View allAll Photos Tagged Dedicated
Dedicated to all of you..now you know what I look at through the window right next to where I sit at my computer. Outside you can see the window box full of geraniums, impatins, lobelia, pansies, violas and night scented stocks.
As flowers are the language of love this is particularly dedicated to newly Weds Alan and Dennis who were had a civil rights partnership on 9th July. (see Alan Teddington) or go into my favourites as I have saved their wedding day photos to there.
This is also dedicated to those of you that love flowers...so i am sending you all love by sending you these flowers today.
Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.
A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.
The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.
Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.
ETYMOLOGY
The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".
LEGEND
The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).
The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.
PATRONAGE
To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.
Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.
Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.
Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.
TEMPLE STRUCTURE
The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).
Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").
The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.
This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:
- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.
- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.
- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.
SIGNIFICANCE OF THE TEMPLE DESIGN
The layout and architecture of the temple is replete with philosophical meanings.
Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).
The 9 gateways signify the 9 orifices in the human body.
The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.
The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).
The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.
TOWERS
The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.
HALLS
There are 5 ambalams or sabhas (halls) inside the temple.
- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.
- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.
- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy
- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.
- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.
SHRINES
- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai
- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.
- Shrine of Sivagami.
- Ganesha shrine
- Shrine of Muruga or Pandiya nayakan
There are also several smaller shrines in the temple complex.
GOVINDARAJA SWAMY SHRINE
The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.
TEMPLE TANKS
The Chidambaram temple is well endowed with several water bodies within and around the temple complex.
- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.
- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.
- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.
- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.
- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.
- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.
- Nagaseri tank is situated to the west of the Anantha thirtham.
- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.
- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.
- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.
TEMPLE CAR
The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.
ANANDA TANDAVA
The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage Patanjali and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali who meditated in the Himalayas during krita age joins another saint, Vyaghrapada or Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for The Lord before the bees visit them). The story of sage Patanjali as well as his great student sage Upamanyu is narrated in both Vishnu Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, a deity worshipped today as Thirumoolataneswarar (Thiru - sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) - as Nataraja to these two saints on the day of the poosam star in the Tamil month of Thai (January-February).
THE ANANDA TANDAVA POSTURE
The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.
- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.
- The fire in His hand (power of destruction) means He is the destroyer of evil.
- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.
- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.
- The drum in His hand signifies the origin of life forms.
- The lotus pedestal signifies Om, the sound of the universe.
- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.
- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).
- The crescent moon in His hair signifies benevolence and beauty.
- The flowing of river Ganges through His matted hair signifies eternity of life.
- The dreading of His hair and drape signify the force of His dance.
Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.
Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.
Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).
RELIGIOUS WORK AND SAINTS
There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.
THE CHIDAMBARA RAHASIYAM
During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.
The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.
Temple administration and daily rituals
WORSHIP FORMS
A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.
At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.
Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".
WORSHIP
The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.
DIKSHITARS
The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.
DAILY RITUALS
The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).
Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.
TEMPLE ADMINISTRATION
The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.
FESTIVALS
A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.
There are references in Umapathy Sivam's
Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.
Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.
HISTORY
Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."
The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.
Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.
At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.
To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.
The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.
INSCRIPTIONS
There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.
KUMBHABISHEKAM 2015
The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam
Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.
INVASIONS
The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.
WIKIPEDIA
For Guess Where NYC. Where is this historical plaque that is nearly 100 years old?
"This tablet is dedicated to the horses that shared in valor and devotion and with mighty speed bore on the rescue".
Dedicated in 1897, Orange County Park was the County's first park. Its name was changed to Irvine Park in 1928. The Boat House was built in 1914 and is now the oldest structure in the park.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Dedicated to all the socks we lost in the washing-machine.
Wide angle fun! Three exposures HDR, Topaz treatments...
Yes, these are toe-socks, size 46 (european) :)
*Press L for large on black*
Dedicated to foxylady stardust (www.flickr.com/photos/15034268@N04/) in order to thsank her for her visits and comments
- Comme de la danse asymétrique...
The inspired hill of Vézelay
The Burgundy hill of Vézelay, which French writer Paul Claudel named “eternal”, has been drawing hundreds of thousands of pilgrims (nowadays more likely tourists) since time immemorial. It has also drawn strife, battles and pillage: the big monastery was no less than six times destroyed by fire, and always rebuilt. Here, the Second Crusade was preached on Easter Day of 1146 by Bernard, abbot of Clairvaux, whom King Louis VII of France had summoned to be lectured on the sort of penance his royal person should submit to to atone for his many sins: Bernard chose the Crusade. Crusaders congregated here as well for the Third one, in 1190.
The history of Vézelay began around 850, when Count Girard de Roussillon founded a nunnery at the foot of the hill, in the locale now occupied by the village of Saint-Père-sous-Vézelay. Fifteen years later, the nuns had been replaced by monks for reasons that never reached us. What we know is that further to a Viking raid on Burgundy in 887, the monks took refuge at the top of the hill, in the remnants of a Roman oppidum, and never went down again.
