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Preah Khan (Khmer: ប្រាសាទព្រះខ័ន; "Royal Sword") is a temple at Angkor, Cambodia, built in the 12th century for King Jayavarman VII. It is located northeast of Angkor Thom and just west of the Jayatataka baray, with which it was associated. It was the centre of a substantial organisation, with almost 100,000 officials and servants. The temple is flat in design, with a basic plan of successive rectangular galleries around a Buddhist sanctuary complicated by Hindu satellite temples and numerous later additions. Like the nearby Ta Prohm, Preah Khan has been left largely unrestored, with numerous trees and other vegetation growing among the ruins.
HISTORY
Preah Khan was built on the site of Jayavarman VII's victory over the invading Chams in 1191. Unusually the modern name, meaning "holy sword", is derived from the meaning of the original - Nagara Jayasri (holy city of victory). The site may previously have been occupied by the royal palaces of Yasovarman II and Tribhuvanadityavarman. The temple's foundation stela has provided considerable information about the history and administration of the site: the main image, of the bodhisattva Avalokiteśvara in the form of the king's father, was dedicated in 1191 (the king's mother had earlier been commemorated in the same way at Ta Prohm). 430 other deities also had shrines on the site, each of which received an allotment of food, clothing, perfume and even mosquito nets; the temple's wealth included gold, silver, gems, 112,300 pearls and a cow with gilded horns. The institution combined the roles of city, temple and Buddhist university: there were 97,840 attendants and servants, including 1000 dancers and 1000 teachers.
The temple is still largely unrestored: the initial clearing was from 1927 to 1932, and partial anastylosis was carried out in 1939. Since then free-standing statues have been removed for safe-keeping, and there has been further consolidation and restoration work. Throughout, the conservators have attempted to balance restoration and maintenance of the wild condition in which the temple was discovered: one of them, Maurice Glaize, wrote that;
The temple was previously overrun with a particularly voracious vegetation and quite ruined, presenting only chaos. Clearing works were undertaken with a constant respect for the large trees which give the composition a pleasing presentation without constituting any immediate danger. At the same time, some partial anastylosis has revived various buildings found in a sufficient state of preservation and presenting some special interest in their architecture or decoration.
Since 1991, the site has been maintained by the World Monuments Fund. It has continued the cautious approach to restoration, believing that to go further would involve too much guesswork, and prefers to respect the ruined nature of the temple. One of its former employees has said, "We're basically running a glorified maintenance program. We're not prepared to falsify history". It has therefore limited itself primarily to stabilisation work on the fourth eastern gopura, the House of Fire and the Hall of Dancers.
THE SITE
The outer wall of Preah Khan is of laterite, and bears 72 garudas holding nagas, at 50 m intervals. Surrounded by a moat, it measures 800 by 700 m and encloses an area of 56 hectares. To the east of Preah Khan is a landing stage on the edge of the Jayatataka baray, now dry, which measured 3.5 by 0.9 km. This also allowed access to the temple of Neak Pean in the centre of the baray. As usual Preah Khan is oriented toward the east, so this was the main entrance, but there are others at each of the cardinal points. Each entrance has a causeway over the moat with nāga-carrying devas and asuras similar to those at Angkor Thom; Glaize considered this an indication that the city element of Preah Khan was more significant than those of Ta Prohm or Banteay Kdei.
Halfway along the path leading to the third enclosure, on the north side, is a House of Fire (or Dharmasala) similar to Ta Prohm's. The remainder of the fourth enclosure, now forested, was originally occupied by the city; as this was built of perishable materials it has not survived. The third enclosure wall is 200 by 175 metres. In front of the third gopura is a cruciform terrace. The gopura itself is on a large scale, with three towers in the centre and two flanking pavilions. Between the southern two towers were two celebrated silk-cotton trees, of which Glaize wrote, "resting on the vault itself of the gallery, [they] frame its openings and brace the stones in substitute for pillars in a caprice of nature that is as fantastic as it is perilous." One of the trees is now dead, although the roots have been left in place. The trees may need to be removed to prevent their damaging the structure. On the far side of the temple, the third western gopura has pediments of a chess game and the Battle of Lanka, and two guardian dvarapalas to the west.
