dedicated to my sweetheart...MELINA

From Wikipedia, the free encyclopedia

  

"Khajuraho"

UNESCO World Heritage Site

Location Madhya Pradesh, India Edit this at Wikidata

Coordinates 24°51′08″N 79°55′20″E

Criteria Cultural: (i), (iii) Edit this on Wikidata[1]

Reference 240

Inscription 1986 (10th Session)

Khajuraho Group of Monuments is located in India

Khajuraho Group of Monuments

Location of Khajuraho Group of Monuments

[edit on Wikidata]

 

The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]

 

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]

 

The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]

 

Contents

 

1 Location

2 History

3 Description

3.1 Architecture of the temples

4 Construction

5 Chronology

6 Arts and sculpture

7 Tourism and cultural events

8 See also

9 References

10 Further reading

11 External links

 

Location

 

The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).

 

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .

 

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.

 

The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.

History

 

The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]

 

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]

 

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]

 

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:

Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.

 

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]

 

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.

 

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]

 

Nomenclature

 

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]

 

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]

 

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

Description

Sections and orientation of Khajuraho temples.

 

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]

 

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]

 

All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

 

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

 

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]

 

The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]

 

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]

 

Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]

 

Jain temples

 

Main article: Jain temples of Khajuraho

 

The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

Architecture of the temples

The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]

 

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]

 

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]

 

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]

 

Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.

Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]

 

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]

 

All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.

An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.

 

Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]

 

In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]

 

Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]

Construction

 

The temples are grouped into three geographical divisions: western, eastern and southern.

 

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

 

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

 

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.

Chronology

 

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

 

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

 

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

 

Temples, religious affiliations and consecration years

 

Sequence Modern Temple name Religion Deity Completed by

(CE)[27][54] Image

1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg

2 Brahma Hinduism Vishnu 925

3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg

4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg

5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg

6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg

7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg

8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg

9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg

10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg

11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg

12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg

13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg

14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg

15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg

16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg

17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg

18 Vishnu-Garuda Hinduism Vishnu 1000

19 Ganesha Hinduism Shiva 1000

20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg

21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG

22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg

Arts and sculpture

Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.

Erotic sculptures

 

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":

 

"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

 

Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.

 

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.

 

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

 

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976[29]

 

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]

Tourism and cultural events

Temples layout map – Khajuraho Group of Monuments.

 

The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]

 

The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

 

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

 

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

See also

 

List of megalithic sites

Jain temples of Khajuraho

Ajanta Caves

Badami Chalukya architecture

Western Chalukya architecture

Hindu temple

Madan Kamdev

Hemvati

Kama Sutra

Kamashastra

 

References

 

whc.unesco.org/en/list/240.

"World Heritage Day: Five must-visit sites in India".

Khajuraho Group of Monuments UNESCO World Heritage Site

Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353

Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.

Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5

James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London

"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.

Khajuraho airport AAI, Govt of India

G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24

Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.

Devangana Desai 2005, p. 10.

also called Erakana

Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979

J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47

phonetically translated from Arabic sometimes as "Kajwara"

Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)

Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185

Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427

Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470

Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227

Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho

Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi

kharjUra Sanskrit English Dictionary, Koeln University, Germany

vAhaka Sanskrit English Dictionary, Koeln University, Germany

Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives

Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18

Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274

Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3

Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)

The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.

Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297

D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418

Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.

Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264

Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140

Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.

James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London

Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.

Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.

Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69

Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3

Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.

Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.

Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5

Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028

Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258

Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4

V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291

"Lost Worlds of the Kama Sutra" History channel

"Lost Worlds of the Kama Sutra," History Channel

Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225

Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster

From inscription or estimated from other evidence

Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE

Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446

See:

 

Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;

Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;

Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119

 

"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.

Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549

George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58

L. H. Gray, Journal of American Society, Vol. 27

H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48

Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.

The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48

Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)

Khajuraho Festival of Dances

Dedicated to my friend Kat Kots as she is so impressed by this kind of macro shooting!

