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Saint Michael's (German: Sankt-Michael-Kirche) is a Roman Catholic church in Berlin, Germany, dedicated to the Archangel Michael. It is located in Mitte (former Luisenstadt), near the border between Berlin-Mitte locality and Kreuzberg. The church was built between 1851 and 1861, and also served as a garrison church for Catholic soldiers. It was heavily damaged by bombing during the Second World War and partially reconstructed in the 1950s. It is protected as a historical monument in Berlin.

 

SITE

Saint Michael's is located on the Michaelkirchplatz in Engelbecken, which was part of the old Luisenstadt Canal, along which the Berlin Wall ran until German reunification. After the canal's closure in 1926, the space was converted into a park, which offered an uninterrupted view of St Michael's from the south. This view was opened up after the fall of the Berlin Wall, such that the church is once more seen in the way it was originally conceived. Michaelkirchstraße runs from Michaelkirchplatz to the River Spree, crossing Köpenicker Road (de), and has existed since the sixteenth century. In the immediate neighbourhood of the church, there are also monuments set up by the Haus des Deutschen Verkehrsbunds (de) and the College of St Mary's Church.

 

HISTORY

DESIGN (1846–1850)

The Protestant king Frederick William IV approved the construction of a second Roman Catholic church in Berlin after the Reformation, which was originally planned mainly as a church for the military garrison. It was intended to give Catholic soldiers living in Berlin a spiritual home and ease the pressure on St. Hedwig's Cathedral.

 

The architect August Soller completed the original design in 1845. He planned a front facade with two towers, with Gothic elements, which he later abandoned. The plan envisioned the church would take the form of a "Zentralbau", but he later extended it into a hall church. As a result of the abandonment of the double-tower facade, the church now lacked a clearly visible profile. This could not be provided by the heavy octagonal roof planned for the cupola, so Soller substituted a domed tower, in accordance with earlier architectural models and the wishes of Frederick William IV.

 

CONSTRUCTION (1851–1856)

Frederick William IV had already named Michaelstraße after the Archangel Michael (in 1849 it became Michaelkirchstraße) and encouraged to the building commission's decision to place the church under the patronage of the Archangel Michael as well. On 14 July 1851, the foundation stone was laid, with the King and his family in attendance, along with church, secular, and military officials. Several thousand people lined the banks of the Engelbecken.

 

Construction went on from 1851 until 1861. Soller died during the construction and was buried inside in 1856. As a result of financial difficulties, construction of the church stalled for some time. The building was completed by Andreas Simons, Martin Gropius, and Soller's nephew, Richard Lucae. In 1896, the cost of the church's construction was estimated at 438,000 marks. The church was consecrated on 28 October 1861, by the Bishop of Breslau, in the presence of William I, Emperor of Germany.

 

MILITARY TO CIVILIAN USE

After the church's consecration in 1861, a military church area for 3,000 Catholic soldiers was established. Two years later, a local church district was added, which constantly grew until 1877. In 1888 it was promoted to a parish. With the settlement of the area around the church (which had still been wasteland when the church was begun), the parish expanded further. At its foundation, the area had 6,000 members, but by 1900 there were nearly 20,000 Roman Catholics in the parish, who were called "Michaelites."

 

SOCIAL CONFLICT AND ENGAGEMENT

Around 1900, the area around St michael's, with its many tenements, was a social flashpoint. On 26 February 1892 there were large scale protests and riots due to unemployment. Members of the parish banded together to form a relief society, in order to reduce the problem. Marist sisters came from Breslau in 1888 and established the Marienstift in 1909, which endured until 1995. The Marienstift had social facilities, mobile health care, a kindergarten, and accommodation for servant girls. The Blessed Domprobst Bernhard Lichtenberg, who was alter a prominent opponent of National Socialism, was chaplain at St Michael's from 1903 to 1905. The church's social engagement increased between 1917 and 1926 under Maximilian Kaller, who would also later become an opponent of the Nazis. Kaller brought members of the parish together as a lay apostolate for ensuring pastoral care.

 

ENGELBECKEN

When the Luisenstadt Canal was closed in 1926, it was planned for the so-called Engelbecken ("Angel's pool"), named after the church's patron, to be converted into a public swimming pool. This outraged Berlin's Catholics. With the aid of the Centre Party, the approval of the plans by the Landtag of Prussia was blocked and the Engelbecken was turned into a pond for swans, surrounded by green space.

 

WAR DAMAGE AND REBUILDING

In the final months of the Second World War, on 3 February 1945, the Luisenstadt was nearly entirely destroyed by air raids carried out by the USAAF with over 950 aircraft. St Michael's suffered serious damage as a result of fire bombing. The organ and the majority of the church's interior were destroyed. The outer walls, domed tower and the front of the church remained largely intact. As a result of the destruction of the roof, the dome is seen through the portal window, which is below the bell tower. Abover the Portal, there is a mosaic depicting the annunciation, which partially survived the bombing as a result of the survival of the entranceway.

 

Services were accordingly shifted into the Marienstift. Under Franz Kusche, the Apse, sacristry, and the transept were rebuilt and services were able to be held within the church once more in 1953. In 1957, three new bells were installed and in 1960, the new organ was consecrated after the construction of a new space for it.

 

DIVISION OF THE PARISH

With the construction of the Berlin Wall in 1961, the parish was split into an eastern and a western half. St Michael's fell on the eastern side of the wall, so the Catholics of West Berlin erected their own Church of St. Michael (de) on Waldemarstraße (Alfred-Döblin-Platz), immediately beyond the wall. This Western Church was designed by Rudolf Schwarz, who died in 1961; it was one of his last buildings. It was intended that the building would be able to serve as a church hall in the event of German Reunification. The centennial of St Michael's dedication was celebrated in October 1961.

 

During this period of separation, the two parts of the parish developed in very different ways. By the 1980s, the western part of the parish had expanded in Kreuzberg and become more focussed on youth, while the eastern part of the parish continued to employ traditional liturgy and services. This division continued after German Reunification and St. Michael's in the east now belongs to the parish of St. Hedwig's Cathedral, while the western part of the parish belongs to the parish of St. Mary's (de).

 

In 1978, the Church was given heritage status. From 1978 to 1980, the copper of the dome was replaced, the brickwork was repaired, and the new crucifix was remounted. In 1984, the parish house was moved from Michaelkirchstraße to a new parish house which was built in the ruins of the church between 1985 and 1988.

 

A clear view of St Michael's from the Oranienplatz was not possible between 1961 and 1990, because of the Berlin Wall. The lower half of the church, which could not be seen because of the concrete segments of the wall, was painted on the western part of the wall, as Trompe-l'œil, by the Berlin-based, Iranian artist Yadegar Asisi on the initiative of Berlin architect Bernhard Strecker, in order to demonstrate the "permeability" of the wall (Mauerdurchblick). After the demolition of the wall, the Italian Marco Piccininni bought painted segments of the wall found near Waldemarbrücke n an auction at Monte Carlo in 1990, which he subsequently donated to the Vatican, where they were installed in the Vatican Gardens in August 1994. Other graffiti on the Berlin Wall along Waldemarstraße is documented in ten connected poster-photos taken by photographers Liselotte and Armin Orgel-Köhne in 1985.

 

AFTER REUNIFICATION

After the Fall of the Berlin Wall, the Bell tower was refurbished and the statue of Michael was restored and returned to the tower (1991-1993). The mosaic depicting the Annunciation above the portal was restored again in 1999. Even now, however, the nave has no roof and services are held in the transepts. On 7 March 2001, the Association of Friends for the Protection of the Catholic Church of St Michael's of Berlin-Mitte was founded, to upport activities connected with the church.

 

On 31 October 2003, Archbishop Georg Sterzinsky decided to merge the parish of St Michael, which at that point had only 800 members, into the neighbouring parish of St Hedwig's Cathedral. Thus the church is no longer a parish church, although religious services continue to take place in it.

 

In August 2005, plans were revealed for the restoration of the nave and the installation of a Centre Against Expulsions in it from Autumn 2006. On 15 August 2005, the Archbishop made a statement saying that the church's agreement with the Federation of Expellees had been cancelled, "on account of a lack of community agreement with the installation of the centre in a church."

 

STRUCTURE

EXTERIOR

The three-aisled brick nave is 55 metres long, 30 metres high, and 19 metres wide. The church is topped by a tower over the crossing with a copper dome, which is over 56 metres high. On the corner columns of the crossing, there were statues of the Four Evangelists on high pedestals, before the church's damage during the Second World War.

 

The front facade has a bell tower with three round vaulted windows, but no towers. The statue of St Michael on the front facade is a replica of a statue made by the sculptor August Kiß for another purpose. The whole exterior is decorated with buttresses, friezes, and statues, as well as multi-coloured pricks.

 

INTERIOR

The church is a hall church, i.e. the three aisles of the nave were all of the same height (before they were destroyed in the war). The architect, Soller, originally planned the church as a "Zentralbau" (i.e. a building with rotational symmetry). He adapted this idea into a basilica structure, roofing each bay so that they appeared as a series of "Zentralbauten" arranged one after another.

 

The three aisles each end in an apse, as in Romanesque architecture. The two side apses used to contain altars dedicated to Mary and Joseph. The central apse, there is an image of the Archangel Michael locked in combat with Lucifer in the form of a dragon atop the high altar; the half-dome of the apse's ceiling contains a depiction of Jesus as Pantokrator.

 

Not all the decorations and images of the interior were restored during the post-war renovations. The original organ, now lost, was located in the matroneum above the main entrance. The pulpit is located on an eastern pillar of the crossing. There is also a tabernacle with a marble image of the Madonna on the altar, made by sculptor Heinrich Pohlmann.

 

The transept is roofed by a barrel vault. After the partial destruction of the church, services were moved to the transept and as a result the eastern side entrance is now the main entrance to the church. The current organ is located in a new matroneum above the eastern entrance. This organ was made in 1960 by the W. Sauer Orgelbau Frankfurt company.

 

The west end of the transept now serves as the Choir and contains the altar. A two-level flat roof has been installed in the nave, which extends to the final columns before the transept. The rest of the old nave has been converted into a garden.

 

ARCHITECTURAL STYLE

The church is considered a successful synthesis of Neoclassical and Medieval architecture. Soller drew on earlier architectural styles in a historicist manner. It is strongly influenced by Medieval and Renaissance churches of Padua and Venice. Soller had taken a five-month research trip through Italy in 1845, immediately before his first design work. The interaction between the water and architecture in Vencie was a particular inspiration. The facade with its filigree angels was based on San Giorgio Maggiore in Venice. The overall design, with its three apses and the vast nave is, however, heavily influenced by the church of San Salvador, Venice. The combination of the "Zentralbau" and hall church structures had a significant influence on several subsequent buildings of the Schinkel school in Berlin.

 

WIKIPEDIA

Atlantic Terminal

The Leongatha Memorial Hall and Shire Offices were opened and dedicated by Brigadier General

Elliot and Chaplain Colonel Cookston on 24 May, 1926. Chaplain Cookson dedicated the Hall with a prayer that concluded with "In the Name of the Town and Residents of the District, I Dedicate this Hall". It was designed by local architect, T. E. Molloy, and was constructed by Raymond V. Ritchie for £14,000.

 

The interior decoration included 12 panels depicting scenes from the leading "purely Australian" battles of World War I, with the proscenium being flanked by scenes depicting Gallipoli, and the battle between HMAS Sydney and the Emden. These were painted by Mr. J. Broche of Inverloch.

 

The need for a new Memorial Hall and Shire Offices to replace the original buildings constructed in 1890 and 1891 respectively was recognised from the early 1920s, and a resolution was passed at a public meeting held on 13 August 1923 that Council be approached in relation to this matter. The issue came to a head when the old Mechanics Hall and adjoining Shire Offices were destroyed by

fire on 19 February, 1924. A committee was formed after the fire and after several meetings it was decided to advertise for suitable designs. On 22 July 1924, the plans of T. E. Molloy were chosen and following this a loan to finance the project was made, while the Leongatha Branch of the RSSAILA donated £1,000 on the condition that a suitable room was placed in the building "for the exclusive use of members". Tenders were called and on 15 April 1925, the offer of Mr. Raymond V. Ritchie was accepted.

