View allAll Photos Tagged Dedicated
Dad was a college professor of Anthropology and Sociology from 1970 through the early 90's, here at the University of Michigan, Flint campus. The corner of Wallenberg & Kearsley was a familiar site to me when I was growing up. Dad parked his yellow, '71 Plymouth Duster here in this garage, while Genesee Towers loomed in the skyline behind.
Dad is no longer with us, and Genesee Towers is supposed to come down this year. I am glad I have this picture.
Downtown Flint, MIchigan.
Friday, August 16, 2013.
GIUSEPPE GRECO 2008
CANON EOS 400D EF 50MM 1.8
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
reworked image........
just to say hi and sorry if ive not caught up with you this week.......
things a wee bit busy.....
ill try to catch up later this week..........
andrew..x
and for those of you who remember our wee man wilbur ,he died today....
it was old age but that dont make it easy.....
so this is for you our wee blue bird and thanks for the fun and joy you brought us little man xx
The Lakshmana Temple is a Hindu temple located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India.
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati). The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan. Its sikhara is clustered with minor urushringas.
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
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Der Lakshmana-Tempel ist der erste wirklich große Tempelbau der Chandella-Dynastie im Tempelbezirk von Khajuraho; zu seiner Bauzeit (ca. 930−950) war er der größte Tempel im Norden Indiens. Der Tempel ist dem Gott Vishnu in seinem Aspekt als Vaikuntha ('Herr des Paradieses') geweiht; im Zentrum der Cella (garbhagriha) steht eine dreiköpfige Vishnu-/Vaikuntha-Figur.
In den Ecken der Tempelplattform sind noch vier Begleitschreine erhalten und so ergibt sich das seltene Bild eines kompletten nordindischen Tempelkomplexes (panchayatana), wie es schon im frühen 6. Jahrhundert im Dashavatara-Tempel von Deogarh geplant und verwirklicht wurde, sich aber dort nicht erhalten hat.
ETYMOLOGIE
Der Name Vaikuntha ist wahrscheinlich von den Sanskritwörtern vi und kuntha herzuleiten und bedeutet in etwa 'ohne Bruch' im Sinne von 'ganzheitlich' oder 'vollkommen'. Vaikuntha ist für viele Anhänger Vishnus (vaishnavas) Ziel und Ort nach Erreichung der Erlösung (moksha), d. h. nach der Befreiung aus dem endlosen Kreislauf der Wiedergeburten (samsara). Dieser Ort − in etwa gleichzusetzen mit dem Paradies − liegt an den Hängen des Weltenbergs Meru und besteht nur aus Gold und kostbaren Edelsteinen; der Ganges fließt mitten durch ihn hindurch. Das Bildnis im Innern der Cella wurde − da seine ursprüngliche Bedeutung in Vergessenheit geraten war − in späterer Zeit volkstümlich auch als Lakshmana, Ramachandra oder Chaturbuja bezeichnet; der Name 'Lakshmana-Tempel' ist haften geblieben.
BAUGESCHICHTE
Eine während der Ausgrabungs- und Restaurierungsarbeiten zu Beginn des 20. Jahrhunderts in der Nähe gefundene Steinplatte mit einer Weiheinschrift aus dem Jahr 953/4, die sich auf eine Vaikuntha-Statue bezieht, erwähnt den Chandella-Herrscher Yasovarman (reg. ca. 925−950) als Bauherren und Stifter. Bei einer angenommenen Bauzeit von etwa 20 Jahren dürfte der Baubeginn des Tempels etwa um das Jahr 930 anzusiedeln sein, als die Chandellas gegenüber ihren Lehnsherren, den Pratiharas, mehr und mehr an Einfluss und Macht gewannen. Die Inschriftenplatte ist heute in der kleinen Vorhalle (mukhamandapa) des Tempels angebracht.