Originally dedicated to the Virgin Mary, the monastery they built on the hilltop was placed in 1050 under the patronage of Mary Magdalene, further to the claimed transport of her bones from the Holy Land by a monk named Badillon. This so-called “transposition” was validated by the Pope, but the people of Provence rebelled fiercely against that ruling: it had indeed always been well known that the saint, who had been the very first, even before the apostles, to see Christ resuscitated, had left the Holy Land and come to France where she finished her life in the mountains of the Sainte- Baume, which were named after her. Her bones had been kept in the basilica of Saint-Maximin, the largest church in the whole of Provence.
Thus sanctioned by the Pope, and confirmed yet again by Pascal II in 1103, the claim of the Vézelay monks drew immense crowds (and brought enormous riches). The fact that they also claimed to have the bones of Martha and Lazarus were not for nothing in the considerable attraction the abbey had on a pilgrimage-hungry Christendom. However, the Provençal people were victorious in the end, when they revealed that the bones of the Magdalene, which had been hidden during the 900s as the Saracens drew nearer, were opportunely re-discovered in 1279. This time, Pope Boniface VIII found in their favor and that ruling was never overturned: the pilgrimage to Vézelay was dead, even though the big church kept its dedication.
The rest of the history of Vézelay is a long downhill walk. In 1537, the Benedictine monks are replaced by canons. In 1568, the Protestants seize the church and burn it again. Finally, in 1819, lightning strikes and sets the church aflame for the last time. When architect Viollet-le-Duc, mandated by Minister Prosper Mérimée, arrives on-site in 1840, the abbey church of Vézelay is but a gutted carcass, ready to collapse. That same year, the church was put on the first list of French Historic Landmarks (“Monuments historiques”) and restoration works were undertaken urgently; they were to last until 1861, and many other such works have been undertaken since.
The church was granted basilica status in 1920, and in 1979 it was listed as a UNESCO World Heritage site, as it is the starting point of one of the major Paths to Compostela, the Via Lemovicensis, so-named because it runs through the large city of Limoges.
On that day of June 2024 I went to Vézelay as a side trip during a photographic expedition for the Fondation pour la Sauvegarde de l’Art Français, one of the non-profit heritage organizations I work for as a pro bono photographer, it was raining. Therefore, I took no photo of the outside, but instead concentrated on the inside. Furthermore, a lot of what can be seen on the outside, including the façade and the tympanum, are re-creations of the 19th century by Viollet-le-Duc, and thus much less interesting for our purpose.
One of the capitals in the narthex, showing Eve being born from Adam’s side.
Dedicated to the New York City Fire Department (NYFD) this gorgeous bird is captured at Long Beach Airport (LGB/KLGB).
Dedicated to Musse. I hope she deserves the wait.
It has been a long study of her makeUp's, nose and lips, I hope you can see her in this little girl.
I hope you all like her
Big hug
Dedicated to Omasjon (Marion Olde Scheper - www.flickr.com/photos/62699928@N06/) in tribute of all her kind and gentle support
- Couleurs modestes
Dedicated to Dear Arezoo I hope she will be happy.
چرا توقف کنم ؟
راه از میان مویرگهای حیات می گذرد
...
و در فضای شیمیایی بعد از طلوع
تنها صداست
صدا که جذب ذره های زمان خواهد شد
چرا توقف کنم ؟
فروغ فرخزاد
Actually my second shot for the "inspired-by and dedicated-to-series" is more than one shot, cause your style, dear
Denis Collette was so inspiring, that I could not stop to capture all the beautiful impressions I found on my "calm pond" - echoing your wild river :)
Thank you so much for opening my eyes to such beauty mirrored on every water - even if it's wild or calm!
Dedicated to the One I love! Linoush
Explore #290, Jan 26, 2009
She is the Sun, ever so bright ever so warm
She is the moon, ever so charming ever so mystic
She is like a summer's breeze, like a winter's first snow
She is like a springs blossom, like an autumn's leaf
She is all I need, She is my immortal love.
