gangaur celebrates the union of the two and is a symbol of conjugal and marital happiness.
It is celebrated in the month of Chaitra (March–April), the first month of the Hindu calendar. This month marks the end of winter and the onset of spring. This festival is celebrated especially by women, who worship clay idols of “Gan” & “Gauri” in their houses. These idols are worshiped by the virgins who seek the blessings of Gan and Gauri for a good spouse, while the married women pray for the good health and long life of their husbands. On the eve of Gangaur festival, women decorate their palms and fingers with henna. The idols of Gan and Gauri are immersed in a pond or in a nearby lake on the last day of the festival.
A traditional procession of Gangaur commences form the City Palace which passes through various areas of the city. The procession is headed by an old palanquins, chariots, bullock carts and performance folk artistes.
SHILPGRAM UTSAV
Shilpgram, a crafts village 3 km west of Lake Fateh Sagar, has displays of traditional houses from Rajasthan, Gujarat, Goa and Maharashtra. There are also demonstrations by musicians, dancers, or artisans from these states. The 10 day festival organised here is a treat for the visitor to an array of exquisite art and craft. One of the important objectives of Shilpgram festival is in the sphere of increasing awareness and knowledge of rural life and crafts, specifically, for the younger generation. Special emphasis is laid on workshops for children on arts, crafts, theatre and music.
HARIYALI AMAVASYA
Hariyali Amavasya (new moon day of the Sawan / Shravan month) marks the beginning of the monsoons and greenery. It arrvies three days before the famous Hartalika Teej(Shravan shukla tritiya). People worship God Shiva for abundant rains and good agricultural season. Melas and fests are arranged in several places in the city.
JAGANNATH RATH YATRA
In udaipur, the third biggest Ratha-Yatra[49] is organised on the auspicious day of Ashadh Shukla Paksha (bright fortnight) Dwitiya according to Indian Vikram Samvat. On this cultural day of summer solstice theme, June 21 of every year, the journey of the lord jagannath to their aunts house is started. The presiding deities of the temple lord Jagannath (Krishna), Balabhadra (Balarama) and their sister Subhadra are taken through the streets in heavily decorated wooden chariots, which are made every year for the purpose. The Chariot of Lord Jagannath, called Nandighosha, has 16 wheels and is draped in red and yellow.
The sanctity of the festival is such that even a touch of the chariot or even the ropes with which these are pulled is considered enough to confer the results of several pious deeds or penance for ages.
JAL-JHULNI EKADASHI
According to the Hindu calendar, Gyaras, or Ekadashi is basically, the 11th day of each waxing (Shukla paksha ) and waning moon (Krishna paksha). This ekadashi, known as Jal-Jhulni Gyaras, or Jal-Jhulni Ekadashi, like all other festivals, is celebrated with great enthusiasm in Udaipur. Different processions start from the various parts of the city and end at one point i.e. Gangaur Ghat where people swing the idols of Lord Krishna in child form (Baal Gopal) in the Lake Pichola. These procession are called Ram Revdies.
Udaipur in popular culture
Udaipur was voted the Best City in the World in 2009 by the Travel + Leisure magazine, and is now amongst the favourite wedding destinations for Indian as well as foreign nationals. The city is a blend of sights, sounds and experiences, which have made it one of the top destinations for weddings and celebrations.
MOVIES AND TELEVISION
Udaipur is mentioned under the spelling Oodeypore in Rudyard Kipling's The Jungle Book as the birthplace of Bagheera, the fictional panther in the king's Menagerie.
Because of its picturesque and scenic locations, Udaipur has been the shooting location for many Hollywood and Bollywood movies. Indian sections of the James Bond film Octopussy were filmed in the city, the Lake Palace, and the Monsoon Palace. The nearby desert was the backdrop of the remarkable rescue of Octopussy (Maud Adams) by Bond (Roger Moore). Some scenes from the British television series The Jewel in the Crown were also filmed in Udaipur. The Disney channel film, The Cheetah Girls One World, was shot in Udaipur in January 2008. Some of the other non-Indian movies and TV shows filmed in Udaipur include: Darjeeling Limited, Opening Night, Heat and Dust, Indische Ring, Inside Octopussy, James Bond in India, The Best Exotic Marigold Hotel, Gandhi, and The Fall. Jag Mandir, a documentary film directed for television by Werner Herzog in 1991, was also filmed in the city.