ARCHITEKTUR
Der komplett aus Sandstein errichtete Tempel ist ca. 21,5 m hoch, etwa 24,5 m lang und ca. 14,5 m breit. Er erhebt sich auf einer rechteckigen, ca. 3 m hohen, ca. 40 m langen und ca. 27 m breiten Umgangsplattform (jagati), die über einen vorgezogenen Treppenaufgang erreichbar ist. Der Tempel selbst ruht auf einem mehrfach gegliederten und leicht zurückgestuften Unterbau (adhishthana), so dass ein weiterer, ebenfalls etwa 3 m hoher Treppenaufgang notwendig ist um in den Portikus (mukhamandapa oder ardhamandapa) zu gelangen; es folgt die Vorhalle (mandapa), dann die Große Vorhalle (mahamandapa) und schließlich der Sanktumsbereich mit innenliegender Cella (garbhagriha) sowie einem Umgang (pradakshinapatha).
Sanktumsbereich und Große Vorhalle sind flächenmäßig etwa gleich groß − ein Schema, dass bereits ca. 250 Jahre früher beim Kalika-Mata-Tempel in Chittorgarh erstmals auftritt und über Zwischenstufen in Rajasthan und Gyaraspur nach Khajuraho gelangte. Da die Dachaufbauten des Tempels im Wesentlichen auf Pfeilern ruhen, konnten die drei Vorhallen sowie der Umgangsbereich der Cella durch schräggestellte Brüstungen mit gedrechselten Steinsäulchen, vor denen sich im Innern steinerne Sitzbänke befinden, nach außen geöffnet werden.
Die verschiedenen Räume sind durch Stufen voneinander getrennt und haben somit ein geringfügig wechselndes Bodenniveau; die Cella des Tempels mit dem Vaikuntha-Bildnis hat von allen Räumen das höchste Fußbodenniveau und wird von einem Shikhara-Turm mit kleinen Begleittürmchen (urushringas) überhöht. Die Vorhallen sind jeweils von pyramidenförmigen Dächern (phamsanas) bedeckt. Im Äußeren entsteht so das Bild eines die umgebende Landschaft überragenden Gebirges oder Bergstocks, doch auch im Innern müssen die Gläubigen einige Stufen überwinden um zum "Höchsten", dem Vaikuntha-Bildnis, zu gelangen.
Im Innern wie im Äußeren ist jedes Bauteil des Tempels reich gegliedert und mit Skulpturen oder abstrakten geometrischen oder vegetabilischen Ornamenten bedeckt; eine Wand- bzw. Steinsichtigkeit wird also weitgehend vermieden.
SKULPTUREN
Die obere Ebene der mehrfach gestuften Sockelzone ist als etwa 35 cm hoher umlaufender Fries mit über hundert kleinen Elefanten gestaltet, die den gesamten Tempel auf dem Rücken tragen − ein Hoheitszeichen, das sich an keinem der anderen Tempel Khajurahos findet. Die Elefanten werden von jeweils zwei Wärtern (mahuts) begleitet.
Plattform und Tempel sind mit über tausend kleineren und größeren Figuren geschmückt. Vor allem die größeren Skulpturen sind nicht mehr – wie früher – von Architekturelementen oder Nischen eingerahmt, sondern stehen nahezu vollplastisch auf Steinplatten, d. h. sie sind kaum noch mit dem rückwärtigen Reliefgrund verbunden. Sie sind nicht mehr als künstliche Abbilder gemeint, sondern als lebendige, lebensnahe Figuren. Die etwas hervorstehenden Bauteile zeigen zumeist Götterfiguren (Shiva, Vishnu u. a.), die seitlich in den etwas zurückspringenden Teilen von gleich großen weiblichen Figuren – leicht bekleideten 'Schönen Mädchen' (surasundaris) in unterschiedlichen Posen und aus bildhauerischen Gründen stets mit aufgebundenem Haar – begleitet werden. Die etwas breiteren, aber am stärksten zurückgestuften Mittelregister der drei Außenwände des Sanktums präsentieren in der unteren Ebene erotische Szenen aller Art, für die die Tempel von Khajuraho in der ganzen Welt berühmt sind; darüber finden sich 'Himmlische Liebespaare' (mithunas). Die oberste Zone zeigt in der Mitte ein Götterbild mit Begleitfiguren; die seitlichen Dekorfelder (udgamas) zeigen ornamentalen Schmuck bestehend aus neben- und übereinander angeordneten kleinen Fensternischen (chandrasalas).