 

- Spectre en tonalités bleues

Dedicated with all my love to my darling wife Theresa Jane Brown who is in Nottingham, England as a ROYAL ACADEMY OF DANCE EXAMINER (from November 9 - December 3, 2018).

 

ΜΕΤΗΟΝΙ - ΜΕΘΩΝΗ

Summer vacation with my wife Theresa Jane Brown in Messinia - Μεσσηνία, Peloponnese, Southern Greece.

Taken on July 26, 2018.

 

Methoni has been identified as the city of Pedasus, which Homer mentions under the name "ampeloessa" (of vine leaves), as the last of the seven cities that Agamemnon offers Achilles in order to subdue his rage. Along with the rest of Messenia, the town gained its independence from the Spartans in 369 BC.

During the Byzantine years Methoni retained its remarkable harbor and remained one of the most important cities of the Peloponnese.

The castle of Methoni is a medieval fortification which occupies the whole area of the cape and the southwestern coast to the small islet that has also been fortified with an octagonal tower and is protected by the sea on its three sides. The Venetians built on the ancient battlements and added on and repaired it during both periods that they occupied the castle.

 

Thanassis Fournarakos - Θανάσης Φουρναράκος

Professional Photographer, Athens, Greece

(retired in 2011, born in 1946).

 

© ALL RIGHTS RESERVED

None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!

Dedicated to the person who offered me a pro account! Respect!

hasselblad | polaroid back | 672

 

bigger

blogged

 

photo number 1200.

thanks so much!

I love you.

... dedicated to an american friend

 

Leica M3 con Summaron 35mm 2,8 "occhiali"

 

1081 LeicaM3 0816 31829 BN3

Dedicated to my cousin Diana, 8 months pregnant, gone forever in the South Tower September 11, 2001...I miss you so much. I love you

  

A golden idol

flushed away

by bloody tears.

But it was the blood,

that brought healing

to the wounded heart.

Drops of the soul

caught and saved

by loving hands.

 

(Ines Langs, June 3rd, 2007)

 

Highest position in Explore on Monday, June 11, 2007: # 116

Dedicated to a friend of mine for Christmas. I started the work in splashes of black gesso and then moved on to oil bars. I overlaid mostly in oil the shadow work. I worked in a cool palatte, thinking of grafittee underlay as if painting an abstract outside for Christmas.

 

Painting Size: 20 x 24 inches

 

Original: SOLD

Website: www.shawnshawn.co

Newsletter: shawnshawn.co/Site/Contact.html

Paintings for sale: www.etsy.com/shop/ShawNshawNart

Newsletter: shawnshawn.co/Site/Contact.html

Art of the Real

Dedicated to Xandra for her birthday

Dedicated to all those who hate letterbox format ;-)

My first attempt at textures!

Magikeh texture from ishkamina

Dedicated to all ma flickr frnds..

DEDICATED TO MY BELOVED DAUGHTER LUCRECIA MICHELLE.

 

ΑΦΙΕΡΩΜΕΝΗ ΣΤΗΝ ΑΓΑΠΗΜΕΝΗ ΜΟΥ ΚΟΡΗ ΛΟΥΚΡΕΣΙΑ ΜΙΣΕΛ.

 

On the way to Limni, Evia island.

 

The island of Evia lies along the Eastern coast of Central Greece, and is accessible to the mainland via two bridges, an old wooden bridge and a contemporary suspension bridge. There are also frequent ferries to several parts of the island. It is 175 km long and is the second largest island in Greece, and the third largest in the Eastern Mediterranean.

 

Taken on the weekend of October 11th-12th, 2014 while my English wife Theresa Jane Brown and I were visiting friends.

 

Thanassis Fournarakos - Θανασης Φουρναρακος

Professional Photographer, retired.

Athens, Greece

 

© ALL RIGHTS RESERVED

None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!

 

This photograph has achieved the following highest awards:

* GALAXY HALL OF FAME

 

Dedicated to Mr Penfold.