 

The Leongatha Memorial Hall and former Shire Offices is a large brick, hip roofed public hall fronted by a two storey Free Classical facade and single storey wings to either side, terminating at the corner with an engaged colonnaded rotunda and returning north along Michael Place in a single storey classical facade which fronted the shire offices. A notable element is the symmetrical central façade. This is constructed of clinker brick at the ground floor with paired double hung windows on either side of a battered and coursed render arched entry surround connecting through a wide rendered band with the words “In Remembrance” in raised letters to the piano nobile above. The clinker bricks are tuck pointed in blocks, rather than as individual bricks. The whole of the piano nobile is rendered, with windows between alternating single and paired detached Tuscan columns carrying a wide architrave with triglyphs and bosses, cornice and a parapet with a central pediment containing the sunburst coat of arms of the Australian armed forces. It climaxes with a statue of the “Winged Victory” carrying a palm frond and sword and flanked by bronze lamp standards now missing their opal spheres. Pedimented render plaques commemorating the fallen are mounted at the sides of the entry element. The side wings are single storey and are almost symmetrical in form. They have paired and single detached columns supporting an architrave with triglyphs and bosses, cornice and solid balustrade, dividing each side into two brick bays with central windows. The columns sit on short pedestals to the window sill height. Perhaps its most notable and dominating feature is the corner rotunda. This has a matching pattern but slightly higher columns and architrave capped with an octagonal metal clad dome. This rotunda serves as an entry and separates the McCartin Street facade from the Michael Place front. The slightly lower Michael Place front is designed as a separate composition of three bays divided by paired piers with the central element projecting slightly and capped with a pediment. There is a small granite obelisk at the curb opposite the hall entry which commemorates later war dead.

 

The Australian Federation period represented an important phase in the development of Leongatha. The new butter factory, which was erected in 1905, led to increased prosperity in the town and agitation for better public facilities. The new Post Office in 1906 was the first of a number of new buildings added over the next ten years including the Railway Station (1910), Mechanics Institute Library (1911), Court House (1912) and Agricultural High School (1914). After the interruption caused by the Great War (1914 – 1918), this civic building program finally reached its zenith with the construction of the new Memorial Hall and Shire Offices between 1925 and 1926.

 

Leongatha is a town in the foothills of the Strzelecki Ranges, South Gippsland Shire, Victoria, Australia, located 135 kilometres south-east of Melbourne. The town is the civic, commercial, industrial, religious, educational and sporting centre of the region. The Murray Goulburn Co-operative Co. Limited, is a farmers' co-operative which trades in Australia under the Devondale label, and has a dairy processing plant just north of the town producing milk-based products for Australian and overseas markets. First settlement of the area by Europeans occurred in 1845. The Post Office opened as Koorooman on 1 October 1887 and renamed Leongatha in 1891 when a township was established on the arrival of the railway. The Daffodil Festival is held annually in September. Competitions are held and many daffodil varieties are on display. A garden competition is also held and there are many beautiful examples throughout the provincial town. The South Gippsland Railway runs historical diesel locomotives and railcars between the market and dairy towns of Nyora and Leongatha, passing through Korumburra.

  

Muktesvara deula is a 10th-century Hindu temple dedicated to Shiva located in Bhubaneshwar, Odisha, India. The temple dates back to 970 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.

 

HISTORY

The Mukteswar Temple is found to be the earliest work from the Somvamsi period. Most scholars believe the temple is the successor to Parsurameswar 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 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. The Somavamsi king Yayati I contributed to the building of the temple.

 

ARCHITECTURE

This architecture is one of the basic reasons why Mukteswar 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.

 

PORCH

The most important feature of the Mukteswar 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 skillfully 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 southwestern corner. A dip in the well is believed to cure infertility in women. There are other shrines within the temple coomplex 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

Muktesvara 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 center for Tantric initiation with the name Muktesvara 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 Saivism). 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 Ashokastami 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

Hoysaleswara temple (Kannada: ಹೊಯ್ಸಳೇಶ್ವರ ದೇವಸ್ಥಾನ) (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.

 

HISTORY

According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamala and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.

 

TEMPLE PLAN

The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".

 

The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.

 

SCULPTURES

The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.

 

HORIZONTAL TREATMENT

In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.

 

GARUDA PILLAR

Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance

 

WIKIPEDIA

Dedicated to the boys from South Carolina for their action at the Crater in Petersburg.

Petersburg, Virginia.

Fred takes great photos but he says he needs a new girlfriend to get him out these days, and Rebecca is looking for a good working man...

 

More from our Trash the Dress outing last Monday. She wanted a grunge look...

English

 

Maritime Museum

 

The Maritime Museum (Portuguese: Museu de Marinha) of Lisbon is dedicated to all aspects of the History of navigation in Portugal. The museum is administered by the Portuguese Navy and is located in the touristic district of Belém. It occupies a part of the neo-Manueline Western wing of the Jerónimos Monastery (together with the National Museum of Archaeology) as well as a modern annex built to the North of the monastery.

The history of the museum is deeply related to King Luís I (1838-1889), who was a lover of oceanographic studies and an accomplished navigator himself. He created in 1863 a collection of items related to the preservation of maritime history of Portugal, a collection that was enlarged in the following decades, culminating in the inauguration of the Maritime Museum in 1963 in its present location.

The exhibits include historical paintings, archaeological items and many scale models of ships used in Portugal since the 15th century. It is one of the most visited Portuguese museums.

Jerónimos Monastery

The Hieronymites Monastery, is located in the Belém district of Lisbon, Portugal. This magnificent monastery can be considered one of the most prominent monuments in Lisbon and is certainly one of the most successful achievements of the Manueline style (Portuguese late-Gothic). In 1983, it was classified by the UNESCO, with nearby Belém Tower, as a World Heritage Site.

History

The house for the Hieronymite monks was built on the same site of the Ermida do Restelo, a hermitage that was founded by Henry the Navigator at about 1450. It was at this hermitage, that was already in disrepair, that Vasco da Gama and his men spent the night in prayer before departing for India in 1497

The existing structure was started on the orders of Manuel I (1515–1521) to commemorate Vasco da Gama's successful return from India. It was originally meant as a church for the burial of the House of Aviz, but it also became a house of prayer for seamen leaving or entering port.

Construction of the monastery began in 1502 and took 50 years to complete. He used pedra lioz, a local gold-coloured limestone, for its construction. The building of the monastery was funded by a 5% tax on eastern spices, with the exceptions of pepper, cinnamon, and cloves, revenue from which went straight to the Crown. By this influx of riches, the architects had enough financial margin to think big. The enormous amount of funds needed for this monastery meant abandoning the construction of the Aviz pantheon in the Monastery of Batalha.

The monastery was designed in the Manueline style by Diogo de Boitaca (who was probably one of the originators of this style with the Monastery of Jesus of Setúbal in Setúbal). He built the church, the monastery, the sacristy, and the refectory. He was succeeded by the Spaniard João de Castilho, who took charge of construction in around 1517. Castilho gradually moved from the Manueline style to the Plateresco style, a style with lavish decorations that remind of silver ware (plata). There were several sculptors who made their mark on this building. Nicolau Chanterene added depth with his Renaissance themes. The construction came to a halt when the king Manuel I died in 1521.

The architect Diogo de Torralva resumed the construction of the monastery in 1550, adding the main chapel, the choir, and completing the two stories of the monastery, using only Renaissance motifs. His work was continued in 1571 by Jérôme de Rouen (also called Jerónimo de Ruão) who added some Classical elements. The construction stopped in 1580 with the union of Spain and Portugal, because the building of the Escorial in Spain was now draining away all the funds.

The monastery withstood the Great Earthquake of 1755 without too much damage. But when the building became vacant in 1833 by the abolition of the religious orders in Portugal, it began to deteriorate to the point of almost collapsing. A cupola was later added to the southwestern tower.

On December 13, 2007, the Treaty of Lisbon was signed at the monastery, laying down the basis for the reform of the European Union.

South portal

The ornate main entrance to the monastery was designed by João de Castilho and is considered as one of the most magnificent of his time. This shrine-like portal is large, 32 m high and 12 m wide, extending up for two stories. It features, surrounded by an abundance of gables, pinnacles, many carved figures standing under a baldachin in exquisitely carved niches, around a statue of Henry the Navigator, standing on a pedestal between the two doors.

The tympanum, above the double door, displays in half-relief two scenes from the life of Saint Jerome. On the left, the removal of a thorn by St. Jerome from a lion's paw, after which the lion became his best friend. The right scene depicts the saint in the desert. The spandrel between these scenes shows the coat-of-arms of king Manuel I. The statue with the sword in the niche of the pier probably represents Henry the Navigator. Wherever one looks in the archivolt and tympanum, one sees all the elements of the Manueline style.

The Madonna of Belém stands on a pedestal on top of the archivolt, above it stands a statue of the Archangel Michael and on top of the portal stands the cross of the Order of Christ. The portal is harmoniously flanked on each side by a large window with richly decorated mouldings.

Western portal

This western portal is a good example of the transition from the Gothic style to Renaissance. It was built by Nicolau Chanterene in 1517. This was probably his first commission in Portugal. It is now spanned by a vestibule, added in the 19th century, that forms a transition between the church and the ambulatory.

The tympanum depicts the Annunciation, the Nativity, and the Epiphany. Two angels, holdings the arms of Portugal, close the archivolt. The splays on each side of the portal are filled with statues, among them king Manuel I and his second wife Maria of Aragón, kneeling in a niche under a lavishly decorated baldachin. They are flanked by their patron saints St. Jeronimos and John the Baptist.

The supporting corbels are decorated with little angels holding the coat-of-arms and, at the side of the king, an armillary sphere and, at the side of the queen, three blooming twigs

Interior

Diogo Boitac laid the foundations for this three-aisled church with five bays under a single vault, a clearly marked but only slightly projecting transept and a raised choir. The aisles and the nave are of about equal height in the manner of a hall church. Boitac built the walls of the church as far as the cornices and then started with the construction of the adjoining monastery.

João de Castilho, a Spanish architect and sculptor, continued the construction in 1517. He completed the retaining walls and the unique single-span ribbed vault, a combination of stellar vaulting and tracery vaults spanning the 19 m-wide church. Each set of ribs in the vaulting is secured by bosses. The bold design (1522) of the transversal vault of the transept lacks any piers or columns, while Boitac had originally planned three bays in the transept. The unsupported vault of the transept gives the viewer the impression as if it floats in the air.

He also ornamented the six 25m-high, slender, articulated, octagonal columns with refined grotesque or floral motives announcing the Renaissance style. The northern column closest to the transept shows a medallion that probably is a portrait of Boitac or João de Castilho.

The end result of the construction of this Late Gothic hall church is aesthetically and architecturally a masterwork. It augments the spatial effect of this vast building.

At the end of the side aisles and on both sides of the choir stand Manueline altars dating from the 16th and the 17th centuries. They are decorated with carved work in golden and green colours. One of them has a statue of St. Jerome in multi-coloured enamelled terracotta.

This chancel was ordered by Queen Catherine of Habsburg as the final resting place for the royal family. It is the work of Jerónimo de Ruão (Jean de Rouen) in Classical style. The royal tombs rest on marble elephants and are set between Ionic pillars, topped by Corinthian pillars. The tombs on the left side of the choir belong to king Manuel I and his wife Maria of Aragon, while the tombs on the right side belong to King João III and his wife Queen Catherine of Habsburg.

Within the church, close to the western portal, are the stone tombs of Vasco da Gama (1468-1523), and of the great poet and recorder of the discoveries, Luís de Camões (1527-1570). Both tombs were sculpted by the nineteenth century sculptor Costa Mota in a harmonious neo-Manueline style. The mortal remains of both were transferred to these tombs in 1880.

Monastery

Work on the vast square cloister (55 x 55 m) of the monastery was begun by Boitac. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions. João de Castilho finished the construction by giving the lower storey a classical overlay and building a more recessed upper storey. The construction of such a two-storey cloister was a novelty at the time. Castilho changed the original round columns of Boitac into rectangular ones. He put Plateresque-style ornaments on it.