Udaipur has been a popular location for Bollywood movies. Some of them shot here include : Guide, Mera Saaya, Phool Bane Angaray, Kachche Dhaage, Mera Gaon Mera Desh, Jalmahal, Yaadein, Return of the thief of the bagdad, Eklavya: The Royal Guard, Dhamaal, Jis Desh Mei Ganga Rehta Hai, Chalo Ishq Ladaaye, Fiza, Gaddaar, Hum Hain Rahi Pyar Ke, Khuda Gawah, Kundan, Nandini, Saajan Ka Ghar,Yeh Jawaani Hai Deewani, Ramleela, Prem Ratan Dhan Payo. Udaipur is also the setting of various Television series like Yeh Rishta Kya Kehlata Hai, Rakhi Ka Swayamwar and Bharat Ka Veer Putra – Maharana Pratap.
EDUCATION
Udaipur has a well-established education infrastructure. There are a number of universities, colleges and schools meeting the requirements of not only the city but the region and country as well. The main universities in Udaipur include IIM Udaipur, Mohan Lal Sukhadia University, Sir Padampat Singhania University and Maharana Pratap University of Agriculture and Technology. Other educational institutes include College of Technology And Engineering, College of Dairy & Food Science Technology, R.N.T. Medical College, Pacific Medical College and Hospital, Pacific Institute of Medical Sciences, Bhupal Nobles' College, J.R.N. Rajasthan Vidyapeeth (Deemed), S S College Of Engineering, Techno India NJR Institute of Technology, Geetanjali Medical College and Hospital, Pacific Commerce college, Pacific ENG College, Pacific Dental College & Hospital, Geetanjali Institute of technical studies, Institute of Hotel Management Catering and Tourism.
Udaipur is now the first district in Rajasthan to have implemented a smart class system in all the government schools, enabling them with information and communication technologies (ICT) infrastructure. This model of ICT in education is getting replicated in all government schools of ICT infrastructure of Rajasthan State. This ICT based initiation was started on 4 December 2013 by Dept of Education, Udaipur in joint initiative with Moinee Foundation, Jaipur and is popularly known as Project Utkarsh
According to the census-2011 data on educational status, Udaipur has the highest percentage of graduates in the entire state. It has 26 graduates for every 100 persons.
Nowadays many students get the educational facilities here itself so they need not to go to Kota or some other place for IIT-JEE preparation. Many students of the place have cleared the prestigious exam. In fact the All India Rank-1 in IIT-JEE 2014 belonged to Udaipur city.
WIKIPEDIA
The young apprentice has unleashed the chainspell to fight her enemys.
More information and pics up: THE BRICK TIME
Don't forget to visit our BrickLink-Shop: THE BRICK TIME - BL Store
Every chain has got a weak link
I might be weak child, but I'll give you strength
You told me to leave you alone
My father said come on home
My doctor said take it easy
Whole bunch of lovin is much too strong
I'm added to your chain, chain, chain
Chain, chain, chain, chain,
Chain, chain of fools
One of these mornings the chain is gonna break
But up until then, yeah, I'm gonna take all I can take
Chain, chain, chain, chain, chain, chain
Chain, chain, chain, chain of fools
from Chain of Fools
Aretha Franklin
Active Assignment Weekly December 1 - 8: Unexpected Beauty
WIT: I love rust and chains, which I think look cool in photographs. This was a lock and chain on a shed by my house. Sharpened and desaturated and cropped to 8 by 10.
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.
ETYMOLOGY
Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.
She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.
Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.
GODDESS OF POWER
Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.
Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute
It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).
RISE TO PROMINENCE
Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.
Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
BIRTH AND MARRIAGE
The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.
Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
MAIN FORMS OF PARVATI
As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.
- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.
- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.
- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.
- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.
- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.
- Nava Durga nine forms of goddess Parvati.
SEVERAL INCARNATIONS OF THE GODDESS
- Goddess Meenakshi
- Goddess Kamakshi
- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.
- Goddess Akhilandeshwari.
- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.
- and many others . . .
ASSOCIATION WITH SHIVA
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.
Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.
Three images are central to the mythology, iconography and philosophy of Parvati:
- The theme of Shiva-Shakti
- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)
- The image of the linga and the yoni
These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.
As the scholar David Kinsley explains:
- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.
Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat
May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom
Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute
I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.
RELATIONSHIP TO VISHNU
During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.
The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.
MOTHER OF GANESHA
Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.
Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.
Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".
ICONOGRAPHY
Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.
The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.
Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.
Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.
ASSOCIATION WITH OTHER GODDESSES
In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.
In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.
Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.
The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.
So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.
WORSHIP AND FESTIVALS
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.
In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.
Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.
FAMOUS TEMPLES
Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.
WIKIPEDIA
Credit cards = slavery.
Please view the original images: Chain by Matti Mattila and Too Much Credit by Andres Rueda.
On my first day of photography camp! I'll post one pic everyday (i hope) from what i took at camp. I thought this pic was interesting... should i delete?
for ODC group challenge
2-18-11 'CHAINED'
I like the decorative wood bowel with carved cover... my wife likes the chain.