 

Not the best shot but how do you all like the editing?

Dedicated to my Flickr friends

dedicated to classic perfection

... dedicated to Michelangelo ...

Dedicated To All Those Who Celebrate Their Birthday In The Month Of December!

dedicated to those are at work right NOW!

 

Siracusa, march 2007, Sicily - Italy

 

My best shots

 

Subscribe to my stream

 

Check out my last fun project (interviews with my fellows Flickr friends )

 

Today is Valerio's (Valpopando) turn @ angiereal.blogspot.com

 

thanks to dgjean for the translation

Dedicated to all the wonderful mommies around the world... ❤️

 

Sorry, but I loved these little hearts, not all of them have the matching words... 😉

A thin place is where the veil that separates heaven and earth is lifted and one is able to receive a glimpse of the glory of God. A contemporary poet Sharlande Sledge gives this description.

  

“Thin places,” the Celts call this space,

Both seen and unseen,

Where the door between the world

And the next is cracked open for a moment

And the light is not all on the other side.

God shaped space. Holy.

Dedicated to that person who says I cannot take a happy picture to save my life.

 

Bear Lake, Rocky Mountain National Park, Colorado. View large on black

Italien / Toskana - San Gimignano

 

Piazza Duomo

 

San Gimignano (Italian pronunciation: [san dʒimiɲˈɲaːno]) is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form "an unforgettable skyline". Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries. The "Historic Centre of San Gimignano" is a UNESCO World Heritage Site. The town also is known for saffron, the Golden Ham, pecorino cheese and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Vernaccia grape which is grown on the sandstone hillsides of the area.

 

Territory

 

The municipality of San Gimignano extends for 138 km² and is located on a hill in Val d'Elsa. The altitude difference is between a minimum of 64 meters a.s.l. in the plain of the river Elsa near Certaldo at a maximum of 631 meters in the area of Cornocchio.

 

History

 

In the 3rd century BC a small Etruscan village stood on the site of San Gimignano. Chroniclers Lupi, Coppi and Pecori relate that during the Catiline conspiracy against the Roman Republic in the 1st century, two patrician brothers, Muzio and Silvio, fled Rome for Valdelsa and built two castles, Mucchio and Silvia (now San Gimignano). The name of Silvia was changed to San Gimignano in 450 AD after Bishop Geminianus, the Saint of Modena, intervened to spare the castle from destruction by the followers of Attila the Hun. As a result, a church was dedicated to the saint, and in the 6th and 7th centuries a walled village grew up around it, subsequently called the "Castle of San Gimignano" or Castle of the Forest because of the extensive woodland surrounding it. From 929 the town was ruled by the bishops of Volterra.

 

In the Middle Ages and the Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development was also improved by the trade of agricultural products from the fertile neighbouring hills, in particular saffron, used in both cooking and dyeing cloth and Vernaccia wine, said to inspire popes and poets.

 

In 1199, the city made itself independent of the bishops of Volterra and established a podestà, and set about enriching the commune with churches and public buildings. However, the peace of the town was disturbed for the next two centuries by conflict between the Guelphs and the Ghibellines, and family rivalries within San Gimignano. This resulted in competing families building tower houses of increasingly greater heights. Towards the end of the Medieval period, there were 72 tower houses in number, up to 70 metres (230 feet) tall. The rivalry was finally restrained when the local council ordained that no tower was to be taller than that adjacent to the Palazzo Comunale.

 

While the official patron is Saint Geminianus, the town also honours Saint Fina, known also as Seraphina and Serafina, who was born in San Gimignano 1238 and whose feast day is 12 March. The Chapel of Santa Fina in the Collegiate Church houses her shrine and frescos by Ghirlandaio. The house said to be her home still stands in the town.

 

On 8 May 1300, San Gimignano hosted Dante Alighieri in his role as ambassador of the Guelph League in Tuscany.