Each wing consists of six bays with tracery vaults. The four inner bays rest on massive buttresses, forming broad arcades. The corner bays are linked by a diagonal arched construction and show the richly decorated corner pillars.

The inside walls of the cloister have a wealth of Manueline motives with nautical ornaments, and European, Moorish ans eastern elements. The decorations on the outer walls of the inner courtyard were made in Plateresco style by Castilho. This ornamentation on the walls and the traceried arches of the arcades give the construction a filigree aspect.

The round arches and the horizontal structure are clearly in line with the Renaissance style, while at the same time there is also a relationship with Spanish architecture.

One of the arcades contains the sober tomb of the poet Fernando Pessoa. There are several tombs in the chapter house : poet and playwright Almeida Garrett (1799-1854), writer-historian Alexandre Herculano (1810-1877), president Teófilo Braga (1843-1924) and president Óscar Carmona (1869-1951). The refectory across the chapter house has several azulejos tiles from the 17th century.

The cloister had a religious function as well as a representative function by its decorative ornamentation and the dynastic symbolic motives, such as the armillarium, coat-of-arms, and the cross from the Order of Christ, showing the growing world power of Portugal.

In an extension, added to the monastery during the restoration 1850, is located the Museu Nacional de Arqueologia (National Archaeological Museum). The Museu da Marinha (Maritime Museum) is located in the west wing.

The church and the monastery, like the nearby Torre de Belém and Padrão dos Descobrimentos, symbolises the Portuguese Age of Discovery and is among the main tourist attractions of Lisbon.

 

Português

  

Museu da Marinha

pt.wikipedia.org/wiki/Museu_da_marinha

   

O Museu remonta a 1863, quando D. Luís decretou a constituição de uma colecção de testemunhos relacionados com a actividade marítima portuguesa.

 

Depois de passar por vários espaços, nomeadamente o palácio dos Condes de Farrobo nas Laranjeiras, em Lisboa, onde esteve de 1949 até 1962, ano em que se instalou nas alas Norte e Poente do Mosteiro dos Jerónimos. Considerado Organismo Cultural da Marinha de Guerra Portuguesa, a sua missão, mais do que relevar exclusivamente os assuntos militares navais, é salvaguardar e divulgar o passado marítimo português e tudo o que se relaciona com os mais diversos aspectos e actividades humanas no mar.

   

LOS ANGELES - Mayor Eric Garcetti and City Council President Nury Martinez announced on January 18, 2022 that Fire Chief Ralph Terrazas will retire after nearly 40 years of distinguished service to the Los Angeles Fire Department — and that Kristin Crowley, a top deputy with a stellar 25-year track record at the Department, has been nominated as its next Chief.

 

If confirmed by the City Council, Crowley, currently Acting Administrative Operations Chief Deputy and Fire Marshal, will be the 19th Fire Chief, and the first woman to ever lead the LAFD.

 

“We’re living through an unprecedented moment that has called on our Fire Department not just to protect us – but to lead us in the fight to overcome public safety challenges we’ve never faced before. At the same time, the LAFD is leading a transformative national discussion about strengthening equity and inclusion within the firefighting ranks, and we must overcome those internal challenges too,” said Mayor Eric Garcetti. “Throughout her distinguished career, Kristin Crowley has proven her brilliance, determination and bravery on the job again and again. She’s also shown this city her heart, with her tireless commitment to helping students access life-changing educational opportunities. There is no one better equipped to lead the LAFD at this moment than Kristin. She’s ready to make history, and I’m proud to nominate her as the Department’s next Chief.”

 

“Today is a big moment in this City. For the first time in its history the Los Angeles Fire Department will be led by a woman,” said Council President Martinez. “Chief Kristin Crowley is known by her colleagues and by this city as someone who is dedicated, hard working, and goes above and beyond what is expected of her. This announcement is not just important for the City of Los Angeles, but for girls across LA who never imagined they could one day serve as Chief of the Los Angeles Fire Department.”

 

Crowley is a 22-year veteran of the Fire Department who has moved seamlessly through the ranks, proving her credibility and character along the way. She made history as the Department’s first female Fire Marshal and is the second woman to earn the rank of Chief Deputy.

 

Chief Deputy Crowley, who serves as program director for the LAFD’s youth development program, has played a key role in ensuring that over 1,000 LAUSD high school students continue in their education.

 

In her current role, she helped to develop a five-year strategic plan to identify areas of growth within the Department and foster culture more open to change. As Chief, she plans to work to both deepen existing efforts and create new mechanisms to foster equity and inclusion in the Department.

 

"I am honored and humbled by the opportunity to be the next Fire Chief of the Los Angeles City Fire Department and to lead the Department into the future," Crowley said. "As the Fire Chief, if confirmed, I vow to take a strategic and balanced approach to ensure we meet the needs of the community we serve. We will focus our efforts on increasing our operational effectiveness, enhancing firefighter safety and well-being, and fully commit to fostering a diverse, equitable, and inclusive culture within the LAFD. Thank you, Mayor Garcetti, Council President Martinez, and Chief Terrazas for entrusting me to lead and to work with the dedicated women and men of the finest department in the world."

 

Chief Terrazas, who was sworn in as L.A.’s Fire Chief in 2014, was the first Latino to serve in that role. A 39-year veteran of the Department, Chief Terrazas helped steer the City through some of its greatest challenges, and brought about meaningful advancements and innovations within the Fire Department.

 

Under his leadership, LAFD supervised the City’s free public COVID-19 testing and vaccination programs, which has administered nearly 4.86 million tests and approximately 1.43 million vaccinations to date. The City of L.A.’s testing effort was the nation’s largest municipal testing program and tested over 40,000 Angelenos per day at its peak.

 

“Ralph Terrazas has dedicated his life to keeping the people of Los Angeles safe. For nearly 40 years, he has served our Fire Department with bravery, determination and compassion for the Angelenos he’s sworn to protect,” said Mayor Garcetti. “I couldn’t imagine having anyone else as Fire Chief, through some of the most difficult fire and public safety challenges L.A. has ever faced. And when a once-in-a-century pandemic hit, Ralph’s leadership and bold action helped us save countless lives. I am honored to have served alongside him, and I know the mark he’s left on this city will never be forgotten.”

 

Early in his time leading LAFD, Chief Terrazas oversaw the rebuilding of the Department, which had stopped hiring new firefighters for five years as a result of the Great Recession. In 2015, he successfully reorganized the Department into four bureaus – the first restructuring of LAFD in 50 years, which helped to enhance accountability and improve service delivery.

 

Chief Terrazas also launched and implemented a variety of innovative initiatives, including Advanced Provider Response Units, Alternate Destination Response Units, and Fast Response Vehicles, efforts that enable firefighters to go beyond simply bringing patients to emergency rooms. Chief Terrazas has also made diversity a top priority – for the first time in department history, 51.4% firefighters are now people of color. Since 2014, the Department has maintained a steady increase in the number of hired sworn women at LAFD. Of the current sworn force, more than half of those who are currently employed were hired on in the last 8 years, and nearly 10% were brought on in 2021.

 

"It was a privilege to serve as the Fire Chief of this world-class Department," said Fire Chief Ralph Terrazas. "For nearly eight years, we made considerable strides in technology, implemented innovative ways to respond to emergencies, and became a model for other agencies. Chief Crowley is an exemplary leader and has a broad base of experience that will serve the Department well. She has risen through the ranks over the past 26 years and I proudly promoted her three times during my tenure because she demonstrated a commitment to advancing the Department. Chief Crowley has been successful at every position and I expect her success to continue as the next Fire Chief."

 

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dedicated to Asfari Khanam with love and respect

Bindhyabasini, one of the oldest temples in the Pokhara valley, has an immense cultural value. The temple is dedicated to Goddess Bhagawati. Bhagavati is a popular deity - also in the Indian states of Kerala, Goa and Konkan. It can be used to refer any of the Hindu goddesses like Durga, Kannaki, Parvati, Saraswati, Lakshmi, and Kali. In Goa, Bhagavati generally refers to the Mahishasurmardini form of Shakti.

 

Bindhyabasini is considered as one of the main and foremost Shaktipiths of western Nepal. Situated at a small hill-lock in between the main old market and Bagar it is at a height of 3000 ft. above from the sea level.

 

Pokhara (Nepali: पोखरा) is the second largest city of Nepal after Kathmandu. It is the headquarters of Kaski District, Gandaki Zone and the Western Development Region. It lies 200 km west of Kathmandu; its altitude varies from 780 m to 1350 m. Three out of the ten highest mountains in the world — Dhaulagiri, Annapurna I and Manaslu — are within a linear distance of 50 km from the city. Due to its proximity to the Annapurna mountain range, the city is also a base for trekkers undertaking the Annapurna Circuit through the ACAP region of the Annapurna ranges in the Himalayas.

 

Pokhara is home to many Gurkha soldiers. It is the most expensive city in the country, with a Cost of Living Index of 95.

 

GEOGRAPHY

Pokhara is in the northwestern corner of the Pokhara Valley, which is a widening of the Seti Gandaki valley that lies in the midland region (Pahad) of the Himalayas. In this region the mountains rise very quickly and within 30 km, the elevation rises from 1,000 m to over 7,500 m. As a result of this sharp rise in altitude the area of Pokhara has one of the highest precipitation rates in the country (3,350 mm/year to 5600 mm/year in Lumle). Even within the city there is a noticeable difference in rainfall between the south and the north of the city, the northern part of the city situated at the foothills of the mountains experiences proportionally higher amount of precipitation. The Seti Gandaki is the main river flowing through the city. The Seti Gandaki (White River) and its tributaries have created several gorges and canyons in and around the whole city which gives intriguingly long sections of terrace features to the city and surrounding areas. These long sections of terraces are interrupted by gorges which are hundreds of meters deep. The Seti gorge runs through the whole city from north to south and then west to east and at places these gorges are only a few metres wide. In the north and south, the canyons are wider.n the south the city borders on Phewa Tal (4.4 km2) at an elevation of about 827 m above sea level, and Lumle at 1,740 m in the north of the city touches the base of the Annapurna mountain range. Pokhara, the city of lakes, is the second largest city of Nepal after Kathmandu. 3 eight-thousand meter tall peaks (Dhaulagiri, Annapurna, Manaslu) can be seen from the city. The Machhapuchhre (Fishtail) with an elevation of 6,993 m is the closest to the city. The porous underground of the Pokhara valley favours the formation of caves and several caves can be found within the city limits. In the south of the city, a tributary of the Seti flowing out of the Phewa Lake disappears at Patale Chhango (पाताले छाँगो, Nepali for Hell's Falls, also called Davis Falls, after someone who supposedly fell into the falls) into an underground gorge, to reappear 500 metres further south. To the south-east of Pokhara city is the municipality of Lekhnath, a recently established town in the Pokhara valley, home to Begnas Lake.

 

CLIMATE

The climate of the city is sub-tropical; however, the elevation keeps temperatures moderate. Summer temperatures average between 25 to 33 °C, in winter around - 2 to 15 °C. Pokhara and nearby areas receive a high amount of precipitation. Lumle, 25 miles from the Pokhara city center, receives the highest amount of rainfall (> 5600 mm/year) in the country. Snowfall is not observed in the valley, but surrounding hills experience occasional snowfall in the winter. Summers are humid and mild; most precipitation occurs during the monsoon season (July - September). Winter and spring skies are generally clear and sunny.