Wedding Shoot is a dedicated team of Wedding Photographers in Gurgaon and NCR following their passion and skills in a professional way. Our team is skilled 9891478005 www.dgevent.in
Dj in Gurgaon - www.dgevent.in/dj
Dj in Delhi - videek.page.tl/
Magician in gurgaon delhi faridabad noida bhiwadi neemrana alwar dwarka - event-videek.blogspot.com/search?q=Magician
dj in bhiwadi alwar riwari - www.dgevent.in/dj/
DG Event Facebook Page :- www.facebook.com/dgevent.in
dj videek www.djvideek.in
DJ Videek Rao www.youtube.com/c/DJVideekRao
DG EVENT. IN DJ Light Sound System Gurgaon www.youtube.com/c/DgeventIn
DG Event & Birthday Party Planner www.youtube.com/c/DgeventInbirthdayplanner
DG Event Stage Dj Light Sound Delhi 9891478183 www.youtube.com/c/DGEventStageDjLightSoundDelhi9891478183
DG Event .in Photographer in Gurgaon www.youtube.com/channel/UCvLw7hodWqHWhdtjktTBnLA
DG EVENT. IN Delhi DJ Light sound Stage Services www.youtube.com/c/DGEVENTINDelhiDJLightsoundStageServices
DG Event RJ DJ Light Sound Event Bhiwadi Dharuhera www.youtube.com/c/DGEventRJDJLightSoundEventBhiwadiDharuhera
DG Event & Entertainment www.youtube.com/channel/UCZI1nroeFF1GBdTxSLW7n-g
DJ Videek Rao www.youtube.com/user/videekyadav
DG Event dgevent.de.tl
dj Videek Rao Facebook www.facebook.com/dgevent
projector rental in gurgaon delhi bhiwadi neemrana faridabad dwarka -
Event Blog - event-videek.blogspot.com
wedding planner in gurgaon Browse Pictures and book India's best Wedding Photographers. Explore Trusted Photographers For Your Wedding Functions. Check Availability & Book Now!9891478005 Dj in Gurgaon - www.dgevent.in/dj
Dj in Delhi - videek.page.tl/
Magician in gurgaon delhi faridabad noida bhiwadi neemrana alwar dwarka - event-videek.blogspot.com/search?q=Magician
dj in bhiwadi alwar riwari - www.dgevent.in/dj/
DG Event Facebook Page :- www.facebook.com/dgevent.in
dj videek www.djvideek.in
DJ Videek Rao www.youtube.com/c/DJVideekRao
DG EVENT. IN DJ Light Sound System Gurgaon www.youtube.com/c/DgeventIn
DG Event & Birthday Party Planner www.youtube.com/c/DgeventInbirthdayplanner
freelance photographer in gurgaon
event photographers in gurgaon
professional photographer in gurgaon
best photo studio in gurgaon
product photographer in gurgaon
puneet photography gurgaon
wedding photographers in gurgaon
budget wedding photographers in gurgaon
destination wedding planners in gurgaon
budget wedding planner DG Event Stage Dj Light Sound Delhi 9891478183 www.youtube.com/c/DGEventStageDjLightSoundDelhi9891478183
DG Event .in Photographer in Gurgaon www.youtube.com/channel/UCvLw7hodWqHWhdtjktTBnLA
DG EVENT. IN Delhi DJ Light sound Stage Services www.youtube.com/c/DGEVENTINDelhiDJLightsoundStageServices
wedding planner near me Best Wedding Planners in Gurgaon · Parties N Celebration · Bigarts Events · Seven Era Events · Yash Event org · Talk2users Consultancy Private Limited · The Real Find the Most Trusted And Handpicked Wedding Planners to Plan All Your Wedding Events. Forget All Your Wedding Stress And Hire a Professional Planner to Help With Your D-Day! More than 61,000 Vendors. Wedding Inspiration. Free Contact Info. Plan Your Wedding. DG Event RJ DJ Light Sound Event Bhiwadi Dharuhera www.youtube.com/c/DGEventRJDJLightSoundEventBhiwadiDharuhera
DG Event & Entertainment www.youtube.com/channel/UCZI1nroeFF1GBdTxSLW7n-g
DJ Videek Rao www.youtube.com/user/videekyadav
DG Event dgevent.de.tl
dj Videek Rao Facebook www.facebook.com/dgevent
projector rental in gurgaon delhi bhiwadi neemrana faridabad dwarka -
Event Blog - event-videek.blogspot.com
destination wedding planner near me
wedding planning companies
event planner in gurgaon
wedding company Wedding Planners In Gurgaon (शादी के लिए प्लानर, गुडगाँव)
wedding planner jobs in gurgaon
The flying pig was behind the chimney when I took this!! Pity ;)
Pink Floyd - Dogs
You gotta be crazy, you gotta have a real need
You gotta sleep on your toes, and when you’re on the street
You gotta be able to pick out the easy meat with your eyes closed
And then moving in silently, down wind and out of sight
You gotta strike when the moment is right without thinking.
And after a while, you can work on points for style
Like the club tie, and the firm handshake
A certain look in the eye, and an easy smile
You have to be trusted by the people that you lie to
So that when they turn their backs on you
You’ll get the chance to put the knife in.
You gotta keep one eye looking over your shoulder
You know it’s going to get harder, and harder, and harder as you get older
And in the end you’ll pack, fly down south
Hide your head in the sand
Just another sad old man
All alone and dying of cancer.
And when you loose control, you’ll reap the harvest that you’ve sown
And as the fear grows, the bad blood slows and turns to stone
And it’s too late to loose the weight you used to need to throw around
So have a good drown, as you go down alone
Dragged down by the stone.
I gotta admit that I’m a little bit confused
Sometimes it seems to me as if I’m just being used
Gotta stay awake, gotta try and shake of this creeping malaise
If I don’t stand my own ground, how can I find my way out of this maze?
Deaf, dumb, and blind, you just keep on pretending
That everyone’s expendable and no-one had a real friend
And it seems to you the thing to do would be to isolate the winner
And you believe at heart, everyone’s a killer.
Who was born in a house full of pain
Who was trained not to spit in the fan
Who was told what to do by the man
Who was broken by trained personnel
Who was fitted with collar and chain
Who was given a seat in the stand
Who was breaking away from the pack
Who was only a stranger at home
Who was ground down in the end
Who was found dead on the phone
Who was dragged down by the stone.
Dedicated to my dearest and so sweet friend Helena Braga who is taking care of her old parents... Leninha queridinha there is nothing so precious like our parents and family, I know it well.... be happy you can be close to them and give them all your love. My mom is also needing so much love and care and soon will go to stay with her. Love you girl, always !!!