West of the third eastern gopura, on the main axis is a Hall of Dancers. The walls are decorated with apsaras; Buddha images in niches above them were destroyed in the anti-Buddhist reaction under Jayavarman VIII. North of the Hall of Dancers is a two-storeyed structure with round columns. No other examples of this form survive at Angkor, although there are traces of similar buildings at Ta Prohm and Banteay Kdei. Freeman and Jacques speculate that this may have been a granary. Occupying the rest of the third enclosure are ponds (now dry) in each corner, and satellite temples to the north, south and west. While the main temple was Buddhist, these three are dedicated to Shiva, previous kings and queens, and Vishnu respectively. They are notable chiefly for their pediments: on the northern temple, Vishnu reclining to the west and the Hindu trinity of Vishnu, Shiva and Brahma to the east; on the western temple, Krishna raising Mount Govardhana to the west.
Connecting the Hall of Dancers and the wall of the second enclosure is a courtyard containing two libraries. The second eastern gopura projects into this courtyard; it is one of the few Angkorian gopuras with significant internal decoration, with garudas on the corners of the cornices. Buddha images on the columns were changed into hermits under Jayavarman VIII.
Between the second enclosure wall (85 by 76 m) and the first enclosure wall (62 by 55 m) on the eastern side is a row of later additions which impede access and hide some of the original decoration. The first enclosure is, as Glaize said, similarly, "choked with more or less ruined buildings". The enclosure is divided into four parts by a cruciform gallery, each part almost filled by these later irregular additions. The walls of this gallery, and the interior of the central sanctuary, are covered with holes for the fixing of bronze plates which would originally have covered them and the outside of the sanctuary - 1500 tonnes was used to decorate the whole temple. At the centre of the temple, in place of the original statue of Lokesvara, is a stupa built several centuries after the temple's initial construction.
MICROBIAL DEGRADATION
Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan.
This is another composition exercise. Here the goal is to incorporate powerful diagonal lines with a triangle image. I'm trying to be playful here with a triangle formed by the two other standard shapes, a circle and a rectangle. The chopsticks form their own triangle, so there's really a double triangle in the image. Finally, the horizontal stripes are supposed to form underlying rectangles conveying the solidity of the triangles.
Anyway, that's the theory.
Happy New Year to you all!!!!! I wish you all a great 2013!!
If you find one or more of your pictures in the composition, feel free to add a note on the image :-)
The composition of smoke depends on the nature of the burning fuel and the conditions of combustion...
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Ephémère
Studio Loos, Den Haag 2016
Solo set celebrating the release of the album 'Paths' released by Granny Records in May 2016.
Paths consists of five compositions forming a totality of 53 minutes. The music is derived from three multichannel pieces premiered at the Tectonics festival in Reykjavík (2014), the Ephémère series in The Hague (2014) and Présences électronique festival in Paris (2015). These have been further reduced, combined and rearranged resulting in the five compositions found on the album.
We may think of music as navigating between different moments of continuous change. One chooses a starting point and from there tries to reach other positions. The way a contact between these occurs is however always different and depends on the engagement with previous points of encounter. Even very static situations create perceptual illusions of development, producing prolonged and continuous experience. It could be how things change that creates the feeling of time. Perhaps all development is a matter of process, of activity, of change. We have difficulties apprehending what we are but little difficulty experiencing what we do. This behaviour based view is an important aspect of the album that explores previously experienced musical situations, different points of contact, paths through musical material.
Bjarni Gunnarsson is an Icelandic Composer / Sound artist. Released numerous LP´s, EP´s, compilation tracks and reworks on labels like Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES. Collections of his solo works can be found on the CD “Safn 2006-2009”, released by the Belgium label LMALC in 2010,"Processes & Potentials" released by 3LEAVES in 2013 and "Paths" released by Granny Records in 2016.