 

HISTORY

Pokhara lies on an important old trading route between China and India. In the 17th century it was part of the Kingdom of Kaski which was one of the Chaubise Rajya (24 Kingdoms of Nepal, चौबिसे राज्य) ruled by a branch of the Shah Dynasty. Many of the hills around Pokhara still have medieval ruins from this time. In 1786 Prithvi Narayan Shah added Pokhara into his kingdom. It had by then become an important trading place on the routes from Kathmandu to Jumla and from India to Tibet.Pokhara was envisioned as a commercial center by the King of Kaski in the mid 18th century A.D. when Newars of Bhaktapur migrated to Pokhara, upon being invited by the king, and settled near main business locations such as Bindhyabasini temple, Nalakomukh and Bhairab Tole. Most of the Pokhara, at the time, was largely inhabited by Khas (Brahmin, Chhetri, Thakuri and Dalits), the major communities were located in Parsyang, Malepatan, Pardi and Harichowk areas of modern Pokhara and the Majhi community near the Phewa Lake. The establishment of a British recruitment camp brought larger Magar and Gurung communities to Pokhara. At present the Khas, Gurung (Tamu) and Magar form the dominant community of Pokhara. There is also a sizeable Newari population in the city. A small Muslim community is located on eastern fringes of Pokhara generally called Miya Patan. Batulechaur in the far north of Pokhara is home to the Gandharvas or Gaaineys (the tribe of the musicians).

 

The nearby hill villages around Pokhara are a mixed community of Khas and Gurung. Small Magar communities are also present mostly in the southern outlying hills. Newar community is almost non-existent in the villages of outlying hills outside the Pokhara city limits.

 

From 1959 to 1962 approximately 300,000 exiles entered Nepal from neighbouring Tibet following its annexation by China. Most of the Tibetan exiles then sought asylum in Dharamshala and other Tibetan exile communities in India. According to UNHCR, since 1989, approximately 2500 Tibetans cross the border into Nepal each year, many of whom arrive in Pokhara typically as a transit to Tibetan exile communities in India. About 50,000 - 60,000 Tibetan exiles reside in Nepal, and approximately 20,000 of the exiled Tibetans live in one of the 12 consolidated camps, 8 in Kathmandu and 4 in and around Pokhara. The four Tibetan settlements in Pokhara are Jampaling, Paljorling, Tashi Ling, and Tashi Palkhel. These camps have evolved into well built settlements, each with a gompa (Buddhist monastery), chorten and its particular architecture, and Tibetans have become a visible minority in the city.

 

Until the end of the 1960s the town was only accessible by foot and it was considered even more a mystical place than Kathmandu. The first road was completed in 1968 (Siddhartha Highway) after which tourism set in and the city grew rapidly. The area along the Phewa lake, called Lake Side, has developed into one of the major tourism hubs of Nepal.

  

TEMPLES, GUMBAS AND CHURCHES

There are numerous temples and gumbas in and around pokhara valley. Many temples serve as combined places of worship for Hindus and Buddhists. Some of the popular temples and gumbas are:

 

Tal Barahi Temple (located on the island in the middle of Phewa Lake)

Bindhyabasini Temple

Sitaladevi Temple

Mudula Karki Kulayan Mandir

Sunpadeli Temple (Kaseri)

Bhadrakali Temple

Kumari Temple

Akalaa Temple

Kedareshwar Mahadev Mani Temple

Matepani Gumba

World peace pagoda

Akaladevi Temple

Monastery (Hemja)

Nepal Christiya Ramghat Church, established in 1952 (2009 BS), in Ramghat area of Pokhara is also the first church in Nepal.

 

LOCATION

The municipality of Pokhara spans 12 km from north to south and 6 km from east to west but, unlike the capital Kathmandu, it is quite loosely built up and still has much green space. The valley is approximately divided into four to Six parts by the rivers Seti, Bijayapur, Bagadi, Fusre and Hemja. The Seti Gandaki flowing through the city from north to south divides the city roughly in two halves with the business area of Chipledunga in the middle, the old town centre of Bagar in the north and the tourist district of Lakeside (Baidam) to the south all lying on the western side of the river.[38] The gorge through which the river flows is crossed at five places: K.I. Singh Pul, Mahendra Pul and Prithvi Highway Pul from north to south of the city. The floor of the valley is plain, resembles Terai due to its gravel-like surface, and has slanted orientation from northwest to southeast. The city is surrounded by the hills overlooking the entire valley.

 

Phewa Lake was slightly enlarged by damming which poses a risk of silting up due of the inflow during the monsoon. The outflowing water is partially used for hydropower generation. The dam collapsed in 1974 which resulted in draining of its water and exposing the land leading to illegal land encroachment; since then the dam has been rebuilt. The power plant is about 100 m below at the bottom of the Phusre Khola gorge. Water from Phewa is diverted for irrigation into the southern Pokhara valley. The eastern Pokhara Valley receives irrigation water through a canal running from a reservoir by the Seti in the north of the city. Some parts of Phewa lake are used as commercial cage fisheries. The lake is currently being encroached upon by invasive water hyacinth (जलकुम्भी झार).

 

Pokhara is known to be a popular tourist destination. The tourist district is along the north shore of the Phewa lake (Baidam, Lakeside and Damside). It is mainly made up of small shops, non-star tourist hotels, restaurants and bars. Most upscale and starred hotels are on the southern shore of the Phewa Lake and southeastern fringes of the city where there are more open lands and unhindered view of the surrounding mountains. Most of the tourists visiting Pokhara trek to the Annapurna Base Camp and Mustang. To the east of the Pokhara valley, in Lekhnath municipality, there are seven smaller lakes such as Begnas Lake and Rupa Lake. Begnas Lake is known for its fishery projects.

 

TOURISM AND ECONOMY

After the occupation of Tibet by China in 1950 and the Indo-China war in 1962, the old trading route to India from Tibet through Pokhara became defunct. Today only few caravans from Mustang arrive in Bagar. In recent decades, Pokhara has become a major tourist destination, it is considered as tourism capital of Nepal. In South Asia mainly for adventure tourism and the base for the famous Annapurna Circuit trek. Thus, a major contribution to the local economy comes from the tourism and hospitality industry. A lot of tourists visit Pokhara every year. Tourism industry is one of major source of income for local people and the city. There are two 5-star hotels and approximately 305 other hotels that includes five 3-star, fifteen 2-star and non-star hotels in the city.

 

Many medieval era temples (Barahi temple, Bindhyabasini, Bhadrakali, Talbarahi, Guheshwori, Sitaldevi, Gita mandir temple, Bhimsen temple) and old Newari houses are still a part of the city (Bagar, Bindhyabasini, Bhadrakali, Bhairab Tol, etc.). The modern commercial city centres are at Chipledhunga, New Road, Prithvi Chowk and Mahendrapul (recently renamed as Bhimsen Chowk).

 

The city promotes two major hilltops as its viewpoints to view the city and surrounding panorama, World Peace Pagoda built in 1996 across the southern shore of Phewa lake and Sarangkot which is located northwest of the city. In February 2004, International Mountain Museum (IMM) was opened for public in Ratopahiro to boost city's tourism attractions. Other museums in the city are Pokhara Regional Museum, an ethnographic museum, Annapurna Natural History Museum which houses preserved specimens of flora and fauna, and contains particularly extensive collection of the butterflies, found in the Western and ACAP region of Nepal; and Gurkha Museum featuring history of the Gurkha Soldiers. The city also has recently been adorned with a bungee jumping site (second in Nepal) titled Water Touch Bunjee Jumping. Also, a cable car service has begun construction joining Fewa Lake with World Peace Stupa led by the government of Nepal which is expected to boost the tourism industry of the place exponentially.

 

Since the 1990s Pokhara has experienced rapid urbanization, as a result service sector industries have increasingly contributed to the local economy overtaking the traditional agriculture. An effect of urbanization is seen in high real estate prices, which among the highest in the country. The major contributors to the economy of Pokhara are manufacturing and service sector including tourism; agriculture and the foreign and domestic remittances. Tourism, service sector & manufacturing contributes approximately 58% to the economy, remittances about 20% and the agriculture nearly 16%.

 

WIKIPEDIA

A rising local hockey player is putting his face on the push for mental health awareness.

 

Sixteen-year-old Myles Mattila, who plays for the Okanagan Rockets major midgets, became an advocate for the issue because of two events: when he didn't know how to help a teammate, and the death of Vancouver Canucks’ star Rick Rypien.

 

Now, he's become a champion for the Canadian Mental Health Association's Ride Don’t Hide community bike ride on June 21.

 

Mattila quickly discovered how much fear and misunderstanding exists about mental illness.

 

Before moving from Prince George to Kelowna to join the Rockets, Mattila became the Northern B.C. representative for Mindcheck.ca, a website dedicated to providing mental health resources to young people. He also told his story at the Balancing Our Minds mental health summit at Rogers Arena in February.

 

“Mental health affects everyone, no matter what age we are, and youth are no exception. In fact, often times young people struggle to deal with the emotional and mental challenges that impact us on a daily basis,” he says. “We can all try to make a difference ... (and) show everyone that it’s OK to talk about mental illness.”

 

CMHA Kelowna is asking young people like Mattila to make the Get Loud pledge. For every young person who makes the pledge to speak up, the Thomas Alan Budd Foundation will donate $1, to a maximum of $5,000. The pledge can be found at www.cmhakelowna.org and at area schools.

 

“I’ve been a supporter of CMHA’s Ride Don’t Hide fundraiser in the past, but this year’s ride has special meaning for our family,” says Tom Budd. “This Father’s Day, I’m dedicating my ride to the memory of my son, and I want to invite every parent to bring their kids out ... and help us reach people, especially our youth.

 

“All communities would benefit from increase awareness and reduction of the shame around mental illness.”

 

In any given year, one in five Canadians, or approximately seven million Canadians, experience a mental health problem or illness, but only one third will seek help – often due to the stigma around mental illness.

 

Ride Don’t Hide takes place in 27 communities across Canada, and CMHA is expecting more than 6,000 cyclists to join in across the country.

 

The ride in Kelowna includes the 40-kilometre Dillon Budd Memorial Ride and a seven-km family/beginner route through downtown, with on-site family-friendly activities and events.

 

It goes from 8 a.m. to 1 p.m., starting from the Rotary Centre for the Arts, and is open to cyclists of all ages and skill levels. Registration and donations can be made online at www.ridedonthide.com.

  

BUDD, Payton Leigh

June 9, 1998 - April 30, 2017

It is with profound sadness that we announce the sudden passing of our son, our brother, our friend on Sunday, April 30, 2017 at the age of 18. His loss will be forever felt by his father Thomas Budd, mother Annette Toro- Huber, step father Harold Huber, step siblings: Wyatt, Laura and Jessica Huber; grandfather Alan Budd; Aunt Cheryl (Wayne) Gellhaus; Uncle George (Carol) Budd and extended family and friends. Payton was predeceased by his brother Dillon. He had many passions and interests: his love for his dog Gracie, basketball and just hanging out with his friends. Payton was a charismatic young man with a gentle soul, whose infectious laugh could be heard after one of his many pranks. We will miss him forever and will continue to keep him in our hearts. A Memorial Service will be held on Sunday May 7, 2017 at 2:00 pm, at St. Andrew's Anglican Church, 4619 Lakeshore Road with Reverend Anne Privett officiating. Celebration of Life to follow for Payton's friends and their families in Payton's backyard, 4594 Fuller Road. In lieu of flowers, memorial donations may be made to St. Andrew's Anglican Church towards the Memorial Gardens to honour Dillon and Payton Budd. Condolences may be sent to the family by visiting www.springfieldfuneralhome.com, 250-860-7077.

  

BUDD, Payton Leigh

June 9, 1998 - April 30, 2017

It is with profound sadness that we announce the sudden passing of our son, our brother, our friend on Sunday, April 30, 2017 at the age of 18. His loss will be forever felt by his father Thomas Budd, mother Annette Toro- Huber, step father Harold Huber, step siblings: Wyatt, Laura and Jessica Huber; grandfather Alan Budd; Aunt Cheryl (Wayne) Gellhaus; Uncle George (Carol) Budd and extended family and friends. Payton was predeceased by his brother Dillon. He had many passions and interests: his love for his dog Gracie, basketball and just hanging out with his friends. Payton was a charismatic young man with a gentle soul, whose infectious laugh could be heard after one of his many pranks. We will miss him forever and will continue to keep him in our hearts. A Memorial Service will be held on Sunday May 7, 2017 at 2:00 pm, at St. Andrew's Anglican Church, 4619 Lakeshore Road with Reverend Anne Privett officiating. Celebration of Life to follow for Payton's friends and their families in Payton's backyard, 4594 Fuller Road. In lieu of flowers, memorial donations may be made to St. Andrew's Anglican Church towards the Memorial Gardens to honour Dillon and Payton Budd. Condolences may be sent to the family by visiting www.springfieldfuneralhome.com, 250-860-7077.