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.
GEOGRAPHY
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.
HISTORY
The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.
The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.
ARCHITECTURE
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.
SHRINES
The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.
The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
OTHER FEATURES
The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.
CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
FESTIVAL
Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.
WIKIPEDIA
The Arch of Constantine (Italian: Arco di Costantino) is a triumphal arch in Rome dedicated to the emperor Constantine the Great. The arch was commissioned by the Roman Senate to commemorate Constantine’s victory over Maxentius at the Battle of Milvian Bridge in AD 312. Situated between the Colosseum and the Palatine Hill, the arch spans the Via triumphalis, the route taken by victorious military leaders when they entered the city in a triumphal procession. [a] Dedicated in 315, it is the largest Roman triumphal arch, with overall dimensions of.[1]21 m high, 25.9 m wide and 7.4 m deep. It has three bays, the central one being 11.5 m high and 6.5 m wide and the laterals 7.4 m by 3.4 m each. The arch is constructed of brick-faced concrete reveted in marble.
The three bay design with detached columns was first used for the Arch of Septimius Severus in the Roman Forum (which stands at the end of the triumph route) and repeated in several other arches now lost.
Though dedicated to Constantine, much of the sculptural decoration consists of reliefs and statues removed from earlier triumphal monuments dedicated to Trajan (98–117), Hadrian (117–138) and Marcus Aurelius (161–180).
History
The arch, which was constructed between 312 and 315 AD, was dedicated by the Senate to commemorate ten years (decennalia[b]) of Constantine's reign (306–337) and his victory over the then reigning emperor Maxentius (306–312) at the Battle of Milvian Bridge on 28 October 312,[3] as described on its attic inscription,[4] and officially opened on 25 July 315. Not only did the Roman senate give the arch for Constantine's victory, they also were celebrating decennia, a series of games that happens every decade for the Romans. On this occasion they also said many prayers.[5] However, Constantine had actually entered Rome on 29 October 312, amidst great rejoicing, and the Senate then commissioned the monument.[6] Constantine then left Rome within two months and did not return till 326.[7]
The location, between the Palatine Hill and the Caelian Hill, spanned the ancient route of Roman triumphs (Via triumphalis) at its origin, where it diverged from the Via sacra.[3][8][9] This route was that taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus, and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left at the Meta Sudans and march along the Via sacra to the Forum Romanum and on to the Capitoline Hill, passing through both the Arches of Titus and Septimius Severus.
During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome, as shown in the painting by Herman van Swanevelt, here. Works of restoration were first carried out in the 18th century,[10][c] the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics.
Dates of incorporated decorative material
Controversy
There has been much controversy over the origins of the arch, with some scholars claiming that it should no longer be referred to as Constantine's arch, but is in fact an earlier work from the time of Hadrian, reworked during Constantine's reign,[3] or at least the lower part.[d] Another theory holds that it was erected, or at least started, by Maxentius,[5][e] and one scholar believed it was as early as the time of Domitian (81–96).[15][3]
Symbolism
Whatever the faults of Maxentius, his reputation in Rome was influenced by his contributions to public building. By the time of his accession in 306 Rome was becoming increasingly irrelevant to the governance of the empire, most emperors choosing to live elsewhere and focusing on defending the fragile boundaries, where they frequently founded new cities. This factor contributed to his ability to seize power. By contrast Maxentius concentrated on restoring the capital, his epithet being conservator urbis suae (preserver of his city). Thus Constantine was perceived amongst other things as the deposer of one of the city's greatest benefactors, and needed to acquire legitimacy. Much controversy has surrounded the patronage of the public works of this period. The German philosopher, Walter Benjamin observed that history is seen through the eyes of the victor (Über den Begriff der Geschichte VII, 1940), and Constantine and his biographers were no exception. Issuing a damnatio memoriae he set out to systematically erase the memory of Maxentius. Consequently, there remains considerable uncertainty regarding the patronage of early fourth century public buildings, including the Arch of Constantine, which may originally have been an Arch of Maxentius.[9]
Sculptural style
Constantine's Arch is an important example, frequently cited in surveys of art history, of the stylistic changes of the 4th century, and the "collapse of the classical Greek canon of forms during the late Roman period",[16] a sign the city was in decline, and would soon be eclipsed by Constantine's founding of a new capital at Constantinople in 324.[4] The contrast between the styles of the re-used Imperial reliefs of Trajan, Hadrian and Marcus Aurelius and those newly made for the arch is dramatic and, according to Ernst Kitzinger, "violent",[16] that where the head of an earlier emperor was replaced by that of Constantine the artist was still able to achieve a "soft, delicate rendering of the face of Constantine" that was "a far cry from the dominant style of the workshop".[17] It remains the most impressive surviving civic monument from Rome in Late Antiquity, but is also one of the most controversial with regards to its origins and meanings.[3]
Kitzinger compares a roundel of Hadrian lion-hunting, which is "still rooted firmly in the tradition of late Hellenistic art", and there is "an illusion of open, airy space in which figures move freely and with relaxed self-assurance" with the later frieze where the figures are "pressed, trapped, as it were, between two imaginary planes and so tightly packed within the frame as to lack all freedom of movement in any direction", with "gestures that are "jerky, overemphatic and uncoordinated with the rest of the body".[16] In the 4th century reliefs, the figures are disposed geometrically in a pattern that "makes sense only in relation to the spectator", in the largesse scene (below) centred on the emperor who looks directly out to the viewer. Kitzinger continues: "Gone too is the classical canon of proportions. Heads are disproportionately large, trunks square, legs stubby ... "Differences in the physical size of figures drastically underline differences of rank and importance which the second-century artist had indicated by subtle compositional means within a seemingly casual grouping. Gone, finally are elaboration of detail and differentiation of surface texture. Faces are cut rather than modelled, hair takes the form of a cap with some superficial stippling, drapery folds are summarily indicated by deeply drilled lines."[18]
