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dedicated 2 my dad....
his fav song is * amazing grace**......
my fav version.....of this tune...*amazing because it is*
cuz dad u r heavenly amazing!
^i^
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I was so scared of everything you put in front of me
I've been marching to every part of me
Just to see
see
Why you need me to be
The boy you need me to be
Amazing grace
How sweet the sound
That saves a wretch like me
I once was lost
And now I'm found
Was blind but now I see
I just wanna see
I'm the type of person who lets fear drive
I'm the type of guy that lets it drive
Cause I'm addicted, I'm needy
I'm lost without you
I need you
I need you
Amazing grace
How sweet the sound
That saves a wretch like me
I once was lost
But now I'm found
Was blind but now I see
Amazing grace (amazing grace)
How sweet the sound (how sweet)
That saves a wretch like me (that saved a wretch like me)
I once was lost
But now I'm found (you know I'm found)
Was blind but now I see
Amazing grace (you're amazing)
How sweet the sound (you're amazing)
That saves a wretch like me
I once was lost (it feels so bad when you're lost and alone)
But now I'm found
Was blind but now I see
* Amazing Because It Is * ~ The Almost
Dedicated also to our dear friend Suzanne --- Thinking Pink and sending her love and prayers!!
Off to Colorado for a short visit to see Roz and Cagla and have a dolly meet with the Colorado peeps ... so I'll be scarce for a few days! I hope you all have a great finish to your week and a wonderful weekend! Hugs and love to you all!
ADED 2010 322/365
Dedicated to my two Dad's. First Christmas without you both. MERRY CHRISTMAS to all who is missing someone at this time of year. God Bless!!
Zinoviy G. Kolobanov (Зиновий Г. Колобанов) (died 1995) was a tank commander and veteran of the Great Patriotic War. He commanded a KV-1 tank and is frequently considered the second top scoring tanker ace of the Soviet Union.
At the Battle of Krasnogvardeysk on 19 August 1941 (part of the Battle of Leningrad), Kolobanov's unit ambushed a column of German armour. The vanguard of the German 8th Panzer Division was approaching Krasnogvardeysk (Gatchina) near Leningrad (St Petersburg), and the only Soviet force available to stop it consisted of five well-hidden KV-1 tanks, dug in within a grove at the edge of a swamp. KV-1 tank no. 864 was commanded by the leader of this small force, Lieutenant Kolobanov.
German forces attacked Krasnogvardeysk from three directions. Near Noviy Uchkhoz settlement, the geography favoured the Soviet defenders as the only road in the region passed the swamp, and the defenders commanded this choke point from their hidden position. Lieutenant Kolobanov had carefully studied the situation and readied his detachment the day before. Each KV-1 tank carried twice the normal amount of ammunition, two-thirds being armour-piercing rounds. Kolobanov ordered his other commanders to hold their fire and await orders. He did not want to reveal the size of his force, so only one tank at a time engaged the enemy.
The 8th Panzer Division's vanguard ventured directly into the well-prepared Soviet ambush, with Kolobanov's tank knocking out the lead German tank with its first shot. The Germans assumed that the tank had hit an anti-tank mine, and failed to realize that they had been ambushed. The German column stopped, giving Kolobanov the opportunity to destroy the second tank. Only then did the Germans realize they were under attack, but they were unable to locate the source of the shots. While the German tanks fired blindly, Kolobanov knocked out the trailing German tank, boxing in the entire column.
German tank vanguard attack plan and positions of three Soviet KV-1 tanks
Although the Germans finally guessed the direction of fire, they could only spot Lieutenant Kolobanov's tank, and now attempted to engage an unseen enemy. German tanks bogged down when they moved off the road onto the surrounding soft ground, becoming easy targets. 22 German tanks and two towed artillery pieces fell victim to Kolobanov's No. 864 before it ran out of ammunition.[1] Kolobanov ordered in another KV-1, and 21 more German tanks were destroyed before the half-hour battle ended. A total of 43 German tanks were destroyed by just five Soviet KV-1s (two more remained in reserve). Lieutenant Kolobanov was awarded the Order of the Red Banner, while his driver, Usov, was awarded the Order of Lenin.
The Soviet victory was the result of a well-planned ambush on advantageous ground and with technological superiority. Most of the German tanks in this battle were Panzer IIs armed with 20 mm guns, with a few Panzer IIIs armed with 37 mm KwK 36 L/46.5 guns. The German tank guns had neither the range nor the power of the 76 mm main gun of a KV-1, and the narrower track width of the German tanks caused them to become trapped in the swampy ground. After the battle, the crew of No. 864 counted a total of 135 hits on their tank, none of which had penetrated the armour.
Later on, former Captain Zinoviy Kolobanov was again decorated by Soviet authorities, despite having been convicted and downgraded after the Winter War for "fraternizing with the enemy." After the end of World War II, Lieutenant Kolobanov served in the Soviet occupation zone in East Germany, where he was convicted again when a subordinate escaped to the British occupation zone, and was transferred to the reserves.
He remained in the army for some years, based in Belarus, and retired as a Lieutenant-Colonel. He then went on to work for the Minsk Auto Works.