 

The city flourished until 1348, when it was struck by the Black Death that affected all of Europe, and about half the townsfolk died. The town submitted to the rule of Florence. Initially, some Gothic palazzi were built in the Florentine style, and many of the towers were reduced to the height of the houses. There was little subsequent development, and San Gimignano remained preserved in its medieval state until the 19th century, when its status as a touristic and artistic resort began to be recognised.

 

Description

 

The city is on the ridge of a hill with its main axis being north/south. It is encircled by three walls and has at its highest point, to the west, the ruins of a fortress dismantled in the 16th century. There are eight entrances into the city, set into the second wall, which dates from the 12th and 13th centuries. The main gates are Porta San Giovanni on the ridge extending south, Porta San Matteo to the north west and Porta S. Jacopo to the north east. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south. At the heart of the town are four squares: the Piazza Duomo, on which stands the Collegiate Church; the Piazza della Cisterna, the Piazza Pecori and the Piazza delle Erbe. To the north of the town is another significant square, Piazza Agostino, on which stands the Church of Sant' Agostino. The locations of the Collegiate Church and Sant' Agostino's and their piazzas effectively divide the town into two regions.

 

Main sights

 

The town of San Gimignano has many examples of Romanesque and Gothic architecture. As well as churches and medieval fortifications, there are examples of Romanesque secular and domestic architecture which may be distinguished from each other by their round and pointed arches, respectively. A particular feature which is typical of the region of Siena is that the arches of openings are depressed, with doorways often having a second low arch set beneath a semi-circular or pointed arch. Both Romanesque and Gothic windows sometimes have a bifurcate form, with two openings divided by a stone mullion under a single arch.

 

Culture

 

San Gimignano is the birthplace of the poet Folgore da San Gimignano (1270–1332).

 

A fictionalised version of San Gimignano is featured in E. M. Forster's 1905 novel, Where Angels Fear to Tread as Monteriano.

 

M. C. Escher's 1923 woodcut San Gimignano depicts the celebrated towers.

 

Franco Zeffirelli used San Gimignano as a stand-in for the town of Assisi in his 1972 Saint Francis of Assisi biopic Brother Sun, Sister Moon. Most of the "Assisi" scenes were filmed here

 

Tea with Mussolini, a 1999 drama about the plight of English and American expatriate women in Italy during World War II, was filmed in part in San Gimignano. The frescoes that the women save from being destroyed during the German Army's withdrawal are inside the Duomo, the town's main church. The account of this episode is, to a large extent, fictional, because, although there are reports of intended retribution against the town, there is no evidence of a plan to destroy the churches. However, the reference to risk of cultural destruction is historic, as the Allies bombed the area for ten days.

 

In the 2005 novel The Broker by John Grisham, Joel Backman takes his second of three wives on vacation in Italy to keep her from divorcing him. They rent a 14th-century monastery near San Gimignano for a month.

 

A 15th-century version of the town is featured in the 2009 video game Assassin's Creed II.

 

(Wikpedia)

 

Piazza della Cisterna is a piazza in San Gimignano, Italy. It has a triangular shape with a slight natural slope and is connected to the nearby Piazza del Duomo by an open passage. The pavement is brick and the piazza is surrounded by houses and medieval towers. There are presently 5 towers onto the square or very near it and the bases of other five are visible on the facade of the various palaces, plus one, the Ridolfi tower, which is no longer in existence having collapsed in 1646 onto the family palace, thus making this relatively small area a concentrate of medieval architecture. In the south-west corner, the piazza meets the Arc of Becci, (l'arco dei Becci), an ancient city gate. The arc is flanked by the massive rectangular towers of Becci (torri dei Becci) on the left and Cugnanesi (torri dei Cugnanesi) on the right.

 

Past the access to via di Castello, which led down to the original Bishop’s castle, the northern side is characterized by the renaissance Cortesi Palace, which includes la torre del Diavolo, and extends along the north side of the square including the old houses of the Cattani family. There remains of two pre-existing towers are clearly visible onto the facade of the Cortesi Palace.