PLATTFORM
Als einziger Tempel in Khajuraho hat der Lakshmana-Tempel einen weitgehend erhaltenen und die gesamte Plattform umschließenden Figurenfries mit Szenen aus dem höfischen Alltagsleben – Unterricht, Kriegszug, Musikanten, erotisch-sexuelle Liebesszenen etc.; Götterfiguren oder Dämonen sind dagegen hier nicht zu sehen. Die Szenen des etwa in Augenhöhe angebrachten Frieses sind zwar originell, aber von keiner großen handwerklichen oder künstlerischen Meisterschaft.
TEMPEL (AUSSEN)
Während die kleinen Vorhallen außen keinerlei Figurenschmuck besitzen, sind die Eckpfeiler zwischen Vorhalle (mandapa) und Großer Vorhalle (mahamandapa) in zwei Ebenen mit Figuren versehen. Hauptsächlich ist jedoch der Bereich zwischen Großer Vorhalle (mahamandapa) und Sanktum in mehreren Ebenen und überreich mit Figuren besetzt. Hier überwiegen ganz eindeutig Götterfiguren, 'Himmlische Liebespaare' (mithunas) und 'Schöne Mädchen' (surasundaris). Nur die unteren Ebenen der Mittelregister zeigen auch erotisch-sexuelle Szenen; somit ist am Lakshmana-Tempel noch die Hierarchie zwischen der oberen (himmlischen) Ebene und der unteren (erdnahen) Ebene gewahrt.
TEMPEL (INNEN)
Zu den interessantesten und künstlerisch bedeutsamsten Figuren im Innern des Tempels gehören die weiblichen Nymphen (apsaras) an den Streben im Deckenbereich der Großen Vorhalle (mahamandapa); diese zeigen sich in verschiedenen − oft extrem verdrehten − Posen beim Musizieren, beim Ballspiel aber auch beim Entkleiden. In den Wandnischen finden sich diverse Götterfiguren, darunter auch einige nicht (mehr) identifizierbare.
VAIKUNTHA-KULTBILD
Das freiplastisch aus einer großen Steinplatte herausgearbeitete Götterbildnis ist in ganz Indien nahezu einzigartig und zeigt Vishnu/Vaikuntha mit vier zerstörten Armen, so dass keinerlei Attribute mehr vorhanden sind, sowie drei Köpfen (Mensch, Eber und Löwe). Ein rückwärtiger vierter Kopf, der die Universalität Vishnus vervollkommnet hätte, ist nicht ausgeführt; stattdessen findet sich ein in Indien einzigartiger durchbrochener und gezackter Strahlenkranz um Vaikunthas Haupt. Die Figur ist umgeben von einem – aus derselben Steinplatte herausgearbeiteten – Rahmen mit Wächterfiguren sowie Ganga und Yamuna im Sockelbereich und jeweils drei darüber befindlichen vorstehenden Nischen mit Vishnu-Avataras (Matsya, Varaha, Vamana, Kurma, Narasimha, Parashurama). Zwei seitliche Pfeiler mit reichem z. T. freiplastischen Architektur- und Figurendekor und einem doppelten, aus dem aufgerissenene Mäulern von Wasserungeheuern (makaras) hervorquellenden Torana-Bogen als verbindendem oberem Abschluss bilden den äußeren Rahmen des Kultbildes.
BEDEUTUNG
Der Lakshmana-Tempel (ca. 930−950) mit seinen vier hintereinanderliegenden und in der Höhe gestaffelten Bauteilen sowie seiner − im Wesentlichen auf Pfeilern ruhenden − Bauweise gilt als früher Höhepunkt der Chandella-Architektur und war nach seiner Fertigstellung für etliche Jahrzehnte der größte Tempelbau Indiens. Spätere Tempelbauten in Khajuraho wurden von ihm maßgeblich beeinflusst, darunter auch der Kandariya-Mahadeva-Tempel.