A monument dedicated to the battle was installed in the village of Noviy Uchkhoz in 1980, at the place where Kolobanov's KV-1 was dug in, due solely to the demands of the villagers. Unfortunately it was impossible to find a KV-1 tank, so an IS-2 heavy tank was installed there instead.[2] On 8 September, 2006, a monument in his honour was unveiled in Minsk, the capital of Belarus.[1] It was sponsored by the director of AGAVA, Vasiliy Monich.
en.wikipedia.org/wiki/Zinoviy_Kolobanov
1941年8月18日一批KB-1重戰車,在指揮官卡羅巴諾夫(Kolobanov)領導下,在列寧格勒週邊地區的克拉斯諾伐迪斯克(Krasnogvardeysk)鎮附近構工偽裝,把持住了通往琴斯普(Kinigsep)的要道而另外四輛KB重戰車則奉命把守另外兩條道路,五輛KB重戰車皆攜帶了雙倍的彈藥,並有三分之二的彈藥為穿甲彈(AP),這批KB重戰車剛好駐防在德軍第八裝甲師的攻勢方向內,它們分別隱藏良好的躲在丘陵和森林之中,而交通要點的十字路口則位置偏低以及在沼澤間.
隔天19日,德軍機械化偵蒐單位/半履帶車還有輕型卡車通過這個地段,稍後德軍戰車縱隊出現並塞滿了整條道路,紅軍首先開火擊毀領頭戰車,隨後兩發以上的砲彈擊毀了第二輛德軍戰車,卡羅巴諾夫也隨之開火擊毀德軍縱隊最末端的戰車,德軍裝甲單位受到了嚴重的震撼,甚至無法查明蘇軍戰車開火的位置,而只能死命的潰逃,其中一些戰車驚慌滴開進了沼澤而動彈不得,公路上一片混亂,這批蘇軍KB重戰車在半小時內擊毀了二十二輛德軍戰車,當德軍戰車也開火瞄準反擊時,德軍乘員驚訝的發現己方的戰車砲無法貫穿KB重戰車的裝甲,砲彈命中的撞擊聲只能帶給蘇軍戰車兵噪音而已!
在伏擊之後KB重戰車開出原埋伏點進行掃蕩作戰,並發現十字路口中有兩門德軍拖曳火炮(應當是中大口徑之野戰砲),擊毀其中一門旦另一門則擊傷了KB重戰車的潛望鏡,但是這門野戰砲還是逃不過慘遭摧毀的命運,在彈藥幾乎用盡的狀況下,卡羅巴諾夫收到了無線電傳來的撤退命令以及祝賀,不過此時另外三輛KB重戰車在擊毀二十多輛德軍戰車後已離開了戰場.
這五輛KB重戰車殲滅了整支四十二輛戰車的德軍縱隊以及兩門拖曳火炮,而卡羅巴諾夫的座車(車體編號864)上竟然有多達135個受創痕跡,旦沒有一發能貫穿KB重戰車的裝甲!
卡羅巴諾夫後來獲頒列寧勛章,而駕駛烏索夫(Usov)則獲頒紅旗勳章
This photo is dedicated to eyetryshohard. His gallery is very young and is still growing in photos, not in quality; since each of his photos is full of it: he transmits his generosity, his kindness and tenderness through them. For me he’s a very special friend; we share the passion for photography as well as some of my origins. I’m really grateful for the testimony he wrote me, which I couldn’t thank him for but I keep in my memory since then :D
About this pic: this is my daughter Carlota. I wish Sam and she become friends and some day they hang out to take some photos and have fun!
Manigong Bagong Taon sa aking mahal na kaibigan Garry!!
Explore #450
Dedicated to my two son's and to all of my friends on Flickr. 2013 was a blast, here's to an even better 2014. At least it's not an unlucky number.
Dedicated to my Flickr friend Mike Laycock aka Silversalt - who has the heart of a Poet...
Words © Mike Laycock
www.flickr.com/people/15087852@N00/
Mike sent me this poem and asked me to create an image for his interpretation of Molly Malone.
Molly is commemorated in a statue designed by Jeanne Rynhart, placed at the top of Grafton Street in Dublin. This statue is known colloquially as 'The Tart With The Cart', 'The Dish With The Fish' and 'The Trollop With The Scallops'. The statue portrays Molly as a busty young woman in seventeenth-century dress, and is claimed to represent the real person on whom the song is based.
Molly Malone (also known as "Cockles and Mussels" is a popular song which has acquired the status of an Irish anthem. It has become the unofficial anthem of Dublin City in Ireland.
Original song lyrics
In Dublin's fair city,
where the girls are so pretty,
I first set my eyes on sweet Molly Malone,
As she wheeled her wheel-barrow,
Through streets broad and narrow,
Crying, "Cockles and mussels, alive, alive, oh!"
"Alive, alive, oh,
Alive, alive, oh",
Crying "Cockles and mussels, alive, alive, oh".
She was a fishmonger,
And sure 'twas no wonder,
For so were her father and mother before,
And they each wheeled their barrow,
Through streets broad and narrow,
Crying, "Cockles and mussels, alive, alive, oh!"
(chorus)
She died of a fever,
And no one could save her,
And that was the end of sweet Molly Malone.