Faculty member at the Institute of Sonology, Royal Conservatory in The Hague and currently teacher of algorithmic composition and computer music. Studied composition with Gerard Pape, Trevor Wishart, Agostino Di Scipio and Curtis Roads at the CCMIX music center in Paris. Holds a masters degree from Sonology supervised by Paul Berg, Kees Tazelaar and Richard Barrett.
Currently working with algorithmic composition, generative environments, compositions and live electronics. Also working on new material with his long-lasting electronic music duo Einóma, and for MGBG, a duo of voice and electronics with Marie Guilleray.
Illustration from "La Sainte Bible : Ancien Testament . . . / Compositions par J.-James Tissot"; with preface by Antonin Gilbert Sertillanges (1863-1948), introduction by Maurice de Brunoff (1861-1937) and the translation into French of Isaac-Louis Lemaistre de Saci (1613-1684). 2 volumes. Paris: M. de Brunoff & Cie, 1904. The illustrations were originated by James Tissot (1836-1902) who sketched as he read Scripture.
The edition, of which 561 copies were printed, contains 360 mounted colour, black-and-white and duo-tone illustrations in the text and 40 plates in three states: sepia-tone, partly hand-coloured, and finished coloured state. The plates are protected with captioned tissue-guards. The paper size is 15.75 x 13 ins; image size varies (circa 8.5 x 5.5 ins).
The paintings for all 400 Illustrations were based exclusively on the complete sketches (the inspiration being entirely Tissot's). The first 200 illustrations covering the Book of Genesis through to the story of Jephthah's daughter in the Book of Judges were painted by Tissot. The last remaining 200 illustrations were painted after Tissot's death in 1902 by Henri Bellery-Desfontaines, Auguste François Gorguet, Charles Hoffbauer, Louis van Parys, Michel Simonidy and Georges Bertin Scott.
Photos by Philip De Vere: Tissot in Brunoff at John Rylands www.amazon.co.uk/clouddrive/share/kq7jBR4DkA1VIbQ5isRelyH...
This was my final typography composition. I has to capture the 'essence' of the font by highlighting features which I found relevant and intriguing. My final work was meant to highlight the fancy, elegant elements of the typeface which referred to the arrogance of the environment it is most commonly integrated into- the fashion industry.
The Korean Cultural Centre UK presents Hanji: Paper Compositions
Event Details
Date : 10 June – 13 August
Venue : Korean Cultural Centre
Private View : 6:00-8:00pm 10 June
The Korean Cultural Centre, UK presents Hanji: Paper Compositions, an exhibition that explores the possibilities of traditional Korean paper, or hanji. The exhibition approaches hanji as a versatile material, and features the work of over 20 internationally recognised and emerging artists whose mastering of various hanji techniques allows them to push the boundaries of making processes and practices.
While hanji was originally enjoyed by the royal family and nobility, its uptake became more widespread during the Joseon Dynasty (1392–1910) when craftspeople, engaged with making goods for everyday use, took to recycling paper from discarded, old books. The paper products they created ranged from shoes, briefcases and ornamental objects, to lamps, basins, and even water buckets. The making techniques devised by artisans using hanji, which include jiho, jiseung and jeonji, have been developed over time ever since.
Through spotlighting methods of making, the Hanji: Paper Compositions exhibition presents audiences with the rare opportunity to encounter art and craft practices, all the while revealing the intricacies of creating paper-based works.
*Hanji: Paper Compositions is a special exhibition that is also touring to the Korean Cultural Centres in Italy.
Participating Artists
Cho Byung Guk, Choi Sung Rok, Jang Eung Yeol, Jeon Hye Kyoung, Jung Ji Youn, Kang Young Sook, Kim Eun Hee, Kim Han Su, Kim Jung Soon, Kim Keum Ja, Kim Yang Hee, Kim Weon Ja, Lee Bu Ok, Lee Gun Hee, Lee Ji Hyun, Lee Sun Kyung, Oh Myung Hee, Park Chul, Park Dong Sam, Moon Yeon Hee, Moon You Mi, Na Seo Hwan.