Das außergewöhnliche Vaikuntha-Bildnis in der Cella sowie der reiche, beinahe vollplastische Figurenschmuck sind innen wie außen nahezu vollständig erhalten und bezeugen die handwerkliche und künstlerische Meisterschaft der Bildhauer der damaligen Zeit.
Mit seinem mehrteiligen Grundriss, einer von einem Umgang umschlossenen Cella und in Teilen seines Dekors (Balkonbrüstungen mit gedrechselten Säulchen) ist der Lakshmana-Tempel wahrscheinlich direkt beeinflusst von dem ca. 50 Jahre zuvor erbauten, aber insgesamt noch der Pratihara-Architektur zuzurechnenden Maladevi-Tempel in Gyaraspur.
WIKIPEDIA
The Province is helping keep people safe by creating hubs of police, dedicated prosecutors and probation officers focused on tackling repeat violent offending in every region of the province. Learn more: news.gov.bc.ca/28552
The Salzburg Cathedral (German: Salzburger Dom) is a 17th century baroque cathedral of the Roman Catholic Archdiocese of Salzburg in the city of Salzburg, dedicated to Saint Rupert of Salzburg.
It is the site of Mozart's baptism. And the composer Anton Diabelli sang in the Salzburg Cathedral boys' choir in the late 1700s.
The first cathedral was built under Saint Vergilius of Salzburg, who might have used foundations by St. Rupert. The first Dom was recorded in 774. The so-called Virgil Dom was built from 767 to 774 and was 66 metres long and 33 metres wide.
Inside the cathedral
Archbishop Arno (785 – 821) was the first to arrange renovations of the Dom, which was in place for less than 70 years. In 842, the building burned down after being struck by lightning. Three years later, the re-erection of the building started.
Under Archbishop Hartwig, a choir with a crypt was built towards West between 1000 and 1020. Under Archbishop Konrad I., the West-towers were built from 1106 to 1147.
This original church thus experienced at least three extensive building and rebuilding campaigns during the early Middle Ages, the final result of which was a somewhat ad hoc Romanesque basilica. In 1598, the basilica was severely damaged, and after several failed attempts at restoration and reconstruction, the building was finally ordered to be demolished by Prince-Archbishop Wolf Dietrich (Archbishop from 1587–1612). Wolf Dietrich was a patron and supporter of modern Italian baroque architecture, having seen it from its origins in Italy and particularly Rome. Indeed, it was Wolf Dietrich who was also responsible for the building of the nearby Alten Residenz, which is today connected to the cathedral.
Members of the U.S. Marshals Service participate in the National Police Week 5K memorial run dedicated to honoring America’s fallen law enforcement heroes, 14 May, 2002. (U.S. Marshals photo/Bennie J. Davis III)
Indian Army (Air-force) soldiers share a light moment!
A Terrorist or a Soldier ? - Today this is an important question youths across world across religions should ask themselves. The increasing number of youth involvement in the world of terror is extremely alarming and calls for concern. Being picked up at early ages, trained both physically and mentally by such terror groups, today's young lads are getting trapped into psuedo-islamic values! They are ready to go on a suicidal mission on some religious terms which they hardly seem to understand.
At the end of it, in a terror struck world like this, you just need to ask yourself a simple question "You want to be a Terrorist or a Soldier". One small thought can change the future of the youth, and therefore the Country's!
Please campaign against Terror!
[Dedicated to those brave NSG commandos and ATS men, who lost their lives fighting the 'youth' who were on the other side of 'Peace', during Mumbai terror attack, Nov-27th 2008]
(•) – 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 Sikorsky MH-60G/HH-60G Pave Hawk is a twin turboshaft engine helicopter in service with the United States Air Force. It is a derivative of the UH-60 Black Hawk and incorporates the US Air Force PAVE electronic systems program. The HH-60/MH-60 is a member of the Sikorsky S-70 family.
The MH-60G Pave Hawk's primary mission is insertion and recovery of special operations personnel, while the HH-60G Pave Hawk's core mission is recovery of personnel under stressful conditions, including search and rescue. Both versions conduct day or night operations into hostile environments. Because of its versatility, the HH-60G may also perform peace-time operations such as civil search and rescue, emergency aeromedical evacuation (MEDEVAC), disaster relief, international aid and counter-drug activities.