Now her ghost wheels her barrow,
Through streets broad and narrow,
Crying, "Cockles and mussels, alive, alive, oh!"
This is a link to youTube and the Dubliners singing Molly Malone
South Asian sweets are the confectionery and desserts of South Asia. Thousands of dedicated shops in Bangladesh, India, Nepal, Pakistan and Sri Lanka sell nothing but sweets; however, outside of South Asia, South Asian sweet shops are uncommon.
Sugarcane has been grown in India for thousands of years, and the art of refining sugar was invented there. The English word sugar comes from a Sanskrit word sakhar, while the word candy comes from Sanskrit word khand (jaggery) - one of the simplest raw forms of sweet. Over its long history, cuisines of the Indian Subcontinent developed a diversified array of sweets. Some claim there is no other region of the world where sweets are so varied, so numerous, or so invested with meaning as the Indian Subcontinent.
In India's diverse languages, sweets are called by numerous names, one common name being Mithai (मिठाई). They include sugar, and a vast array of ingredients such as different flours, milk, milk solids, fermented foods, root vegetables, raw and roasted seeds, seasonal fruits, fruit pastes and dry fruits. Some sweets such as kheer are cooked, some like burfi are baked, varieties like Mysore pak are roasted, some like jalebi are fried, others like kulfi are frozen, while still others involve a creative combination of preparation techniques. The composition and recipes of the sweets and other ingredients vary by region. Mithai are sometimes served with a meal, and often included as a form of greeting, celebration, religious offering, gift giving, parties, and hospitality in India. On Indian festivals - such as Holi, Diwali, Eid, or Raksha Bhandan - sweets are homemade or purchased, then shared. Many social gatherings, wedding ceremonies and religious festivals often include a social celebration of food, and the flavors of sweets are an essential element of such a celebration.
HISTORY
Ancient Sanskrit literature from India mention feasts and offerings of mithas (sweet). One of the more complete surviving document, with extensive description of sweets and how to prepare them is the Sanskrit document, Mānasollāsa (Sanskrit: मानसोल्लास; literally, the delight of an idea,[or delight of mind and senses); this ancient encyclopedia on food, music and other Indian arts is also known as the Abhilaṣitārtha Cintāmaṇi (the magical stone that fulfils desires). Mānasollāsa was composed about 1130 AD, by the Hindu King Somesvara III. In this document, meals are described to include a rice pudding it calls payasam (Sanskrit: पायसं), which is another word for kheer. The document mentions seven kinds of rice.
Mānasollāsa also describes recipes for golamu as a donut from wheat flour and scented with cardamom, gharikas as a fried cake from black gram flour and sugar syrup, chhana as a fresh cheese and rice flour fritter soaked in sugar syrup that the document suggests should be prepared from strained curdled milk mixed with buttermilk, and many others. Mānasollāsa mentions numerous milk-derived sweets, along with describing the 11th century art of producing milk solids, condensed milk and methods for souring milk to produce sweets.
The origin of sweets in Indian subcontinent has been traced to at least 500 BC, where records suggest both raw sugar (gur, vellam, jaggery) as well as refined sugar (sarkara) were being produced. By 300 BC, kingdom officials in India were including five kinds of sugar in official documents. By the Gupta dynasty era (300–500 AD), sugar was being made not only from sugar cane, but other plant sources such as palm; sugar-based foods were also included in temple offerings, as bhoga for the deities, which after the prayers became Prasād for devotees, the poor or visitors to the temple.
VARIETIES
BARFI
Barfi is a sweet, made of milk solids (khoya) or condensed milk and various other ingredients like ground cashews or pistachios. Some barfi use various flours such as besan (gram flour). Barfi may be flavored with pastes or pieces of fruits such as mango, banana, berries, coconut. They may include aromatic spices such as cardamom and rose water to enhance the sensual impact while they are consumed.
Sometimes a thin inert silver or gold layer of edible foil is placed on top face of burfi for an attractive presentation. Gold and silver are approved food foils in the European Union, as E175 and E174 additives respectively. The independent European food-safety certification agency, TÜV Rheinland, has deemed gold leaf safe for consumption. Gold and silver leaf are certified kosher. These inert metal foils are neither considered as toxic to human beings nor broader ecosystem.
CHAM-CHAM
Cham Chams are prepared from flattened paneer (a form of curdled milk solids, cheese) sweetened in syrup.
CHENA MURKI
Chhena murki, or chenna murki, is a sweet made from an Indian version of cottage cheese, milk and sugar in many states such as Odisha. Milk and sugar are boiled to a thick consistency. Round, cubes, cuboid or other shapes of cottage cheese are soaked in the milky condensate. Other flavors and aromatic spices are typically added. It is also known by Bangladeshi and Guyanese people as pera.
CHIKKI
Chikki is a ready-to-eat solid, brittle sweet generally made from casting a mix of dry nuts and hot jaggery syrup. Peanuts and jaggery mix are most common. Other than almonds, cashews, walnuts, sesame and other seeds, varieties of chikki are also prepared from puffed or roasted Bengal gram, puffed rice, beaten rice, puffed seasonal grains, and regional produce such as Khobara (desiccated coconut). Like many Indian sweets, Chikki is typically a high protein delicacy.