The commission was clearly highly important, if hurried, and the work must be considered as reflecting the best available craftsmanship in Rome at the time; the same workshop was probably responsible for a number of surviving sarcophagi.[18] The question of how to account for what may seem a decline in both style and execution has generated a vast amount of discussion. Factors introduced into the discussion include: a breakdown of the transmission in artistic skills due to the political and economic disruption of the Crisis of the Third Century,[19]influence from Eastern and other pre-classical regional styles from around the Empire (a view promoted by Josef Strzygowski (1862-1941), and now mostly discounted),[20] the emergence into high-status public art of a simpler "popular" or "Italic" style that had been used by the less wealthy throughout the reign of Greek models, an active ideological turning against what classical styles had come to represent, and a deliberate preference for seeing the world simply and exploiting the expressive possibilities that a simpler style gave.[21] The sculptors of Constantine's time were more interested in symbolism: both symbolism for religion as well as symbolism for history.[22] One factor that cannot be responsible, as the date and origin of the Venice Portrait of the Four Tetrarchs show, is the rise of Christianity to official support, as the changes predated that.[23]
The stylistic references to the earlier arches of Titus and Septimius Severus, together with the incorporation of spolia from the times of other earlier emperors may be considered a deliberate tribute to Roman history.[24]
Iconography
The arch is heavily decorated with parts of older monuments, which assume a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under the 2nd century emperors whose reliefs were re-used places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler.
Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new art. It could be that so many old parts were used because the builders themselves did not feel the artists of their time could do better than what had already been done by different people.[22] As yet another possible reason, it has often been suggested that the Romans of the 4th century truly did lack the artistic skill to produce acceptable artwork, and were aware of it, and therefore plundered the ancient buildings to adorn their contemporary monuments. This interpretation has become less prominent in more recent times, as the art of Late Antiquity has been appreciated in its own right. It is possible that a combination of those explanations is correct.[25]
Attic
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Arch of Constantine" – news · newspapers · books · scholar · JSTOR (July 2017) (Learn how and when to remove this template message)
South attic
On the top of each column, large sculptures representing Dacians can be seen, which date from Trajan. Above the central archway is the inscription, forming the most prominent portion of the attic and is identical on both sides of the arch. Flanking the inscription on both sides are four pairs of relief panels above the minor archways, eight in total. These were taken from an unknown monument erected in honour of Marcus Aurelius. On the north side, from left to right, the panels depict the emperor's return to Rome after the campaign (adventus), the emperor leaving the city and saluted by a personification of the Via Flaminia, the emperor distributing money among the people (largitio), and the emperor interrogating a German prisoner. On the south side, from left to right, are depicted a captured enemy chieftain led before the emperor, a similar scene with other prisoners (illustrated below), the emperor speaking to the troops (adlocutio), and the emperor sacrificing a pig, sheep and bull (suovetaurilia). Together with three panels now in the Capitoline Museum, the reliefs were probably taken from a triumphal monument commemorating Marcus Aurelius' war against the Marcomanni and the Sarmatians from 169 – 175, which ended with Marcus Aurelius' triumphant return in 176. On the largitio panel, the figure of Marcus Aurelius' son Commodus has been eradicated following the latter's damnatio memoriae.
From the same time period the two large (3 m high) panels decorating the attic on the east and west sides of the arch show scenes from Trajan's Dacian Wars. Together with the two reliefs on the inside of the central archway, these came from a large frieze celebrating the Dacian victory. The original place of this frieze was either the Forum of Trajan, or the barracks of the emperor's horse guard on the Caelius.
Detail of relief panel, south side, right panel of left arch
Main section
The general layout of the main facade is identical on both sides of the arch, consisting of four columns on bases, dividing the structure into a central arch and two lateral arches, the latter being surmounted by two round reliefs over a horizontal frieze. The four columns are of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases (plinths or socles), decorated on three sides. The reliefs on the front show Victoria, either inscribing a shield or holding palm branches, while those to the side show captured barbarians alone or with Roman soldiers. Though Constantinian, they are modelled on those of the Arch of Septimius Severus (and the destroyed Arcus novus[f]), and may be considered as a "standard" item.[26]
Detail of north plinth on second column from east (see gallery), viewed from east, with Victoria (left), prisoners (right)
Detail of western plinths (see detail of left plinth in side bar)
Round reliefs above right lateral archway, from south, over friezes
Plinths of columns on north side, looking west (see detail to right)
Plinths, north side looking east
The pairs of round reliefs above each lateral archway date to the times of Emperor Hadrian. They display scenes of hunting and sacrificing: (north side, left to right) hunt of a boar, sacrifice to Apollo, hunt of a lion, sacrifice to Hercules. On the south side, the left pair show the departure for the hunt (see below) and sacrifice to Silvanus, while those on the right (illustrated on the right) show the hunt of a bear and sacrifice to Diana. The head of the emperor (originally Hadrian) has been reworked in all medallions: on the north side, into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes; on the south side, vice versa. The reliefs, c. 2 m in diameter, were framed in porphyry; this framing is only extant on the right side of the northern facade. Similar medallions, of Constantinian origin, are located on the small sides of the arch; the eastern side shows the Sun rising, on the western side, the Moon. Both are on chariots.