  

Dedicated to my wife,

This is the first gift which I gave her in March 2001 when she was my fiance. :)

Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

WIKIPEDIA

Dedicated to Angelina's Chocolat Chaud

Church dedicated to St Thomas a Becket, former Archbishop of Canterbury, who was murdered in 1170. The church, or parts of it, is known to have been in use in 1186 when it was mentioned in the Bull of Pope Urban III. Its original construction can therefore be dated as having taken place between 1170 and 1186. In 1233 the church suffered fire damage during the Battle of Monmouth. In 1256, anchorites (an extreme form of hermit) were said to be living in the church. Little is known about the church for the next 500 years.

St Thomas' fell out of use in the 18th century, but from the 1830s onwards extensive restoration and refitting of the interior was carried out, lasting until the 1880s.

The building retains a Norman appearance but many of the features are 19th century.

 

East window by Celtic Studios: Christ in Majesty with St Thomas Becket and St Nicholas (1957). Panels below depict the martyrdom of Thomas Becket; Mary, Joseph and the Infant Christ; and Nicholas with children.

Designed by Hubert Thomas.

Given by parishioners and friends of the church in 1957.

  

Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."

 

HISTORY

FOUNDATION & DEDICATION

Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.

 

Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.

 

The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.

 

EXPANSION & REDICATION

Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.

 

RESTAURATION

The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.

Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.

 

MATERIALS & STYLE

Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.

 

A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.

 

A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.

 

Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".

 

THE SITE

The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.

 

THE OUTER GOPURA

The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.

 

THE THIRD (OUTER) ENCLOSURE

The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.

 

THE SECOND ENCLOSURE

The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.

 

THE FIRST (INNER) ENCLOSURE

Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.

 

THE LIBRARIES

The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."

 

The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.

 

The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.

 

The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.

 

The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.

 

THE SANCTUARY

The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.

___________________________

 

Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.

 

The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.

 

In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.

 

The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.

 

In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.

 

Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.

 

The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.

 

WIKIPEDIA

Dedicated to my dear friend "EDA"

Clich here to hear the music "Nat-King-Cole -SMILE"

Will go in holidays tomorrow only return monday wish you a great time also Hugs and Kisses

These are the folks that care for the pandas as well as the other animals in the Carnivore group...red panda, muntjac deer, lions, tigers, clouded leopard, meerkats and otters.

Vishvanath Temple - dedicated to Lord Shiva, also called Vishwanath [master of the universe]. In the same premises, a temple dedicated to Nandi, holds a huge statue of Nandi [the Bull, the companion, attendant and closest aide of Lord Shiva].

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The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India. About 175 kilometres southeast of Jhansi, they are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.

 

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

 

The Khajuraho group of temples were built together but were dedicated to two religions namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.

 

LOCATION

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

 

Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. The site is also linked by Indian Railways service, with the railway station approximately six kilometer from the monuments entrance.

 

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

 

HISTORY

The Khajuraho group of monuments were built during the rule of Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign.:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with few more temples completed in decades thereafter.

 

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

 

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

 

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

 

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

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

 

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

 

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

 

NOMENCLATURE

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

 

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

 

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

 

DESCRIPTION

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rise

s 116 feet.

 

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

 

ARCHITECTURE OF THE TEMPLES

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

 

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

 

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

 

Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.

 

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

 

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

 

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

 

CONSTRUCTION

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

 

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

 

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

 

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

 

CHRONOLOGY

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

 

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

 

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

 

TEMPLE NAME - DEITY - YEAR COMPLETED

Chausath Yogini - Devi, 64 Yoginis - 885

Brahma - Vishnu - 925

Lalgun Mahadev - Shiva - 900

Matangeshwar - Shiva - 1000

Varaha - Vishnu - 950

Lakshmana - Vaikuntha Vishnu - 939

Parshvanath - Parshvanath - 954

Visvanatha - Shiva - 999

Devi Jagadambi - Devi, Parvati - 1023

Chitragupta - Sun, Chitragupta - 1023

Kandariya Mahadeva - Shiva - 1029

Vamana - Vamana - 1062

Adinath Jain Temple - Rishabha - 1027

Javeri - Vishnu - 1090

Chaturbhuja - Vishnu - 1110

Duladeo (Duladeva) - Shiva - 1125

Ghantai - Jain Tirthankara - 960

Vishnu-Garuda - Vishnu - 1000

Ganesha - Shiva - 1000

Hanuman - Hanuman - 922

Mahishasuramardini - Devi - 995

 

ARTS AND SCULPTURE

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

 

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

 

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

 

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

 

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

— Stella Kramrisch, 1976

 

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

 

TOURISM AND CULTURAL EVENTS

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

 

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

 

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

 

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

 

WIKIPEDIA

    

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Dedicated to my late father

It's been 21 years since you left

we still missing you.

The Leongatha Memorial Hall and Shire Offices were opened and dedicated by Brigadier General

Elliot and Chaplain Colonel Cookston on 24 May, 1926. Chaplain Cookson dedicated the Hall with a prayer that concluded with "In the Name of the Town and Residents of the District, I Dedicate this Hall". It was designed by local architect, T. E. Molloy, and was constructed by Raymond V. Ritchie for £14,000.

 

The interior decoration included 12 panels depicting scenes from the leading "purely Australian" battles of World War I, with the proscenium being flanked by scenes depicting Gallipoli, and the battle between HMAS Sydney and the Emden. These were painted by Mr. J. Broche of Inverloch.

 

The need for a new Memorial Hall and Shire Offices to replace the original buildings constructed in 1890 and 1891 respectively was recognised from the early 1920s, and a resolution was passed at a public meeting held on 13 August 1923 that Council be approached in relation to this matter. The issue came to a head when the old Mechanics Hall and adjoining Shire Offices were destroyed by

fire on 19 February, 1924. A committee was formed after the fire and after several meetings it was decided to advertise for suitable designs. On 22 July 1924, the plans of T. E. Molloy were chosen and following this a loan to finance the project was made, while the Leongatha Branch of the RSSAILA donated £1,000 on the condition that a suitable room was placed in the building "for the exclusive use of members". Tenders were called and on 15 April 1925, the offer of Mr. Raymond V. Ritchie was accepted.

 

The Leongatha Memorial Hall and former Shire Offices is a large brick, hip roofed public hall fronted by a two storey Free Classical facade and single storey wings to either side, terminating at the corner with an engaged colonnaded rotunda and returning north along Michael Place in a single storey classical facade which fronted the shire offices. A notable element is the symmetrical central façade. This is constructed of clinker brick at the ground floor with paired double hung windows on either side of a battered and coursed render arched entry surround connecting through a wide rendered band with the words “In Remembrance” in raised letters to the piano nobile above. The clinker bricks are tuck pointed in blocks, rather than as individual bricks. The whole of the piano nobile is rendered, with windows between alternating single and paired detached Tuscan columns carrying a wide architrave with triglyphs and bosses, cornice and a parapet with a central pediment containing the sunburst coat of arms of the Australian armed forces. It climaxes with a statue of the “Winged Victory” carrying a palm frond and sword and flanked by bronze lamp standards now missing their opal spheres. Pedimented render plaques commemorating the fallen are mounted at the sides of the entry element. The side wings are single storey and are almost symmetrical in form. They have paired and single detached columns supporting an architrave with triglyphs and bosses, cornice and solid balustrade, dividing each side into two brick bays with central windows. The columns sit on short pedestals to the window sill height. Perhaps its most notable and dominating feature is the corner rotunda. This has a matching pattern but slightly higher columns and architrave capped with an octagonal metal clad dome. This rotunda serves as an entry and separates the McCartin Street facade from the Michael Place front. The slightly lower Michael Place front is designed as a separate composition of three bays divided by paired piers with the central element projecting slightly and capped with a pediment. There is a small granite obelisk at the curb opposite the hall entry which commemorates later war dead.

 

The Australian Federation period represented an important phase in the development of Leongatha. The new butter factory, which was erected in 1905, led to increased prosperity in the town and agitation for better public facilities. The new Post Office in 1906 was the first of a number of new buildings added over the next ten years including the Railway Station (1910), Mechanics Institute Library (1911), Court House (1912) and Agricultural High School (1914). After the interruption caused by the Great War (1914 – 1918), this civic building program finally reached its zenith with the construction of the new Memorial Hall and Shire Offices between 1925 and 1926.

 

Leongatha is a town in the foothills of the Strzelecki Ranges, South Gippsland Shire, Victoria, Australia, located 135 kilometres south-east of Melbourne. The town is the civic, commercial, industrial, religious, educational and sporting centre of the region. The Murray Goulburn Co-operative Co. Limited, is a farmers' co-operative which trades in Australia under the Devondale label, and has a dairy processing plant just north of the town producing milk-based products for Australian and overseas markets. First settlement of the area by Europeans occurred in 1845. The Post Office opened as Koorooman on 1 October 1887 and renamed Leongatha in 1891 when a township was established on the arrival of the railway. The Daffodil Festival is held annually in September. Competitions are held and many daffodil varieties are on display. A garden competition is also held and there are many beautiful examples throughout the provincial town. The South Gippsland Railway runs historical diesel locomotives and railcars between the market and dairy towns of Nyora and Leongatha, passing through Korumburra.

  

Dedicated to

© мίѕѕ.kίтκάт ♥ =)

LEGOLAND Windsor a theme park dedicated to children aged 3-12 years old and of course big kid adults.

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Fun Facts about LEGOLAND Windsor

There are 34 LEGO pieces in an average Miniland figure.

The largest model in Miniland is the Canary Wharf Tower which is 5.2 metres tall and took 3 model makers 850 hours to complete using 200,000 LEGO Bricks!

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New in 2011 - Atlantis Submarine Voyage

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STAR WARS MINILAND EXPERIENCE - The Force has arrived at LEGOLAND

Take a trip to a galaxy far, far away at the UK’s only indoor LEGO® Star Wars™ Miniland Experience at the LEGOLAND®Windsor Resort. Enjoy seven of the most famous scenes from the six live-action Star Wars movies, as well as a scene from the animated series Star Wars: The Clone Wars™ all made out of 1.5 million LEGO® bricks built in 1:20 scale. Follow the chronological path through the Star Wars timeline and retrace the major events of the beloved Saga featuring 2,000 LEGO® models, authentic sounds and lighting effects in the ultimate LEGO®Star Wars experience.

 

LEGOLAND WINDSOR RESORT HOTEL - Now open

 

An exciting LEGO adventure awaits you, as the amazing 150 room, fully themed LEGOLAND Hotel opens at LEGOLAND Windsor RESORT!

Staying overnight at the new LEGOLAND Windsor Resort Hotel is a must for all LEGO fans. From the spectacular dragon-guarded entrance and interactive LEGO features through to the brightly coloured pirate splash pool and fully themed bedrooms, the new hotel will inspire imaginations and create laugh-out loud memories. With dedicated indoor play areas, entertainment and a buffet-style restaurant serving child-friendly meals, it’s the perfect family treat.

The Franklin Delano Roosevelt Memorial, dedicated on May 2, 1997, is spread out over 7.5 elaborate landscaped acre along the Cherry Tree Walk on the Western edge of the Tidal Basin as part of the National Mall. Designed by Lawrence Halprin, it traces 12 years of the history of the United States through a sequence of four outdoor gallery rooms--one for each of FDR's terms of office-- defined by walls of red South Dakota granite.

 

The idea for a memorial originated in 1946. In 1955, the Franklin Delano Roosevelt Memorial Commission was established by Congress. The current plot of land was secured in 1959 with design competitions following in 1960 and 1966. It wasn't until 1978 that the committee finally approved a design by Halprin and authorized construction in 1982. Ground was broken in September of 1991.

 

Running water is an important physical and metaphoric component of the memorial. Each of the four "rooms" representing Roosevelt's respective terms in office contains a waterfall. As one moves from room to room, the waterfalls become larger and more complex, reflecting the increasing complexity of a presidency marked by the vast upheavals of economic depression and world war.