GAJRELA
Gajrela, also called Gajar halwa, is a seasonal pudding-like sweet made from the root vegetable carrot. It is popular in Punjab regions of India and Pakistan, agricultural belt of North India, now common in many parts of South Asia. It is made by slowly cooking carrot with ghee, concentrated and caramelized milk, mawa (khoya) and sugar; often served with a garnish of aromatic spices, almonds, cashews or pistachios. The recipes vary by region, and Gajrela may be cooked without ghee, then include cheese or other milk solids for sophisticated mix of flavors. It is common in Indian restaurants, and also a seasonal street and cafe food during post-monsoon through spring festive celebrations.
GULAB JAMUN
Gulab jamun is a common sweet found in Bangladesh, India, Nepal and Pakistan. It is made out of fried chenna (milk solids and cheese) balls soaked in sweet rose-water flavoured syrup.
JALEBI OR IMARTI
Jalebi is made by deep-frying a fermented batter of wheat flour with yoghurt, in a circular (coil-like) shape and then soaking it in sugar syrup. Imarti is a variant of Jalebi, with a different flour mixture and has tighter coils. Typically Jalebi is brown or yellow, while Imarti is reddish in colour. Often taken with milk, tea, yogurt or Lassi. In classical Sanskrit literature, jalebis have been referred to as kundalika or jalavallika.
KHAJA
Khaja is a sweet of India. Refined wheat flour, sugar and oils are the chief ingredients of khaja.
It is believed that, even 2000 years ago, Khajas were prepared in the southern side of the Gangetic Plains of Bihar. These areas which are home to khaja, once comprised the central part of Maurya and Gupta empires. Presently, Khajas are prepared and sold in the city of Patna, Gaya and several other places across the state of Bihar. Khajas of the Silao and Rajgir are known for their puffiness.
Khajas have travelled to some other parts of India, including Andhra Pradesh and Odisha. Khaja of Kakinada is a coastal town of Andhra Pradesh. Where as khaja of Puri is too famous. At first, the batter is of wheat flour, mawa and oil. It is then deep fried until crisp. Then a sugar syrup is made which is known as "pak". The crisp croissants are then soaked in the sugar syrup until they absorb the sugar syrup. In Kakinada, Khaja is dry from outside and full of sugar syrup from inside and is juicy.
KULFI
Kulfis are traditional South Asian ice-cream, where flavored milk is first condensed and caramelized by slow cooking in presence of a small quantity of rice or seasonal grain flour; once condensed, dry nut pastes and aromatic spices are added, the mix frozen in small earthen or metal cans. This creates one of the densest known form of frozen sweets; it is typically served between -10 to -15 C when they are easier to spoon and eat. It comes in a variety of flavours such as mango, kesar, pistachios, badam (almond), coconut and plain. It is also a street side urban as well as rural India summer time snack and festive sweet, where food hawkers carry around frozen mounds of kulfi in a big earthen pot and play a particular horn music to attract customers. These vendors are known as "kulfiwalla" (one who sells kulfi).
KHEER OR PAYAS
Kheer is a pudding, usually made from milk, sugar and one of these ingredients - vermicelli, rice, Bulgar wheat, semolina, tapioca, dried dates, and shredded white gourd. It is also known as "Payas".
As sweet rice pudding, payas has been a cultural dish throughout the history of India, being usually found at ceremonies, feasts and celebrations. In many parts of India, ancient traditions maintain that a wedding is not fully blessed if payas (or payasam as known in South India) is not served at the feast during traditional ceremonies like marriage, child birth, annaprasan (first solid feed to child), and other occasions. Other than sweet yoghurt, some families include kheer in the last meal, as hospitality and auspicious food, before a family member or guest departs on a long journey away from the home.
LADDU
Kulfis are traditional South Asian ice-cream, where flavored milk is first condensed and caramelized by slow cooking in presence of a small quantity of rice or seasonal grain flour; once condensed, dry nut pastes and aromatic spices are added, the mix frozen in small earthen or metal cans. This creates one of the densest known form of frozen sweets; it is typically served between -10 to -15 C when they are easier to spoon and eat. It comes in a variety of flavours such as mango, kesar, pistachios, badam (almond), coconut and plain. It is also a street side urban as well as rural India summer time snack and festive sweet, where food hawkers carry around frozen mounds of kulfi in a big earthen pot and play a particular horn music to attract customers. These vendors are known as "kulfiwalla" (one who sells kulfi).
Kheer or payas
Kheer is a pudding, usually made from milk, sugar and one of these ingredients - vermicelli, rice, Bulgar wheat, semolina, tapioca, dried dates, and shredded white gourd. It is also known as "Payas".
As sweet rice pudding, payas has been a cultural dish throughout the history of India, being usually found at ceremonies, feasts and celebrations. In many parts of India, ancient traditions maintain that a wedding is not fully blessed if payas (or payasam as known in South India) is not served at the feast during traditional ceremonies like marriage, child birth, annaprasan (first solid feed to child), and other occasions. Other than sweet yoghurt, some families include kheer in the last meal, as hospitality and auspicious food, before a family member or guest departs on a long journey away from the home.