 

The west side is adorned with various towers, like the twin towers of Ardinghelli and the tower of palazzo Pellari visible over the roofs.

 

History

 

The piazza is located at the intersection of two main streets of the village of San Gimignano: la via Francigena that run north to south and la via Pisa - [[Siena]that runs east to west]. The piazza was used as a market and a stage for festivals and tournaments. Originally the area was divided in two squares by the palace and tall tower of the Ridolfi family, the Piazza dell’ Olmo in the inferior and western part and the Piazza delle Taverne in the eastern side and with the cisterna in the middle. In 1646 the tall Ridolfi tower suddenly collapsed, destroying the palace and thus the two squares were merged into one, the Piazza della Cisterna.

 

The piazza is named after the underground cistern (Cisterna) built in 1287. The cistern is capped by a travertine octagonal pedestal, which was built in 1346 under the mayor Guccio Malavolti whose coat of arms with the ladder is carved onto the stones, and is close to the center of the square.

 

(Wikipedia)

 

San Gimignano ist eine italienische Kleinstadt in der Toskana mit einem mittelalterlichen Stadtkern. San Gimignano wird auch „Mittelalterliches Manhattan“ oder die „Stadt der Türme“ genannt. Die Stadt liegt in der Provinz Siena und hat 7717 Einwohner (Stand 31. Dezember 2019). Sie gehört neben Florenz, Siena und Pisa zu den von Touristen meistbesuchten Zielen in der Toskana.

 

Allgemeines

 

Der historische Stadtkern ist seit dem Jahr 1990 Teil des Weltkulturerbes der UNESCO. San Gimignano besitzt noch einige der mittelalterlichen Geschlechtertürme, die in anderen Städten nur als Stümpfe erhalten blieben. Im Mittelalter versuchten die Patrizierfamilien, sich in der Höhe ihres Geschlechterturmes zu übertreffen, obwohl ein luxuriöses Leben darin nicht möglich war. Von den einst 72 Geschlechtertürmen existieren in San Gimignano heute noch 15. Die beiden höchsten, der Torre Grossa aus dem Jahr 1311 und der Torre della Rognosa, weisen eine Höhe von 54 bzw. 51 Metern auf. Die Zisterne auf der Piazza della Cisterna entstand 1287 und wurde 1346 durch den Podestà Guccio Malavolti erweitert.

 

Geografie

 

Die Stadt liegt ca. 40 km südwestlich der Regionalhauptstadt Florenz und ca. 28 km nordwestlich der Provinzhauptstadt Siena an der Via Francigena und im Elsatal. San Gimignano liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone D, 2 085 GR/G.

 

Zu den Ortsteilen gehören Badia a Elmi (94 m, gehört teilweise zu Certaldo), Castel San Gimignano (377 m, gehört teilweise zu Colle di Val d’Elsa), Pancole (272 m), Santa Lucia (268 m) und Ulignano. Weitere wichtige Orte im Gemeindegebiet sind Montauto (277 m), Monteoliveto (275 m) Ranza und San Donato (357 m). Größter Ortsteil ist Ulignano mit ca. 690 Einwohnern.

 

Die wichtigsten Flüsse im Gemeindegebiet sind der Elsa (4 von 81 km im Gemeindegebiet) sowie die Torrenti Foci (4 von 15 km im Gemeindegebiet) und Riguardi (7 von 7 km im Gemeindegebiet).

 

Die Nachbargemeinden sind Barberino Tavarnelle (FI), Certaldo (FI), Colle di Val d’Elsa, Gambassi Terme (FI), Poggibonsi und Volterra (PI).

 

Geschichte

 

San Gimignano soll bereits um 300 bis 200 v. Chr. von den Etruskern besiedelt worden sein. Erstmals dokumentiert wurde der Ort 929. Den Namen erhielt die Stadt von dem heiligen Bischof von Modena, San Gimignano. Es heißt, er habe das Dorf vor den barbarischen Horden des Totila geschützt.