 

The first room introduces Roosevelt's first term as President (1932-1936). Robert Graham's relief sculpture depicts his first inauguration. Tom Hardy's a bronze sculpture depicts The Presidential Seal and a Roman-American eagle. In this room, the single large drop of water symbolizes the crash of the economy that led to the Great Depression.

 

The second room, Social Policy, details Roosevelt's second term from 1936-1940 and the impact of the New Deal, which created social security, worker's compensation, unemployment insurance, welfare, and fair labor standards. Three sculptural groups by George Segal--Breadline, The Rural Couple, and The Fireside Chat--represent Americans during the Great Depression. The wall opens to an open area with five tall pillars and a large mural, created by Robert Graham, representing the New Deal. The five-panelled mural is a collage of various scenes and objects, including initials, faces, and hands; the images on the mural are inverted on the five columns. In this room, the multiple stairstep drops symbolize the Tennessee Valley Authority dam-building project.

 

The third room, The War Years, covering the period from 1940-1944 and World War II, explodes to a destructive presence, as giant granite blocks line the path, and a chaotic waterfall rushes down. On the wall, one of 21 inscriptions carved by John Benson, is Roosevelt's famous "I have seen war" quote. To the left of the waterfall sits a Neil Estern's 10-foot tall sculpture of Roosevelt, seated in a dining room chair with roller casters and wearing a floor-length cape, with his dog Fala seated nearby.

 

The fourth room, Seeds of Peace, covers the period from 1945 to 1955, including Rosevelt's final term, his passing and beyond. It includes Leonard Baskin's Funeral Relief and Neil Estern's sculpture of Eleanor Roosevelt, standing next to the United Nations emblem. In this room, the still pool represents Roosevelt's death.

 

In the forecourt is Robert Graham's life-size bronze portrait statue of Roosevelt, seated in a wheel chair, facing the Washington Monument. This statue was added in January, 2001, after advocates objected to Estern's depiction which concealed Roosevelt's disability. Though Roosevelt suffered from paralysis as a result of polio, he went through great pains to hide his ailment from the public.

 

National Register #01000271 (1997)

Dedicated to Tara born in Gaspé, now living in Halifax.

 

Une partie du centre-ville de Gaspé, Québec, Canada.

 

A part of downtown Gaspé, Québec, Canada.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 

The Earth is like a child that knows poems...

 

~ Rainer Maria Rilke ~

 

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Bindhyabasini, one of the oldest temples in the Pokhara valley, has an immense cultural value. The temple is dedicated to Goddess Bhagawati. Bhagavati is a popular deity - also in the Indian states of Kerala, Goa and Konkan. It can be used to refer any of the Hindu goddesses like Durga, Kannaki, Parvati, Saraswati, Lakshmi, and Kali. In Goa, Bhagavati generally refers to the Mahishasurmardini form of Shakti.

 

Bindhyabasini is considered as one of the main and foremost Shaktipiths of western Nepal. Situated at a small hill-lock in between the main old market and Bagar it is at a height of 3000 ft. above from the sea level.

 

Pokhara (Nepali: पोखरा) is the second largest city of Nepal after Kathmandu. It is the headquarters of Kaski District, Gandaki Zone and the Western Development Region. It lies 200 km west of Kathmandu; its altitude varies from 780 m to 1350 m. Three out of the ten highest mountains in the world — Dhaulagiri, Annapurna I and Manaslu — are within a linear distance of 50 km from the city. Due to its proximity to the Annapurna mountain range, the city is also a base for trekkers undertaking the Annapurna Circuit through the ACAP region of the Annapurna ranges in the Himalayas.

 

Pokhara is home to many Gurkha soldiers. It is the most expensive city in the country, with a Cost of Living Index of 95.

 

GEOGRAPHY

Pokhara is in the northwestern corner of the Pokhara Valley, which is a widening of the Seti Gandaki valley that lies in the midland region (Pahad) of the Himalayas. In this region the mountains rise very quickly and within 30 km, the elevation rises from 1,000 m to over 7,500 m. As a result of this sharp rise in altitude the area of Pokhara has one of the highest precipitation rates in the country (3,350 mm/year to 5600 mm/year in Lumle). Even within the city there is a noticeable difference in rainfall between the south and the north of the city, the northern part of the city situated at the foothills of the mountains experiences proportionally higher amount of precipitation. The Seti Gandaki is the main river flowing through the city. The Seti Gandaki (White River) and its tributaries have created several gorges and canyons in and around the whole city which gives intriguingly long sections of terrace features to the city and surrounding areas. These long sections of terraces are interrupted by gorges which are hundreds of meters deep. The Seti gorge runs through the whole city from north to south and then west to east and at places these gorges are only a few metres wide. In the north and south, the canyons are wider.n the south the city borders on Phewa Tal (4.4 km2) at an elevation of about 827 m above sea level, and Lumle at 1,740 m in the north of the city touches the base of the Annapurna mountain range. Pokhara, the city of lakes, is the second largest city of Nepal after Kathmandu. 3 eight-thousand meter tall peaks (Dhaulagiri, Annapurna, Manaslu) can be seen from the city. The Machhapuchhre (Fishtail) with an elevation of 6,993 m is the closest to the city. The porous underground of the Pokhara valley favours the formation of caves and several caves can be found within the city limits. In the south of the city, a tributary of the Seti flowing out of the Phewa Lake disappears at Patale Chhango (पाताले छाँगो, Nepali for Hell's Falls, also called Davis Falls, after someone who supposedly fell into the falls) into an underground gorge, to reappear 500 metres further south. To the south-east of Pokhara city is the municipality of Lekhnath, a recently established town in the Pokhara valley, home to Begnas Lake.

 

CLIMATE

The climate of the city is sub-tropical; however, the elevation keeps temperatures moderate. Summer temperatures average between 25 to 33 °C, in winter around - 2 to 15 °C. Pokhara and nearby areas receive a high amount of precipitation. Lumle, 25 miles from the Pokhara city center, receives the highest amount of rainfall (> 5600 mm/year) in the country. Snowfall is not observed in the valley, but surrounding hills experience occasional snowfall in the winter. Summers are humid and mild; most precipitation occurs during the monsoon season (July - September). Winter and spring skies are generally clear and sunny.

 

HISTORY

Pokhara lies on an important old trading route between China and India. In the 17th century it was part of the Kingdom of Kaski which was one of the Chaubise Rajya (24 Kingdoms of Nepal, चौबिसे राज्य) ruled by a branch of the Shah Dynasty. Many of the hills around Pokhara still have medieval ruins from this time. In 1786 Prithvi Narayan Shah added Pokhara into his kingdom. It had by then become an important trading place on the routes from Kathmandu to Jumla and from India to Tibet.Pokhara was envisioned as a commercial center by the King of Kaski in the mid 18th century A.D. when Newars of Bhaktapur migrated to Pokhara, upon being invited by the king, and settled near main business locations such as Bindhyabasini temple, Nalakomukh and Bhairab Tole. Most of the Pokhara, at the time, was largely inhabited by Khas (Brahmin, Chhetri, Thakuri and Dalits), the major communities were located in Parsyang, Malepatan, Pardi and Harichowk areas of modern Pokhara and the Majhi community near the Phewa Lake. The establishment of a British recruitment camp brought larger Magar and Gurung communities to Pokhara. At present the Khas, Gurung (Tamu) and Magar form the dominant community of Pokhara. There is also a sizeable Newari population in the city. A small Muslim community is located on eastern fringes of Pokhara generally called Miya Patan. Batulechaur in the far north of Pokhara is home to the Gandharvas or Gaaineys (the tribe of the musicians).

 

The nearby hill villages around Pokhara are a mixed community of Khas and Gurung. Small Magar communities are also present mostly in the southern outlying hills. Newar community is almost non-existent in the villages of outlying hills outside the Pokhara city limits.

 

From 1959 to 1962 approximately 300,000 exiles entered Nepal from neighbouring Tibet following its annexation by China. Most of the Tibetan exiles then sought asylum in Dharamshala and other Tibetan exile communities in India. According to UNHCR, since 1989, approximately 2500 Tibetans cross the border into Nepal each year, many of whom arrive in Pokhara typically as a transit to Tibetan exile communities in India. About 50,000 - 60,000 Tibetan exiles reside in Nepal, and approximately 20,000 of the exiled Tibetans live in one of the 12 consolidated camps, 8 in Kathmandu and 4 in and around Pokhara. The four Tibetan settlements in Pokhara are Jampaling, Paljorling, Tashi Ling, and Tashi Palkhel. These camps have evolved into well built settlements, each with a gompa (Buddhist monastery), chorten and its particular architecture, and Tibetans have become a visible minority in the city.

 

Until the end of the 1960s the town was only accessible by foot and it was considered even more a mystical place than Kathmandu. The first road was completed in 1968 (Siddhartha Highway) after which tourism set in and the city grew rapidly. The area along the Phewa lake, called Lake Side, has developed into one of the major tourism hubs of Nepal.

  

TEMPLES, GUMBAS AND CHURCHES

There are numerous temples and gumbas in and around pokhara valley. Many temples serve as combined places of worship for Hindus and Buddhists. Some of the popular temples and gumbas are:

 

Tal Barahi Temple (located on the island in the middle of Phewa Lake)

Bindhyabasini Temple

Sitaladevi Temple

Mudula Karki Kulayan Mandir

Sunpadeli Temple (Kaseri)

Bhadrakali Temple

Kumari Temple

Akalaa Temple

Kedareshwar Mahadev Mani Temple

Matepani Gumba

World peace pagoda

Akaladevi Temple

Monastery (Hemja)

Nepal Christiya Ramghat Church, established in 1952 (2009 BS), in Ramghat area of Pokhara is also the first church in Nepal.

 

LOCATION

The municipality of Pokhara spans 12 km from north to south and 6 km from east to west but, unlike the capital Kathmandu, it is quite loosely built up and still has much green space. The valley is approximately divided into four to Six parts by the rivers Seti, Bijayapur, Bagadi, Fusre and Hemja. The Seti Gandaki flowing through the city from north to south divides the city roughly in two halves with the business area of Chipledunga in the middle, the old town centre of Bagar in the north and the tourist district of Lakeside (Baidam) to the south all lying on the western side of the river.[38] The gorge through which the river flows is crossed at five places: K.I. Singh Pul, Mahendra Pul and Prithvi Highway Pul from north to south of the city. The floor of the valley is plain, resembles Terai due to its gravel-like surface, and has slanted orientation from northwest to southeast. The city is surrounded by the hills overlooking the entire valley.

 

Phewa Lake was slightly enlarged by damming which poses a risk of silting up due of the inflow during the monsoon. The outflowing water is partially used for hydropower generation. The dam collapsed in 1974 which resulted in draining of its water and exposing the land leading to illegal land encroachment; since then the dam has been rebuilt. The power plant is about 100 m below at the bottom of the Phusre Khola gorge. Water from Phewa is diverted for irrigation into the southern Pokhara valley. The eastern Pokhara Valley receives irrigation water through a canal running from a reservoir by the Seti in the north of the city. Some parts of Phewa lake are used as commercial cage fisheries. The lake is currently being encroached upon by invasive water hyacinth (जलकुम्भी झार).

 

Pokhara is known to be a popular tourist destination. The tourist district is along the north shore of the Phewa lake (Baidam, Lakeside and Damside). It is mainly made up of small shops, non-star tourist hotels, restaurants and bars. Most upscale and starred hotels are on the southern shore of the Phewa Lake and southeastern fringes of the city where there are more open lands and unhindered view of the surrounding mountains. Most of the tourists visiting Pokhara trek to the Annapurna Base Camp and Mustang. To the east of the Pokhara valley, in Lekhnath municipality, there are seven smaller lakes such as Begnas Lake and Rupa Lake. Begnas Lake is known for its fishery projects.

 

TOURISM AND ECONOMY

After the occupation of Tibet by China in 1950 and the Indo-China war in 1962, the old trading route to India from Tibet through Pokhara became defunct. Today only few caravans from Mustang arrive in Bagar. In recent decades, Pokhara has become a major tourist destination, it is considered as tourism capital of Nepal. In South Asia mainly for adventure tourism and the base for the famous Annapurna Circuit trek. Thus, a major contribution to the local economy comes from the tourism and hospitality industry. A lot of tourists visit Pokhara every year. Tourism industry is one of major source of income for local people and the city. There are two 5-star hotels and approximately 305 other hotels that includes five 3-star, fifteen 2-star and non-star hotels in the city.