MALPOA
Malpoa is the most ancient homemade sweets of India. It is a form of pancake (made of wheat or rice flour) deep fried and sugar syrup.
NARKEL NARU
Narkel Naru is a dessert from Bengal. They are ball-shaped and made from khoa/condensed milk and coconut, a traditional food during Pujas such as the Lakshmi Puja
PARWAL KI MITHAI
Parwal Ki Mithai is a dry sweet made of the vegetable parwal, a kind of gourd. The shell of parwal is filled with milk solids, then cooked. It is rather popular in Bihar, but also found in Uttar Pradesh and West Bengal.
PATHISHAPA
Pathishapta is a Bengali dessert. The final dish is a rolled pancake that is stuffed with a filling often made of coconut, milk, cream, and jaggery from the date palm. These desserts are consumed in Thailand as well.
RASGULLA
Rasgulla is a popular sweet in South Asia. They come in many forms, such as Kamalabhog (Orange Rasgulla), Rajbhog (Giant Rasgulla), Kadamba often served with kheer, Rasamundi, Raskadamba, and others. Some are white, others cream, brown, gold or orange colored. They are called Rasbari in Nepal. This dish is made by boiling small dumplings of chhenna and semolina mixture in sugar syrup. Once cooked, these are stored in the syrup making them spongy. Increasing the semolina content reduces the sponginess and hardens them, creating variety of textures. Some Rasgulla are stuffed inside with treats, such as dry fruits, raisins, candied peel and other delicacies to create a series of flavors experienced as they are consumed. Some versions, called danedhar, are removed from syrup and sugar coated into shapes of fruits and other creative designs. These are festive foods found year round, in many parts of India.
SANDESH
Sandesh is a sweet made from fine cheese made from cow's milk kneaded with fine ground sugar or molasses. This is a sweet from West Bengal and Odisha. Revered for its delicate making, and appreciated by the connoiseur, this represents sweet making at its finest. Sandesh comes in two varieties, "Norom Pak" (the softer version) and "Koda Pak" (the harder version). The softer version although more gentle and considered better, is fragile. The harder version is robust and often easier for storage. Molasses made from dates can be used to make a special variation of Sandesh called "Noleen Gurher Sandesh" (a Sandesh made from "Noleen Gurh" or molases from dates) or simply "Noleen Sandesh".
SEL ROTI
Sel roti is a Nepali home-made circular-shaped bread or rice donut, prepared during Tihar, a widely celebrated Hindu festival in Nepal. It is made of rice flour with adding customized flavors. A semi liquid rice flour dough is usually prepared by adding milk, water, sugar, butter, cardamom, cloves and other flavors of personal choice.
SHRIKHAND
Shrikhand is a creamy dessert made out of strained yogurt, from which water is drained off completely. Dry fruits, mango puree, saffron or cardamom and sugar are added to the thick yoghurt to get the desired flavour and taste. It is served chilled. It is a West Indian traditional dish.
OTHER INDIAN & PAKISTANI SWEETS
Other traditional Indian sweets and desserts famous throughout the history of Indian food include:
- Mysore pak (a dessert made out of ghee, sugar and chick pea flour),
- Halwa (or Halva in modern English spelling); made out of flour, butter and sugar
- Jangiri
- Jhajariya
WIKIPEDIA
Dedicated to Paul Ewing following a recent conversation about the edges of photos.
Three Pano-sabotage shots overlooking the lobby of a clinic. Edited as several layers. Edges enhanced with black borders.
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
"Hexham Abbey is a Grade I listed place of Christian worship dedicated to St Andrew, in the town of Hexham, Northumberland, in northeast England. Originally built in AD 674, the Abbey was built up during the 12th century into its current form, with additions around the turn of the 20th century. Since the Dissolution of the Monasteries in 1537, the Abbey has been the parish church of Hexham. In 2014 the Abbey regained ownership of its former monastic buildings, which had been used as Hexham magistrates' court, and subsequently developed them into a permanent exhibition and visitor centre, telling the story of the Abbey's history.
here has been a church on the site for over 1300 years since Etheldreda, Queen of Northumbria made a grant of lands to St Wilfrid, Bishop of York c.674. Of Wilfrid's Benedictine abbey, which was constructed almost entirely of material salvaged from nearby Roman ruins, the Saxon crypt still remains; as does a frith stool, a 7th/8th century cathedra or throne. For a little while around that time it was the seat of a bishopric.
In the year 875, Halfdene (Halfdan Ragnarsson) the Dane ravaged the whole of Tyneside and Hexham Church was plundered and burnt to the ground.
About 1050, one Eilaf was put in charge of Hexham, although as treasurer of Durham, he probably never went there. Eilaf was instructed to rebuild Hexham Church, which then lay in utter ruin. His son Eilaf II completed the work, probably building in the Norman style.
In Norman times, Wilfrid's abbey was replaced by an Augustinian priory. The current church largely dates from c.1170–1250, built in the Early English style of architecture. The choir, north and south transepts and the cloisters, where canons studied and meditated, date from this period.