Using pioneering new technologies in Superfoods and nutrition, CFTRI has developed amazing new products which are on show at CFTRI stall at Pragati Maidan:
· Chia and Quinoa based Chocolates and Laddoos;
· Omega-3 enriched ice-cream;
· Multigrain banana bar
· Fruit juice based carbonated drinks.
New Delhi, 24th November, 2016: CSIR-Central Food Technological Research Institute (CFTRI), the premier national institute for food technology is exhibiting a range of new agri-products now grown in India, called Superfoods that bring health and nutrition best practices to everyday eating and living to the common man. The exhibits by CFTRI at the Trade Fair at Pragati Maidan in New Delhi both impress and surprise with the range and scope of their utility and potency.
The Indian population is presently going through a nutrition transition and there is an increase in incidence of diabetes, impaired heart health and obesity while there is still rampant malnutrition in the nation.
Keeping in mind an effective solution needed to address these concerns, CSIR-CFTRI is working on bringing Superfoods to the Indian population. CFTRI works on various facets of food technology, food processing, advanced nutrition, Superfoods and allied sciences. Superfoods are foods which have superior nutrition profiles which upon regular consumption can help improve health and wellness of the consumer.
CFTRI has developed the agro-technology for growing Superfoods viz. Chia and Quinoa in Indian conditions. Chia is the richest source of omega-3 fats from a vegetarian source and Quinoa has excellent protein quality and low glycemic load carbohydrates. Comprehensively, Chia and Quinoa have potential to improve population health and both blend seamlessly into traditional food preparations.
CSIR-CFTRI also infuses the spirit of entrepreneurship in their students. One of the doctoral students after completing her academic program started her own technology provider start-up company, Oleome Biosolutions Pvt Ltd. In a global first, CSIR-CFTRI in collaboration with Oleome, has developed a 100% vegetarian, Omega-3-enriched Ice cream called “Nutriice” using Chia oil.
CSIR-CFTRI is also in the process of the final phase of testing of diacylglycerol (DAG) oil, a unique cooking oil that has “Anti-Obesity” functionalities. One can consume it as part of daily regular diet and while the oil is available as energy but does not get stored as fat in our bodies. The final phase of human clinical trial is presently under progress.
CFTRI has also designed and developed snacks with advanced nutrition designs to support the nutrition needs of growing children. These have been implemented in the aganwadi levels to complement the existing government mid-day meal and will be scaled up soon. The products, such as Nutri Chikki with spirulina, rice beverage mix, high protein rusk, energy food, nutri sprinkle, seasame paste and fortified mango bars have been well received by the children and the anganwadis alike. Multi-grain Banana bar is a new addition to in this product portfolio.
Another exciting area of multidisciplinary research being done at CSIR-CFTRI is on nanotechnology, food technology and nutrition. Nanomaterials are known for their characteristic properties and CSIR-CFTRI is working on the use of nanoparticles for various applications. One of our interesting developments is the design and development of food packaging material with nanoparticles with antimicrobial and antioxidant properties to improve shelf-life of processed foods.
CSIR-CFTRI is also working on “Smart Foods” to answer specific needs of the consumer. These promising and specifically designed innovations are being developed for better sleep, better skin health, improved digestion, better cognitive performance and better stress management. The high science is brought into a simple food product, like a cereal bar which helps one to be more attentive over the day, or a unique dosa mix that helps in working out better at the gym with lower perceived exhaustion and even a special soup to help sleep better at night!
Speaking on the sidelines of the CSIR-CFTRI exhibition at Pragati Maidn, Prof. Ram Rajasekharan, Director, CFTRI said “Our mandate is to find innovative solutions to India agricultural and nutritional challenges. Our aim is to develop products to make Indian agriculture productive, efficient and at a consumer level gradually replace drugs with foods that will promote better health and wellness. We strive to deliver our best in improving food security and nutrition security, also developing a stronger, smarter and healthier India”.
About CSIR-CFTRI:
CSIR − Central Food Technological Research Institute (CFTRI), Mysore (A constituent laboratory of Council of Scientific and Industrial Research, New Delhi) came into existence during 1950 with the great vision of its founders, and a network of inspiring as well as dedicated scientists who had a fascination to pursue in-depth research and development in the areas of food science and technology.