 

Many medieval era temples (Barahi temple, Bindhyabasini, Bhadrakali, Talbarahi, Guheshwori, Sitaldevi, Gita mandir temple, Bhimsen temple) and old Newari houses are still a part of the city (Bagar, Bindhyabasini, Bhadrakali, Bhairab Tol, etc.). The modern commercial city centres are at Chipledhunga, New Road, Prithvi Chowk and Mahendrapul (recently renamed as Bhimsen Chowk).

 

The city promotes two major hilltops as its viewpoints to view the city and surrounding panorama, World Peace Pagoda built in 1996 across the southern shore of Phewa lake and Sarangkot which is located northwest of the city. In February 2004, International Mountain Museum (IMM) was opened for public in Ratopahiro to boost city's tourism attractions. Other museums in the city are Pokhara Regional Museum, an ethnographic museum, Annapurna Natural History Museum which houses preserved specimens of flora and fauna, and contains particularly extensive collection of the butterflies, found in the Western and ACAP region of Nepal; and Gurkha Museum featuring history of the Gurkha Soldiers. The city also has recently been adorned with a bungee jumping site (second in Nepal) titled Water Touch Bunjee Jumping. Also, a cable car service has begun construction joining Fewa Lake with World Peace Stupa led by the government of Nepal which is expected to boost the tourism industry of the place exponentially.

 

Since the 1990s Pokhara has experienced rapid urbanization, as a result service sector industries have increasingly contributed to the local economy overtaking the traditional agriculture. An effect of urbanization is seen in high real estate prices, which among the highest in the country. The major contributors to the economy of Pokhara are manufacturing and service sector including tourism; agriculture and the foreign and domestic remittances. Tourism, service sector & manufacturing contributes approximately 58% to the economy, remittances about 20% and the agriculture nearly 16%.

 

WIKIPEDIA

Dedicated to Japan.

Some people moan about the trivial things in life.

It's times like this you realize how lucky we are,

and what some people class as drama is really nothing at all.

In the big scheme of things..

Let's hope for some miracles in this horrible tragedy.

Dedicated to all the volunteers and stewards of the Festival of Ideas who have been doing such a fabulous job at all the events of the festival. This was a podium at one of the functions in the Faculty of English:-)

Dedicated to Cagla

Seen in Weissport Borough Park, Weissport, Pennsylvania.

 

en.wikipedia.org/wiki/Weissport,_Pennsylvania

The exhibition is dedicated to the First World War.

 

До 31 августа в отделе периодики представлены публикации по истории Первой мировой войны.

 

100 лет с начала Первой мировой войны – эту дату невозможно праздновать, но нельзя и забывать. Конфликт между отдельными государствами впервые вылился в катастрофу общечеловеческого масштаба. Уинстон Черчилль писал: «Человечество никогда ещё не было в таком положении. Не достигнув значительно более высокого уровня добродетели и не пользуясь значительно более мудрым руководством, люди впервые получили в руки такие орудия, при помощи которых они без промаха могут уничтожить всё человечество. Таково достижение всей их славной истории, всех славных трудов предшествовавших поколений. И люди хорошо сделают, если остановятся и задумаются над этой своей новой ответственностью».

 

Пробелы в изучении Первой мировой войны существовали в русской исторической науке на протяжении многих десятилетий. Публикации 2013–2014 годов в журналах «Новая и новейшая история», «Военно-исторический архив», «Отечественные архивы» и др. рассказывают о причинах, расстановке сил накануне войны и других аспектах Первой мировой. Особенно интересна подборка воспоминаний участников боевых действий.

www.book.uraic.ru/news_topic/2014/07/2299

 

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Подзолов М. Ю. Прадед. страницы жизни участника Первой мировой войны Николая Степановича

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RIght Click And Open In New Tab--->Connie You're My Greatest Inspiration!!!

Best Viewed On Black

Dedicated to Heather Buckley who luvs her some doll babies. More Toy Fair 2013 Coverage at idlehands1.blogspot.com !

Dedicated in the early 1960s during the Ceauşescu era, the huge mosaic on the facade has a bombastic message, though one ultimately deemed not overtly Socialist enough for the dictator. The mosaic remains, but the creator had to flee Romania.

Dedicated to the Glory of Ukraine - 20 images - Canon EOS 40D with Legacy Super-Takumar 1:3.5 28mm Prime (M42 mount) & Fotodiox M42-EOS adapter & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.

(•) – The Lockheed Martin HC-130J Hercules The Combat King II is the U.S. Air Force's only dedicated fixed-wing personnel recovery platform and is flown by the Air Education and Training Command (AETC) and Air Combat Command (ACC). This C-130J variation specializes in tactical profiles and avoiding detection and recovery operations in austere environments. The HC-130J replaces HC-130P/Ns as the only dedicated fixed-wing Personnel Recovery platform in the Air Force inventory. It is an extended-range version of the C-130J Hercules transport. Its mission is to rapidly deploy to execute combatant commander directed recovery operations to austere airfields and denied territory for expeditionary, all weather personnel recovery operations to include airdrop, airland, helicopter air-to-air refueling, and forward area ground refueling missions. When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, and noncombatant evacuation operations.

 

Features

Modifications to the HC-130J have improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications, and the ability to receive fuel inflight via a Universal Aerial Refueling Receptacle Slipway Installation (UARRSI).

 

The HC-130J can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.

 

Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.

 

Background

The HC-130J is a result of the HC/MC-130 recapitalization program and replaces Air Combat Command's aging HC-130P/N fleet as the dedicated fixed-wing personnel recovery platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard will operate the aircraft.

 

First flight was 29 July 2010, and the aircraft will serve the many roles and missions of the HC-130P/Ns. It is a modified KC-130J aircraft designed to conduct personnel recovery missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range or air refueling.

 

In April 2006, the personnel recovery mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.

 

General Characteristics

Primary function: Fixed-wing Personnel Recovery platform

Contractor: Lockheed Aircraft Corp.

Power Plant: Four Rolls Royce AE2100D3 turboprop engines

Thrust: 4,591 Propeller Shaft Horsepower, each engine

Wingspan: 132 feet, 7 inches (40.4 meters)

Length: 97 feet, 9 inches (29.57 meters)

Height: 38 feet, 9 inches (11.58 meters)

Operating Weight: 89,000 pounds (40,369 kilograms)

Maximum Takeoff Weight: 164,000 pounds (74,389 kilograms)

Fuel Capacity: 61,360 pounds (9,024 gallons)

Payload: 35,000 pounds (15,875 kilograms)

Speed: 316 knots indicated air speed at sea level

Range: beyond 4,000 miles (3,478 nautical miles)

Ceiling: 33,000 feet (10,000 meters)

Armament: countermeasures/flares, chaff

Basic Crew: Three officers (pilot, co-pilot, combat system officer) and two enlisted loadmasters

Unit Cost: $66 million (fiscal 2010 replacement cost)

Initial operating capability: 2013.

 

The Fairchild Republic A-10-C Warthog The Thunderbolt II is a single-seat, twin turbofan engine, straight wing jet aircraft developed by Fairchild-Republic for the United States Air Force (USAF). Commonly referred to by its nicknames Warthog or Hog, its official name comes from the Republic P-47 Thunderbolt, a World War II fighter that was effective at attacking ground targets. The A-10 was designed for close-in support of ground troops, close air support (CAS), and providing quick-action support for troops against helicopters and ground forces. It entered service in 1976 and is the only production-built aircraft that has served in the USAF that was designed solely for CAS. Its secondary mission is to provide forward air controller – airborne (FAC-A) support, by directing other aircraft in attacks on ground targets. Aircraft used primarily in this role are designated OA-10.

 

The A-10 was intended to improve on the performance of the A-1 Skyraider and its poor firepower. The A-10 was designed around the 30 mm GAU-8 Avenger rotary cannon. Its airframe was designed for durability, with measures such as 1,200 pounds (540 kg) of titanium armor to protect the cockpit and aircraft systems, enabling it to absorb a significant amount of damage and continue flying. Its short takeoff and landing capability permits operation from airstrips close to the front lines, and its simple design enables maintenance with minimal facilities. The A-10 served in Operation Desert Shield, and Operation Desert Storm, the American intervention against Iraq's invasion of Kuwait, where the A-10 distinguished itself. The A-10 also participated in other conflicts such as Operation Urgent Fury in Grenada, the Balkans, Afghanistan, Iraq, and against ISIL in the Middle East.

The A-10A single-seat variant was the only version produced, though one pre-production airframe was modified into the YA-10B twin-seat prototype to test an all-weather night capable version. In 2005, a program was started to upgrade remaining A-10A aircraft to the A-10C configuration with modern avionics for use of precision weaponry. The U.S. Air Force had stated the F-35 would replace the A-10 as it entered service, but this remains highly contentious within the Air Force and in political circles. With a variety of upgrades and wing replacements, the A-10's service life may be extended to 2040.

NON HINDUS

ARE NOT ALLOWED INSIDE THE TEMPLE

 

Lingaraj Temple is a Hindu temple dedicated to Harihara, a form of Shiva and is one of the oldest temples in Bhubaneswar, the capital of the East Indian state of Odisha (formerly Orissa). The temple is the most prominent landmark of the Bhubaneswar city and one of the major tourist attractions of the state.

 

The Lingaraj temple is the largest temple in Bhubaneswar. The central tower of the temple is 55 m tall. The temple represents the quintessence of the Kalinga Architecture and culminates the medieval stages of the architectural tradition at Bhubaneswar. The temple is believed to be built by the kings from the Somavamsi dynasty, with later additions from the Ganga rulers. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings), each increasing in the height to its predecessor. The temple complex has 50 other shrines and is enclosed by a large compound wall.

 

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra) as noted in Ekamra Purana, a 13th-century Sanskrit treatise. The temple is active in worship practises, unlike most other temples in Bhubaneswar and Shiva is worshipped as Harihara, a combined form of Vishnu and Shiva. The temple has images of Vishnu, possibly because of the rising prominence of Jagannath cult emnating from the Ganga rulers who built the Jagannath Temple in Puri in the 12th century.

 

Lingaraj temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple has an average of 6,000 visitors per day and receives lakhs of visitors during festivals. Shivaratri festival is the major festival celebrated in the temple and event during 2012 witnessed 200,000 visitors.

 

HISTORY

Lingaraj means "The king of Lingam", the symbol of Saivism. Shiva was worshipped as Kirtivasa and later as Harihara and is commonly referred as Tribhuvaneshwara (also called Bhubaneswar), the master of three worlds, namely, heaven, earth and netherworld). His consort is called Bhuvaneshvari.

 

The temple is more than 1100 years old, dating back in its present form to the last decade of the eleventh century, though there is evidence that part of the temple was built during the sixth century CE as the temple has been emphasized in some of the seventh century Sanskrit texts. Fergusson believes the temple might have been initiated by Lelat Indra Kesari who reigned from 615 to 657 CE. The Assembly hall (jagamohana), sanctum and temple tower wer built during the eleventh century, while the Hall of offering (bhoga-mandapa) was built during the twelfth century. The natamandira was built by the wife of Salini between 1099 and 1104 CE. By the time the Lingaraj temple was completely constructed, the Jagannath (form of Vishnu) cult had been growing in the region, which historians believe is evidenced by the co-existence of Vishnu and Shiva worship at the temple. The Ganga dynasty kings were ardent followers of Vaishnavism and built the Jagannath Temple at Puri in the 12th century.

 

The temple is believed to be built by the Somavanshi king Jajati Keshari, in 11th century CE. Jajati Keshari had shifted his capital from Jajpur to Bhubaneswar which was referred to as Ekamra Kshetra in the Brahma Purana, an ancient scripture. One of the Somavamsi queens donated a village to the temple and the Brahmins attached to the temple received generous grants. An inscription from the Saka year 1094 (1172 CE) indicates gifts of gold coins to the temple by Rajaraja II. Another inscription of Narasimha I from the 11th century indicates offer of beetel leaves as tambula to the presiding deity. Other stone inscriptions in the temple indicate royal grants from Chodaganga to village people.