The east end was rebuilt in 1858. The Abbey was largely rebuilt during the incumbency of Canon Edwin Sidney Savage, who came to Hexham in 1898 and remained until 1919. This mammoth project involved re-building the nave, whose walls incorporate some of the earlier church, and the restoration of the choir. The nave was re-consecrated on 8 August 1908.
The church was recorded as Grade I listed in 1951. In 1996 an additional chapel was created at the east end of the north choir aisle; named St Wilfrid's Chapel, which offers a place for prayer or quiet reflection.
Hexham (/ˈhɛksəm/ HEKS-əm) is a market town and civil parish in Northumberland, England, south of the River Tyne, and was the administrative centre for the Tynedale district from 1974 to 2009. In 2011, it had a population of 11,829.
Smaller towns and villages around Hexham include Corbridge, Riding Mill, Stocksfield and Wylam to the east, Acomb and Bellingham to the north, Allendale to the south and Haydon Bridge, Bardon Mill and Haltwhistle to the west. Newcastle upon Tyne is about 25 miles (40 km) to the east and Carlisle is 37 miles (60 km) to the west.
Hexham Abbey originated as a monastery founded by Wilfrid in 674. The crypt of the original monastery survives, and incorporates many stones taken from nearby Roman ruins, probably Corbridge or Hadrian's Wall. The current Hexham Abbey dates largely from the 11th century onward, but was significantly rebuilt in the 19th century. Other notable buildings in the town include the Moot Hall, the covered market, and the Old Gaol.
The Anglo-Saxon Chronicle (Manuscript D: Cotton Tiberius B IV) records the murder of King Ælfwald by Sicga at Scythlecester (which may be modern Chesters) on 23 September 788:
This year Alfwald, king of the Northumbrians, was slain by Siga, on the ninth day before the calends of October; and a heavenly light was often seen on the spot where he was slain. He was buried at Hexham in the church.
The name of Hexham derives from the Old English Hagustaldes ea and later Hagustaldes ham whence the modern form (with the "-ham" element) derives. Hagustald is related to the Old High German hagustalt, denoting a younger son who takes land outside the settlement; the element ea means "stream" or "river" and ham is the Old English form of the Modern English "home" (and the Scots and Northern English "hame").
Like many towns in the Anglo-Scottish border area and adjacent regions, Hexham suffered from the border wars between the kingdoms of Scotland and England, including attacks from William Wallace who burnt the town in 1297. In 1312, Robert the Bruce, King of Scotland, demanded and received £2000 from the town and monastery in order for them to be spared a similar fate. In 1346 the monastery was sacked in a later invasion led by King David II of Scotland.
In 1464 during the Wars of the Roses, the Battle of Hexham was fought somewhere to the south of the town; the actual site is disputed. The defeated Lancastrian commander, Henry Beaufort, 3rd Duke of Somerset, was executed in Hexham marketplace. There is a legend that Queen Margaret of Anjou took refuge after the battle in what is known as The Queen's Cave, where she was accosted by a robber; the legend formed the basis for an 18th-century play by George Colman the Younger (The Battle of Hexham: A Comedy in Three Acts); but it has been established that Queen Margaret had fled to France by the time the battle took place. The Queen's Cave in question is on the south side of the West Dipton Burn, to the southwest of Hexham.
Until 1572, Hexham was the administrative centre of the former Liberty or Peculiar of Hexhamshire.
In 1715, James Radclyffe, 3rd Earl of Derwentwater, raised the standard for James Francis Edward Stuart in Hexham Market place. The rising, however, was unsuccessful, and Derwentwater was captured and beheaded after the Battle of Preston.
In 1761, the Hexham Riot took place in the Market Place when a crowd protesting about changes in the criteria for serving in the militia was fired upon by troops from the North Yorkshire Militia. Fifty-one protesters were killed, earning the Militia the sobriquet of The Hexham Butchers.
Throughout the eighteenth and nineteenth centuries, Hexham was a centre of the leather trade, particularly renowned for making gloves known as Hexham Tans—now the name of a vegetarian restaurant in the town.
"Hexham" was used in the Borders as a euphemism for "Hell". Hence the term "To Hexham wi’ you an’ ye’r whussel!", recorded in 1873, and the popular expression "Gang to Hexham!". "Hexham-birnie" is derived from the term and means "an indefinitely remote place"." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Thank you to Rachel and Andy for enabling me to become a Great Uncle to Anabelle who was born at 1.30am this morning. Anabelle weighed in at 6lb 10oz.
May she become the 4th generation to swim in our favourite lake at Bala. If she is anything like her mother, grandmother and great grandmother she will be in there before she can walk !!
Mukteshvara Temple (IAST: Mukteśvara; also spelt Mukteswar) is a 10th-century Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, India. The temple dates back to 950–975 CE and is a monument of importance in the study of the development of Hindu temples in Odisha. The stylistic development the Mukteswar marks the culmination of all earlier developments, and initiates a period of experiment which continues for an entire century, as seen in such temples as the Rajarani Temple and Lingaraj temple, both located in Bhubaneswar. It is one of the prominent tourist attractions of the city.