The spandrels of the main archway are decorated with reliefs depicting victory figures with trophies (illustrated below), those of the smaller archways show river gods. Column bases and spandrel reliefs are from the time of Constantine.
Spandrel over main arch
Constantinian frieze
Obsidio (detail)
Liberalitas (detail)
The horizontal frieze below the round reliefs are the main parts from the time of Constantine,[4] running around the monument, one strip above each lateral archway and including the west and east sides of the arch. These "historical" reliefs depict scenes from the Italian campaign of Constantine against Maxentius which was the reason for the construction of the monument. The frieze starts at the western side with the Departure from Milan (Profectio). It continues on the southern, face, with the Siege of Verona (Obsidio) on the left (South west), an event which was of great importance to the war in Northern Italy. On the right (South east) is depicted the Battle of Milvian Bridge (Proelium) with Constantine's army victorious and the enemy drowning in the river Tiber.[4] On the eastern side, Constantine and his army enter Rome (Ingressus); the artist seems to have avoided using imagery of the triumph, as Constantine probably did not want to be shown triumphant over the Eternal City. On the northern face, looking towards the city, are two strips with the emperor's actions after taking possession of Rome. On the left (North east) is Constantine speaking to the citizens on the Forum Romanum (Oratio), while to the right (North west) is the final panel with Constantine distributing money to the people (Liberalitas).[27][28]
West: Profectio
South west: Obsidio
South east: Proelium
East: Ingressus
North east: Oratio
North west: Liberalitas
Inner sides of the archways
In the central archway, there is one large panel of Trajan's Dacian War on each wall. Inside the lateral archways are eight portraits busts (two on each wall), destroyed to such an extent that it is no longer possible to identify them.
Inscriptions
The main inscription on the attic would originally have been of bronze letters. It can still be read easily; only the recesses in which the letters sat, and their attachment holes, remain. It reads thus, identically on both sides (with abbreviations completed in parentheses):
imp(eratori) · caes(ari) · fl(avio) · constantino · maximo · p(io) · f(elici) · avgusto · s(enatus) · p(opulus) · q(ue) · r(omanus) · qvod · instinctv · divinitatis · mentis · magnitvdine · cvm · exercitv · svo · tam · de · tyranno · qvam · de · omni · eivs · factione · vno · tempore · ivstis · rempvblicam · vltvs · est · armis · arcvm · trivmphis · insignem · dicavit
To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs.[4]
The words instinctu divinitatis ("inspired by the divine") have been greatly commented on. They are usually read as sign of Constantine's shifting religious affiliation:[4] The Christian tradition, most notably Lactantius and Eusebius of Caesarea, relate the story of a vision of God to Constantine during the campaign, and that he was victorious in the sign of the cross at the Milvian Bridge. The official documents (esp. coins) still prominently display the Sun god until 324, while Constantine started to support the Christian church from 312 on. In this situation, the vague wording of the inscription can be seen as the attempt to please all possible readers, being deliberately ambiguous, and acceptable to both pagans and Christians. As was customary, the vanquished enemy is not mentioned by name, but only referred to as "the tyrant", drawing on the notion of the rightful killing of a tyrannical ruler; together with the image of the "just war", it serves as justification of Constantine's civil war against Maxentius.
Two short inscriptions on the inside of the central archway transport a similar message: Constantine came not as conqueror, but freed Rome from occupation:
liberatori vrbis (liberator of the city) — fundatori qvietis (founder of peace)
Over each of the small archways, inscriptions read:
votis x — votis xx
sic x — sic xx
They give a hint on the date of the arch: "Solemn vows for the 10th anniversary – for the 20th anniversary" and "as for the 10th, so for the 20th anniversary". Both refer to Constantine's decennalia, i.e. the 10th anniversary of his reign (counted from 306), which he celebrated in Rome in the summer of 315. It can be assumed that the arch honouring his victory was inaugurated during his stay in the city.
© TUTTI I DIRITTI RISERVATI ©
Tutto il materiale nella mia galleria NON PUO' essere riprodotto, copiato, modificato, pubblicato, trasmesso e inserito da nessuna parte senza la mia autorizzazione scritta.
Si prega di NON scaricare e usare le mie foto in mancanza di una mia autorizzazione scritta.
Tutti i miei lavori sono protetti da Copyright (©), si prega di mandarmi una mail se si desidera comprare o usare uno qualunque dei miei lavori.