 

ARCHITECTURE

The Lingaraj temple is the largest temple in Bhubaneswar. James Ferugsson (1808–86), a noted critic and historian, rated the temple as "one of the finest examples of purely Hindu temple in India". It is enshrined within a spacious compound wall of laterite measuring 160 m by 142 m. The wall is 2.3 m thick and surmounted by a plain slant coping. Alongside the inner face of the boundary wall, there is a terrace to protect the compound wall against outside aggression. The tower is 55 m high and the complex has 150 smaller shrines in its spacious courtyard. Each inch of the 55 m tall tower is sculpted. The door in the gate of the entrance porch is made of sandalwood.

 

The Lingaraja temple faces east and is built of sandstone and laterite. The main entrance is located in the east, while there are small entrances in the north and south. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings). The dance hall was associated with the raising prominence of the devadasi system that existed during the time. The various units from the Hall of offering to the tower of the sanctum increase in height.

 

The bhogamandapa (Hall of offering) measures 13 m by 13 m from the inside, 17.15 m by 17.25 m from the outside and has four doors in each of the sides. The exterior walls of the hall has decorative sculptures of men and beast. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform. It bears an inverted bell and a kalasa in the top. The natamandira (festival hall) measures 12 m by 12 m from the inside, 15 m by 15 m from the outside, has one main entrance and two side entrances. The side walls of the hall has decortive sculptures displaying women and couples. It has a flat roof sloping in stages. There are thick pylons inside the hall. The jagamohana (assembly hall) measures 11 m by 9.1 m from the inside, 17 m by 15 m from the outside, entrances from south and north and has a 30 metres tall roof. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform as in the Hall of offering. The facade to the entrances are decorated with perforated windows with lion sitting on hind legs. The inverted bell above second unit is adorned by kalasa and lions. The rekha deula has a 60 m tall pyramidal tower over the sanctum and measures 6.7 m from the inside, 16 m from the outside over the sanctum. It is covered with decorative design and seated lion projecting from the walls. The sanctum is square in shape from the inside. The tower walls are sculpted with female figures in different poses.

 

RELIGIOUS SIGNIFICANCE

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra). Ekamra Purana, a Sanskrit treatise of the 13th century mentions that the presiding deity was not seen as lingam (an aniconic form of Shiva) during the Satya and Treta yugas and only during the Dwapara and Kali yugas, it emerged as a lingam. The lingam in the temple is a natural unshaped stone that rests on a Sakti. Such a lingam is called Krutibasa or Swayambhu and is found in 64 places in different parts of India. With the advent of the Ganga dynasty in the early 12th century, who had Vaishnavaite orientation, a new movement started resulting in the synthesis of Saivism and Vaishnavism. The Ekamra was associated with Vaishanavite gods Krishna and Balaram during the period. It is attributed the raising prominence of Jagannath cult that became predominant during the construction of the temple. The Ganges remodelled the temple and introduced certain Vaishnavite elements like images of Vaishnava Dwarapalas namely Jaya and Prachanda, Jagannatha, Lakshmi Narayan and Garuda were installed. Tulsi leaves, which are favoured by Vishnu, was used along with Bela leaves for the worship of Lingaraj. Lingaraja was thus came to be known as Harihara, a combination of Shiva and Vishnu. The flag of the temple was fixed to a Pinaka bow instead of trident usually found in Shiva temples. The temple priests also changed the mark in their forehead from horizontal to a "U" sign with a dotted middle line. The Ganges also introduced certain fairs like Swing festival, Sun worship and mock quarell between priests after chariot festival, similar to the practises in Jagannath Temple in Puri. The influence of the Ganges dynasty has led to a cosmopolitan culture, that has reduced the status of Lingaraja temple as a distinct Saivite shrine.

 

FESTIVAL & WORSHIP PRACTISES

As per Hindu legend, an underground river originating from the Lingaraj temple fills the Bindusagar Tank (meaning ocean drop) and the water is believed to heal physical and spiritual illness. The water from the tank is thus treated sacred and pilgrims take a holy dip during festive occasions. The central deity of the temple, Lingaraj, is worshipped both as Shiva and Vishnu. The harmony between the two sects of Hinduism, Saivism and Vaishanvism, is seen in this temple where the deity is worshipped as Harihara, a combined form of Vishnu and Shiva.

 

Shivaratri is the main festival celebrated annually in Phalgun month when thousands of devotees visit the temple. Apart from a full day of fasting, bel leaves are offered to Lingaraj on this auspicious day. The main celebrations take place at night when devotees pray all night long. The devout usually break their fast after the Mahadipa (a huge lamp) is lit on the spire of the temple. Every year the chariot festival (Ratha-Yatra) of Lingaraja is celebrated on Ashokashtami. The deity is taken in a chariot to Rameshwar Deula temple. Thousands of devotees follow and pull brightly decorated chariots containing the idols of Lingaraj and his sister Rukmani. This chariot procession stays for five days at the Rameshwar Temple and then will be brought back. This festival commemorates Lord Lingaraj having slayed a demon. Thousands of bol bom pilgrims carry water from river Mahanadi and walk all the way to the temple during the month of Shravana every year. Sunian day is observed from royal times in the month of Bhandra, a day when temple servants, peasants and other holders of temple lands offer loyalty and tribute to Lingaraja. Candan Yatra (Sandalwood ceremony) is a 22-day festival celebrated in the temple when servants of the temple disport themselves in a specially made barge in Bindusagar tank. The deities and servants of the temples are anointed with sandalwood paste to protect from heat. Dances, communal feasts and merrymaking are arranged by the people associated with the temple.

 

The Lingaraja temple is active in worship practises, unlike the other ancient temples of Bhubaneshwar which are not active worship centres. Non Hindus are not allowed inside the temple, but it can be viewed from the viewing platform located outside the temple. The viewing platform and the back of the temple can be reached via a lineway located to the right of the main entrance of the temple. Sanctity of the temple is maitained by disallowing dogs, unbathed visitors, menstruating women and families that encountered birth or death in the preceding 12 days. In case of a foreign tresspass, the temple follows a purification ritual and dumping of prasad (food offering) in a well.

 

RELIGIOUS PRACTICES

The image of Lingaraja is abluted with water (called mahasnana) several times a day and decorated with flowers, sandal paste and cloth. Hemlock or hemlock flowers which are generally offered in other Shiva temples is not allowed in the Lingaraja temple. Bilva leaves (Aegle marmelos) and tulasi (Ocimum sanctum) are used in daily worship. Offerings of cooked rice, curries and sweet-meats are displayed in the bhogamandapa (hall of offering) and the divinity is invoked to accept them amidst scores of chanting of Sanskrit texts. Coconut, ripe plantains and kora-khai are generally offered to Lingaraja by the pilgrims. Bhang beverage is offered to Lingaraja by some devotees especially on the day of Pana Sankranti (Oriya new year).

 

The Lingaraja temple is open from 6 a.m. to about 9 p.m. and is intermittently closed during bhoga (food offering) to the deity. During early morning, lamps in the cella are lit to awaken Lingaraja from his sleep, ablution is performed, followed by adoration and arati (waving of light). The temple is closed at about 12 p.m. until about 3.30 P.M. A ceremony known as Mahasnana (ablution) is performed once the doors are closed, followed by pouring of Panchamrita (a mixture of milk, curdled milk, clarified butter, honey and ghee) upon the deity for purification. At about 1 P.M., a ripe plantain is divided into two, one half is offered to Sun god and the other half to Dwarapala (the guarding deities in the doorway). Between 1.00 and 1.30 P.M. the food offering called Ballabha Bhoga (breakfast containing curdled milk, curd and vegetables) is offered to the deity. The consecrated food is carried to the temple of Parvati and placed before her as an offering, a practice commonly observed by the orthodox Hindu housewives. At about 2 P.M., the Sakala Dhupa (morning's offering of food) takes place. After the food is offered to Lingaraja, the offerings are carried to the temple of Parvati to serve her. An offering called Bhanda Dhupa is carried out at 3.30 P.M. at the hall of offering. This food is later offered by the inmates to the pilgrims as Mahaprasad.

 

A light refreshment known as Ballabha Dhupa is offered to the deity at around 4.30 P.M. At around 5 P.M., Dwipahar Dhupa (mid day meal) is offered. At around 7 P.M., another offering called Palia Badu is placed before the deity. Sandhya arati (waving of lights in the evening) is performed during that time. Another light meal called Sahana Dhupa is offered at around 8:30 P.M. After the meals, the ceremony of waving light (arati) is performed before the deity. At 9.30 P.M, the last service of the day, Bada Singara (the great decoration) is performed when the deity is decorated with flowers and ornaments after which a light food offering is made. A wooden palanquin is laid in the room, incense is lighted, drinking water is served and prepared betel is placed. Panchabaktra Mahadeva comes to the palanquin and returns to his own abode after the arati is performed. This is a bronze image of Mahadeva having five faces and Parvati in his lap. Each of these ceremonies is accompanied by ritual observances and recitations of mantras (Sanskrit texts) specified for each occasion.

 

TEMPLE STAFF & ADMINISTRATION

King Jajati Keshari, believed to be the founder of the Lingaraja temple, deputed Dravidian Brahmins as temple priests over the local Brahmins on account of their increased knowledge of Saivism. The focus was to enhance the temple practises from tribal rites to Sanskritic. While the exact number of castes involved in the nijogas (practises) is not known, Brahmins, tribal worshippers and inmates from Untouchable castes are believed to be part of the setup. Bose (1958) identified 41 services with the involvement of 22 separate castes and Mahaptra (1978) identified 30 services. It is understood from the records that kings and temple managers of different times introduced or discontinued certain services, fairs, offerings and caste-centred core services during their regime. As of 2012, the temple practised 36 different services (nijogas).

 

In modern times, the Lingaraja temple priests are from two communities, namely Brahman Nijog and Badu Nijog. The Badu are non-Brahmin servant groups, whose origin is not ascertained due to unavailability of authentic records, while they are described as Vadu in chapter 62 of the Ekamrapurana. The caste group of Badu is called Niyoga, which elects the officers every year during the Sandalwood festival. Every Badu undergoes three distinct rites, namely, ear-piercing, marriage and god-touching. Historically, the Badus performed five different temple duties - Paliabadu and Pharaka, which were considered important and Pochha, Pahada and Khataseja, which were considered inferior. From 1962, only Paliabadu and Pharaka practises are followed and the others are discontinued. The Badus also carry out ablution and dressing of the images of Siddhaganesh and Gopalini. The temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple is guarded by security personnel deputed by the Police Commissioner of Bhubaneswar and security guards appointed by the temple administration. The temple has an average of 6,000 visitors every day and receives lakhs of visitors during festivals. The Shivaratri festival during 2012 witnessed 200,000 visitors. As of 2011, the annual income of Lingaraja temple from hundis (donation boxes) is around INR1.2 million per annum. Another INR4 million is collected annually from other sources like rents from shops, cycle stands and agriculture lands. Starting 2011, the temple charges an amount for six types of religious worship (special pujas) carried out by the devotees.

 

WIKIPEDIA

 

Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."

 

HISTORY

FOUNDATION & DEDICATION

Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.

 

Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.

 

The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.

 

EXPANSION & REDICATION

Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.

 

RESTAURATION

The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.

Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.

 

MATERIALS & STYLE

Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.

 

A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.

 

A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.

 

Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".

 

THE SITE

The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.

 

THE OUTER GOPURA

The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.

 

THE THIRD (OUTER) ENCLOSURE

The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.

 

THE SECOND ENCLOSURE

The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.

 

THE FIRST (INNER) ENCLOSURE

Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.

 

THE LIBRARIES

The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."

 

The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.

 

The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.

 

The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.

 

The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.

 

THE SANCTUARY

The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.

___________________________

 

Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.

 

The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.

 

In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.

 

The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.

 

In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.

 

Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.

 

The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.

 

WIKIPEDIA

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