HISTORY
The Mukteshvara Temple is found to be the earliest work from the Somavamshi period. Most scholars believe the temple is the successor to Parashurameshvara Temple and built earlier to the Brahmeswara Temple (1060 CE). Percy Brown puts the date of construction of the temple to 950 CE. The presence of a torana, which is not part of any other temple in the region, makes this temple unique and some of the representations indicate the builders were starters of a new culture. K.C. Panigrahi places the temple to be built during 966 CE and postulates that the Somavamshi king Yayati I built the temple. He also associates the legend of Kirtivassa to this temple, but the postulation is not accepted as Kirtivasa is associated with Lingaraja, though both were built at the same time for the same deity, Shiva. There is no historic evidence to conclude that Yayati I built the temple.
ARCHITECTURE
This architecture is one of the basic reasons why Mukteshvara Temple is also known as the "Gem of Odisha architecture". The temple faces west and is constructed in a lower basement amidst a group of temples. The pyramidal roof to the jagamohana present in the temple was the first of its kind over the conventional two tier structure. The temple is a small one compared to other larger temples in Bhubaneswar. The temples is enclosed within an octagonal compound wall with elaborate carvings on it. It is believed that the experiment of newer pattern in the temple showed a mature phase compared to its predecessors and culminated the beginning of replication of similar pattern in the later temples in the city. The temple has a porch, called torana, which acts as the gateway to the octagonal compound. The temple has two structures namely, the vimana (structure above the sanctum) and a mukhasala, the leading hall, both of which are built on a raised platform. The temple is the earlies to be built in pithadeula type.
PORCH
The most important feature of the Mukteshvara Temple is the torana, or the arched gateway, dating back to about 900 CE and showing the influence of Buddhist architecture. The arched gateway has thick pillars that have strings of beads and other ornaments carved on statues of smiling women in languorous repose. The porch is a walled chamber with a low, massive roof and internal pillars. The combination of vertical and horizontal lines is skilfully arranged so as to give dignity of buildings of moderate height. This early astylar form of the temple is best illustrated in this temple. The gateway has sculptures that range from elaborate scrolls to pleasant female forms and figures of monkeys and peacocks. The front and back of the arch are similar in design.
VIMANA
The Vimana is square in plan and is built in a raised platform with pilasters in each facade. The shikara is small compared to other temples; it has four Natarajas on and four kirthimukhas on the four faces. The top portion of the shikara has the kalasa. The shikara is 10.5 metres tall, with every inch sculpted with decorative patterns, architectural patterns and sculpted figures. A new form of decoration called bho, possibly developed here, became a prominent feature in later Odishan temples. It is a highly ornate chaitya window crowned by masked demon head and dwarf figures.
SANCTUM
The sanctum is sculpted with beautiful damsels exhibiting feminine charms entwined with nagas and naginis. The sanctum is cubical from the inside with offset walls in the outside.
JAGAMOHANA
This distinctive 10th-century temple is one of the smallest and compact temples. The jagamohana is 35 m tall. It is decorated with intricate carvings by the Vishwakarma Moharana sculptors. The temple is regarded as a gem of Nagara architecture of Kalinga architecture. Except for the rectangular plan of its jaganmohana, it is the earliest example of what may be termed proper Odisha temple type; a vimana with a curvelinear spire and a jaganmohana with a stepped pyramidal roof. The temple's red sandstone is covered with exquisite carvings of lean sadhus or holy men and voluptuous women encrusted with jewels. The images of Ganga and Yamuna are carved next to Chanda and Prachanda. The torana is present in front of the jagamohana. The figure of Lakulisa, seated in bhumispara-mudra and holding a lakuta is present on the lintel of the jagamohana. The figures of Gajalakshmi, Rahu and Ketu are also sculpted in the structure. A small extension from the side roof of the jagamohana has the image of a lion sitting on its hind legs. The exterior walls of the structure are decorated with pilasters with nagas and naginis.
OTHERS
The doorway to the inner sanctum houses the image of Ketu with three hooded snakes, commonly regarded as the ninth planet in the Hindu mythology. There is a tank in the eastern side of the temple and a well in the south-western corner. A dip in the well is believed to cure infertility in women. There are other shrines within the temple complex with lingam inside, which were used as offering shrines. The doorway of the temple is orante. The temple is enclosed by a low compound wall that follows the contours of the temple. The temple has sculptures both inside and outside the structure. The compound walls leaves a very small passage separating the shrine.
RELIGIOUS SIGNIFICANCE
Mukteshvara means "Lord of Freedom". The temple is dedicated to Hindu god Shiva. There are a number of sculptures of skeletal ascetics in teaching or meditation poses. Some scholars correlate the role of the temple as a centre for Tantric initiation with the name Mukteshvara as a possible thesis. The outer face of the compound wall has niches of Hindu deities like Saraswathi, Ganesha and Lakulisha (the fifth century founder of the Pashupata sect of tantric Shaivism). The numerous images of Lakulisha are found in miniature forms within Chaitya arches, showing various mudras like yoga, Bhumispara and vyakyana wit yogapatta tied to their knees. They are accompanied by the images of the disciples. According to tradition, barren women give birth to sons if they take a dip in Madicha Kunda tank in the premises of the temple on the night before Ashokashtami car festival. On the evening, the water in the tank is sold to the public.