 

Diese Stadt verdankt ihre Existenz der Via Francigena (Frankenstraße). Auf diesem Hauptverkehrsweg des mittelalterlichen Italiens zogen Händler und Pilger vom Norden nach Rom. Der Ort bildete sich als Marktstätte zwischen dem frühmittelalterlichen Castello und der Pieve, dem Vorgängerbau der Collegiata. Ein erster Stadtmauerring wurde im 10. Jahrhundert angelegt. Dessen Verlauf markieren zwei noch erhaltene Stadttore, im Norden der Arco della Cancelleria und im Süden der Arco dei Becci.

 

Vom 11. Jahrhundert an dehnte sich das Stadtgebiet entlang der Frankenstraße in nördlicher und südlicher Richtung aus. An die Existenz des früheren Castello erinnern die Via di Castello, eine der ältesten Straßen, und die Kirche von San Lorenzo, die bei der Zugbrücke lag. Mindestens seit dem Jahr 929 gehörte das Kastell den Bischöfen von Volterra. Diese Bischöfe waren es auch, die die Herrschaft über die sich ausdehnende Stadt ausübten. Erst 1199 gelang es den von den Bürgern gewählten Konsuln, Verträge ohne die Zustimmung des Bischofs zu unterzeichnen. San Gimignano war nie Bischofssitz, sondern gehörte zum kirchlichen Verwaltungsbezirk (Diözese) Volterra und erlangte somit auch keine Stadtrechte. Trotzdem verlief die politische Entwicklung der Landkommune in ähnlichen Schritten wie die der großen Städte. Die Regierung der Konsuln wurde durch den Podestà (einem gewählten Administrator) abgelöst. Diesem standen ein kleiner und ein großer Rat zur Seite. Dem großen Rat gehörte eine bemerkenswert hohe Zahl von 1200 Mitgliedern an, obwohl San Gimignano nur 6000 Einwohner hatte.

 

Die freie Kommune stritt bis ins 14. Jahrhundert mit den Bischöfen von Volterra in langjährigen Kriegen um Besitzrechte. Sie musste gegen die Nachbarorte Castelfiorentino, gegen Colle und Poggibonsi zu Felde ziehen und nahm auf der Seite des guelfischen Florenz an den großen Machtkämpfen des 13. Jahrhunderts teil. Auch innerhalb der Stadtmauern setzten sich die Kämpfe zwischen Guelfen (Welfen) und Ghibellinen (Waiblinger) fort. Es kam zu blutigen Familienfehden zwischen den Familien der Salvucci (Ghibellinen) und der Ardinghelli (Guelfen).

 

Ab Mai 1300 hielt sich Dante Alighieri in diplomatischer Mission in San Gimignano auf. Vom 15. Juni bis 15. August 1300 amtierte er als eines von sechs Mitgliedern des Priorats, des höchsten Gremiums der Stadt. Im Jahre 1319 versuchte er in seiner Funktion als führender Florentiner Politiker vergeblich, die verfeindeten Parteien zu versöhnen. Eine Kommune wie San Gimignano konnte sich im 14. Jahrhundert nicht mehr neben den Großmächten behaupten. Im Jahre 1348 wurde die Stadt neben Kriegsverlusten und Familienfehden durch die Pest stark geschwächt. Vier Jahre später, im Jahre 1352, begab sich die Stadt unter den Schutz von Florenz.

 

Die Blütezeit der Stadt dauerte 160 Jahre an, ihr Wohlstand beruhte auf Handel und dem Anbau von Safran, mit dem man Seidenstoffe färbte. Die Frankenstraße verlor im Spätmittelalter allmählich an Bedeutung, weil der Handel die bequemeren Wege durch die weitgehend trockengelegten Sümpfe der Ebenen vorzog. Die Stadt, die einst Gesetze gegen übertriebenen Luxus erlassen hatte, verarmte.