Grazie
LE FOTOGRAFIE SONO IN VENDITA
©ALL RIGHTS RESERVED©
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Please DO NOT Download or use my photos without my written permission.
All my works are Protected by Copyright (©), please send me a mail if you wish to buy or use someone.
Thank you
THE PICTURES ARE FOR SALE
Consiglio di gustare
la visione della ... photo On black and large
e l'ascolto da .... Le donne di Juarez
25-11-2012 GIORNATA INTERNAZIONALE CONTRO LA VIOLENZA ALLE DONNE
Ciudad Juárez, donne schiave dei narcos
Piantata all’uscita del Ponte internazionale El Paso Norte, l’imponente croce rosa è il cartello di benvenuto con cui Ciudad Juárez accoglie i nuovi arrivati. Al posto della scritta “Bienvenidos” – che troneggia dall’altro lato del cavalcavia e del Rio Bravo, da cui la separano cento metri e un passaporto statunitense –, c’è la frase: “Ni una más” (Non una di più). Le parole «donna ammazzata o scomparsa» restano sottintese ma facilmente intuibili. A esplicitarle bastano le centinaia di chiodi, con altrettanti nomi, che trafiggono la superficie del monumento.
È stata la poetessa Susana Chávez a coniare lo slogan negli anni Novanta, quando la strage di ragazze – a volte bambine – catapultò Juárez sulla ribalta internazionale. Tra il 1993 e il 2005 – secondo i dati della principale esperta, Julia Monárrez Fragoso del Colegio de la Frontera Norte – furono massacrate 447 giovani. Preda di narcotrafficanti sadici e potenti, denunciarono attivisti per i diritti umani, esperti, legali. Così potenti – accusarono – da godere della protezione di politici e forze dell’ordine. E da restare finora impuniti.
Negli anni successivi, i delitti al femminile si sono diluiti nel bagno di sangue in cui la narco-guerra ha trasformato la città.
Dal 2008, l’offensiva contro la delinquenza lanciata dal presidente Felipe Calderón ha indebolito il gruppo criminale dei Carrillo Fuentes, a lungo “padrone” di Juárez.
La banda di Sinaloa ha approfittato del vuoto per cercare di conquistare il controllo dell’enclave, corridoio strategico per esportare cocaina negli Usa. Nei continui scontri tra narcos rivali, militari e poliziotti federali schierati dal governo hanno perso la vita oltre 10mila persone. Uomini in maggioranza, ma anche donne.
I femminicidi – assicura Gustavo De La Rosa, investigatore della Commissione diritti umani del Chihuahua – continuano. «Anzi, si fanno di anno in anno più frequenti. Insieme alle scomparse», aggiunge mentre si siede nella hall del lussuoso Hotel Lucerna di Juárez, in cui è di casa. «È uno dei pochi posti sicuri. Cerco di stare attento, anche se ci sono loro...», afferma mentre indica le due auto di scorta parcheggiate fuori. Due anni fa, De La Rosa è stato minacciato e ha subito un attentato. «È rischioso difendere i diritti umani in piena guerra», ironizza mentre si accarezza la folta barba bianca da “Babbo Natale latino”.
In cinque anni sono state assassinate 688 donne: da 23 nel 2006 si è passati a oltre 300 nel 2010. Nel 2011 sono 193. Troppe o troppo poche, si potrebbe dire da punto di vista strettamente statistico. «Se li rapportiamo al totale, i femminicidi sono un decimo – continua De La Rosa –. Apparentemente pochi, dunque. In realtà, si tratta di una quota preoccupante. Perché è in costante aumento». Per il governo, questo dipenderebbe dalla “femminilizzazione del narcotraffico”, ovvero dall’entrata massiccia di donne nei gruppi criminali e dalla loro “eliminazione” da parte di gang rivali.
De La Rosa è di tutt’altro parere: «Altro che “regine dei narcos”. La maggior parte delle vittime non aveva niente a che fare con la delinquenza».
Perché a Juárez, allora, le donne vengono ammazzate o svaniscono nel nulla? «Per l’impunità di cui godono i carnefici. Dal 2008, meno del 2 per cento dei delitti è stato risolto. Naturale dato che 30 persone – tra investigatori e pubblici ministeri – devono occuparsi di 200 omicidi al mese. Gli assassini sanno che difficilmente pagheranno per le loro atrocità». «Le donne sono da sempre il bersaglio di violenze, dalla famiglia al resto della società», aggiunge Irma Casas Franco della Ong Casa Amiga. De La Rosa conclude con un sospiro: «Il sonno della giustizia genera mostri».
I mostri: difficile riconoscerli in mezzo ai pochi passanti che si avventurano per Avenida Villa. Camminano in fretta senza guardare le infinite schiere di case diroccate, serrande abbassate e insegne “Vendesi”: vanno dritti verso la meta. Non si passeggia a Ciudad Juárez, specie in centro. Questo quadrato tra il ponte, il mercato e la cattedrale è il buco nero che ha ingoiato migliaia di donne. Alcune le ha risputate cadavere. Altre sono semplicemente svanite. Di loro restano i volti in bianco e nero catturati dalle foto fotocopiate e appese ai pali della luce, le pensiline dei bus dissestati, i segnali stradali. Sotto, il nome e l’implorazione: “Aiutateci a trovarla”.