IN POPULAR CULTURE
The Department of Tourism of the state government organises a three-day yearly dance function called Mukteswar Dance Festival in the temple premises. This festival celebrates the features of Odissi, the classical dance form of Odisha. Popular Odissi dancers perform during the function, accompanied by instruments like mardal. The event is webcast in the state government portal.
WIKIPEDIA
"Love, myths and other stories" is the exhibition celebrating the bimillennian of Ovidio (Rome, Scuderie del Quirinale) and dedicated to the life, work and legacy of Ovid.
Words and verses: this is what remains of Ovid. Even his face is known to us only through evocations in Mediaeval manuscripts and Renaissance books that provide us with imaginary likenesses: the poet appears on the frontispieces either standing or seated at his desk, represented according to the canons of a man of letters of the period, often wearing a laurel wreath.
More is known about Ovid's personality which can be construed from his vast literary output, and has come down to us in manuscripts, giving him the immortality that he himself prophesied at the end of Metamorphoses. The poet tackled all the main styles in literature, grappling with and mastering very different genres, modernizing both the content and the form.
The romantic elegy features in his poetry from the early years: in the “Amores” the poet writes of earthly love for young girls, matrons, slaves and freedwomen; in the “Heroides” he explores the feelings of the mythic heroines betrayed and abandoned by deceitful or simply inattentive lovers; he adopts yet another register for “Ars amatoria”, where passion and desire become the subject of an educational guide. He then went on to tackle civic and epic poetry, creating the poem that would make him famous for generations, the “Metamorphoses”. Ovid occupies a special place among the great poets of the Latin world for the size and variety of his literary production and his role in handing down the great tradition of classical mythology. Thanks to him the enthralling tales of the gods, heroes, youths and nymphs have been imprinted in our collective memory.
Through his poetry, the word that overcomes the oblivion of time, Ovid achieved the immortality he so desired.
Me vatem celebrate, viri, mihi dicite laudes,
cantetur toto nomen in orbe meum
[ars 2, 739~740]
Celebrate me the prophet, O ye men:
sing my praises, let my name be sung
in all the world
Me ev'ry youth shall praise, extol my name,
And o'er the globe diffuse my lasting fame.
Ovid was an acute observer of contemporary Rome. He wrote of made—up women, ardent lovers, assignations and the sybaritic pleasures of banquets and theatrical performance. He frequented the intellectual circles and the most exclusive salons in the city where his instructive playful approach was particularly appreciated, although it made him unpopular with the emperor, who was engaged in a campaign of moral reform. For a crime, the precise nature of which remains unknown, Augustus exiled the sophisticated interpreter of Greek and Roman myth to Tomis, present-day Costanta in Romania. His later years were marked by the pain of exile and the vain hope that his sentence would be reduced.
Giovan Battista Benvenuti, called l’Ortolano
Ca. 1505-1510
Oil on panel
Exhibition: “Ovidio: Loves, Myths & Other Stories”
Scuderie del Quirinale, Rome
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.
Who fed me from her gentle breast
And hushed me in her arms to rest,
And on my cheek sweet kisses prest?
My mother.
When sleep forsook my open eye,
Who was it sung sweet lullaby
And rocked me that I should not cry?
My mother.
When pain and sickness made me cry,
Who gazed upon my heavy eye
And wept, for fear that I should die?
My mother.
Who ran to help me when I fell
And would some pretty story tell,
Or kiss the part to make it well?
My mother.
When thou art feeble, old and gray,
My healthy arm shall be thy stay,
And I will soothe thy pains away,
My mother
And when I see thee hang thy head,
'Twill be my turn to watch thy bed,
And tears of sweet affection shed,-
My mother.
by Jane Taylor
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: Ensemble by »Mentos«, »HuskMitNavn«, »Erosie« and »Late«, spotted in the Dedicated BackYard at night.
Mid December 2013. – Thanx to Babak and the Shop-Crew.
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...
Officers from GMP's dedicated operation to tackle organised crime in Salford were out on a warrant this morning near Weaste. A 27-year-old man has been arrested on suspicion of possession with intent to supply class B drugs and is in custody for questioning.
It is one of almost 180 arrests that the team have made to help tackle crime in the city in the past 12 months, since the launch of our 'disruption hub' in April last year.
Keep an eye out on our channels this week for further information on the work being done by the team in the last year.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Dedicated to the New York City Fire Department (NYFD) this gorgeous bird is captured at Long Beach Airport (LGB/KLGB).
Dedicated to Omasjon (Marion Olde Scheper - www.flickr.com/photos/62699928@N06/) in tribute of all her kind and gentle support
- Couleurs modestes
J.B. Hunt Dedicated Contract Services Freightliner Cascadia 333118 with a 53’ trailer
#jbhunt #jbhuntdedicated #jbhuntfinalmile #jbhunttruck #jbhunttrucks #dedicatedcontractservices #finalmile #finalmileservices #freightliner #freightlinercascadia #freightlinertruck #freightlinertrucks #cascadia #detroitdiesel #detroitdieselpower #detroitdieselengines #detroitpower #detroitpowered #333118
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.