 

Hochrenaissance (ca. 1500 bis 1530) und Barock (1575 bis 1770) hinterließen in San Gimignano so gut wie keine Spuren. Die Stadt war niemals ein eigenständiges Kunstzentrum. Künstler aus Siena und Florenz malten die Fresken und Altartafeln. Die Paläste und Kirchen zeigen pisanische, sienesische, lucchesische und florentinische Stilmerkmale. In San Gimignano ist die Zeit scheinbar im Jahr 1563 stehengeblieben. Der erste der toskanischen Großherzöge, Cosimo I. de’ Medici, entschied, es dürfen „auch keine geringen Summen“ mehr in diese Stadt investiert werden. Das musste akzeptiert werden, und so ist San Gimignano geblieben, wie es damals war.

 

(Wikipedia)

dedicated to Bntal3nabi ♥

mere dil..oh i mean mere zindagi =P =*

Dedicated to a fun and wonderful friend. Hope you find lots of tulips while on vacation. You deserve a break!

dedicated to nan,sid rip,,also dedicated to the staff at chrome an black,,,, rate, 2cold,olivia,cemo(paris),,,,,,sur,dis1,soma,dicer,colour,drift27,astec, and the rest of yds,cms,rfk familys,

www.jgowdy.com/

 

www.youtube.com/watch?v=YAOTCtW9v0M&feature=related

Great energy !!!

Lovely time to all !!!!!

 

@All rights reserved

Dedicated to my friend Paolo Di Sarra

Dedicated to my mother-in-law, who passed away just a few hours before I took this picture as I was talking to my wife who called me to tell me about her death.

Dedicated in 1993, the memorial honors the approximately 265,000 military and civilian women who served during the Vietnam War. It remains the first—and still the only—memorial on the National Mall specifically recognizing the service of military women.

 

Rain fell throughout much of Memorial Day this year. Despite the weather, visitors continued to stop, reflect, and leave tributes at the memorial.

Dedicated to Juan.

Day 2 - 10 September 2019

 

EXIF-

 

Nikon D850

200.0-500.0 mm f/5.6

ƒ/13.0

700.0 mm

1/200

1600

***

  

Moon provides the best linkage to Earth’s early history. It offers an undisturbed historical record of the inner Solar system environment. Though there are a few mature models, the origin of Moon still needs further explanations. Extensive mapping of lunar surface to study variations in lunar surface composition is essential to trace back the origin and evolution of the Moon. Evidence for water molecules discovered by Chandrayaan-1, requires further studies on the extent of water molecule distribution on the surface, below the surface and in the tenuous lunar exosphere to address the origin of water on Moon.

 

The lunar South Pole is especially interesting because of the lunar surface area here that remains in shadow is much larger than that at the North Pole. There is a possibility of the presence of water in permanently shadowed areas around it. In addition, South Pole region has craters that are cold traps and contain a fossil record of the early Solar System.

  

20190910-_8502005-Edit-Edit

  

Chandrayaan2

_______________

| Gurushots | Viewbug | Instagram | Natgeo | gettyimages | EyeEm | 500px

 

Dedicated in 330 BCE (replacing two earlier temples that were destroyed by earthquake), this was the center of worship at Delphi and the place where the oracle made her oracular pronouncements. As a pagan site, it was torn down in 390 CE under the Byzantines. Archaeologists have reassembled a few of the columns.

Dedicated to Kickan and Jonas, the admins of the first group I posted to (I lost my marbles on flickr), for creating a haven for all our marble photos. Thank you guys !

Dedicated To Faisal Al Bisher & Jamal Alayoubi

Thank You for Every thing :)

This photo is dedicated to that person......♥

 

Dedicated to Josef Koudelka.

(dedicated to Richard Clapp)

You may visit my facebook profile and 500px page.