«Né io né le mie amiche passiamo mai per il centro da sole – racconta Clara (il nome è di fantasia), 18 anni –: è troppo pericoloso». Impossibile conoscere la quota esatta delle desaparecidas. I casi ufficiali, da gennaio al 30 giugno 2011, sono 45, circa 7 al mese. Il dato reale è almeno il doppio, affermano fonti giudiziarie. «Spesso le scomparse non vengono segnalate per paura, ignoranza, difficoltà burocratiche», racconta Rocío Gallegos, giornalista del Diario di Juárez. Specie, poi, quando a sparire sono migranti venute dal Sud del Paese per lavorare nelle “maquiladoras”, le grandi fabbriche di assemblaggio americane, motore economico della frontiera. Senza famiglia, amici, conoscenze stabili, le straniere si “dileguano” in silenzio. La maggior parte, però, non va lontano. Appena dietro il centro, c’è la zona “blindata”. «Non entra nessuno: né giornalisti, né poliziotti. L’ultima volta che dei colleghi ci sono andati, abbiamo dovuto chiamare i militari per salvarli», dice Rocío. È il regno dei narcos. Lì tengono ammassate – garantiscono fonti locali che chiedono l’anonimato – migliaia di giovani-schiave, costrette a prostituirsi, a vendere droga, a volta anche a uccidere per il cartello.
Tutti lo sanno a Juárez, nessuno lo dice pubblicamente. L’ultima che l’ha fatto, Malù García Andrade ha dovuto lasciare la città in seguito alle minacce. Di recente, cinque pallottole hanno ridotto in fin di vita sua madre, Norma Andrade. Prima di Malù, anche Susana Chávez aveva denunciato la tratta di donne. L’11 gennaio del 2011 il cadavere massacrato della poetessa è stato ritrovato in una discarica. Piantato sull’imponente croce rosa il suo grido, “Ni una más”, però, sopravvive. A dispetto dei narcos.
Lucia Capuzzi
da www.avvenire.it/Mondo/Pagine/messico-donne-nel-mirino.aspx
25/11/2012 H. 14.25
Dedicated to Felix Gonzalez Torres and his "untitled for Jeff", and for the one whom is not anymore.
Thanks Endgame...
Dedicated to all my flickr friends that are in the last minute frenzy to get ready for Christmas~! Merry Christmas and Happy Holidays to those that celebrate otherwise!
xoxo's
Dedicated to our young Bilbo, who after a very short life has been overcome by his severe heart disease.
Sunny lost his playmate.
This Memorial is dedicated to all Alaska Native Veterans Southeast who served in the United States Armed Forces.
Let us not dwell on their passing but remember their shining spirits that will live on forever.
Worl War 1, World War 11, Korea, Vietnam, Gulf War era, Panama, Granada, Bosnia, & Afghanistan.
We honor all Veterans who served their country.
US. Army, US Marine Corps, US Navy, US Air Force, US Coast Guard, US National Guard, US Merchant Marine, Alaska Territorial Guard
Dedicated to my dear friend Jamie Heiden for writing a lovely testimonial.
I´m so honoured and happy.
In this pic you can see a detail of the town where I live and when visiting Austria I will show you exactly this place.
While dreaming from Austria please listen to this music
Dedicated to the Birth of Our Lady (Marija Bambina), the town in the north of Malta celebrates its feast on September 8th each year.
ABOUT
By David Muscat for Mellieha .com.
The Mellihea Parish Church was built between 1881 and 1898. All the stone was cut from a nearby quarry at l-Ahrax tal-Mellieha and transported up to Mellieha by the local peasants, who worked laboriously to see their wish of having a new church come true.
Thus between 1920 and 1940 the belfries and dome were erected, five bells dedicated to St. Frances, St. Joseph, St. Anthony, St. Paul and the Virgin Mary were brought from Milan, and the church altars were decorated with paintings by the best Maltese artists, including the renowned Giuseppe Calì and Lazzru Pisani.
Photo Copyright © Kappa Vision / Jean-Paul Borg
For all my latest photos, please visit and like Kappa Vision on Facebook.
Dedicated to Flickr friend opus104 - www.flickr.com/photos/opus104/
Stop by at Cafe Opus, or stroll down his photostream if you are hungry for good composition...
Dedicated to my friend Yves.
The music:
♪♫ My Best Was Never Good Enough - Bruce Springsteen
"Every cloud has a silver lining, every dog has his day
She said, "Now don't say nothin'
if you don't have something nice to say."
The tough, now they get going, when the going gets tough
But for you my best was never good enough
"Now don't try for a home run, baby
If you can get the job done with a hit"
Remember, "A quitter never wins and a winner never quits"
"The sun don't shine on a sleepin' dog's ass"
And all the rest of that stuff
But for you my best was never good enough
"If God gives you nothin' but lemons, then you make some lemonade"
"The early bird catches the fuckin' worm,
Rome wasn't built in a day"
"Now life's like a box of chocolates,
You never know what you're going to get"
"Stupid is as stupid does and all the rest of that shit"
Come'on pretty baby, call my bluff
'Cause for you my best was never good enough"
Copyright © Bruce Springsteen (ASCAP)