CSIR-CFTRI is today a large and diversified laboratory headed by Prof. Ram Rajasekharan, Director, CSIR-CFTRI. Presently the institute has a great team of scientists, technologists, engineers, technicians, skilled workers, and support staff. There are seventeen research and development departments, including laboratories focusing on lipid science, molecular nutrition, food engineering, food biotechnology, microbiology, biochemistry, food safety etc.
The institute has designed over 300 products, processes, and equipment types. It holds several patents and has a large number of high impact peer reviewed journal articles to its credit. India is the world's second largest food grain, fruit and vegetable producer, and the institute is engaged in research and development in the production and handling of grains, pulses, oilseeds, spices, fruits, vegetables, meat, fish, and poultry.
The institute develops technologies to increase efficiency and reduce postharvest losses, add convenience, increase export, find new sources of food products, integrate human resources in food industries and develops solutions to improve the health and wellness of the population.
CFTRI has a vast portfolio of over 300 products, processes and equipment designs, and close to 4000 licensees have availed themselves of these technologies for commercial exploitation. The achievements have been of considerable industrial value, social importance and national relevance, and coupled with the institute's wide-ranging facilities and services, have created an extensive impact on the Indian food industry and Indian society at large.
In the middle of the courtyard stands the Baroque monastery (castle) church, dedicated to Our Lady of the Snows (Beate Mariae Virgini ad Nives) and to the holy Oswald, with a Gothic core. In a document of 1485, it is also called St. Godehard (St. Gotthard) Provost church in Gloggnitz. The oldest part is the chapel of Our Lady (probably the original Cell, 11th century) with a pointed arched brace of 1260, which was formerly independent and was only connected to the church in about 1760. It is also Gothic. The greatest transformation took place under the provosts Perfaller and Wenckh. In 1692, the church was changed in the Baroque style, from this time stems also an added 36-meter-high tower with onion roof, that, one year later, the first bell (635 kg) and 1724 the second (1330 kg) had to host. The sacristy and the oratory provost Langpartner in 1730 had added.
The altarpiece of the church, next to Mary and Jesus, shows the crowned St. Oswald with the raven. Between the winding columns are statues of Saints Gotthard and Benedict, on the sides of the altar statues of St. Wolfgang and a Guardian Angel.
The right-hand side altar in the nave shows Saint Benedict with a poison cup and snake in the altarpiece. In a small detail, the upstanding dying of the founder of the order is represented, next to the altar the Saints Bernhard and Benedict.
On the left side altar the Virgin of Mercy is depicted.
On the left side of the altar is St. Leonhard with a donkey.
Underneath the choir, with an entrance hidden by plates, in front of the steps leading to the presbytery, is a crypt, in which the provosts were buried.
The chapel of Saint Mary
On the south side of the church is the chapel of Saint Mary by Angelus Rumpler, also called the Abbot's chapel.
The Altar of Saint Mary dates back to the Baroque period. It has no altarpiece. The centerpiece was a Gothic wooden statue of Mary with the child, which fell victim to church burglars in the 1960s.
St. Michael's chapel
Between the remaining high defensive walls of the monastery and the former refectory is the St. Michael's Chapel, an early-Gothic building, which has been documented since 1322 and has been little altered during the Baroque period. On the ground floor was the charnel house.
An external fresco of the Holy Christophorus, though severely damaged, still exists.
Inmitten des Hofes steht die barocke Kloster-(Schloss-)Kirche, die Maria Schnee (Beate Mariae Virgini ad Nives) und dem heiligen Oswald geweiht ist, mit gotischem Kern. In einer Urkunde von 1485 heißt sie auch Propsteikirche St. Godehard (St. Gotthard) in Gloggnitz. Der älteste Teil ist die Frauenkapelle (wahrscheinlich die ursprüngliche Zell, 11. Jahrhundert) mit einem Spitzbogengurt von 1260, die früher selbständig war und erst ca. 1760 mit der Kirche verbunden wurde. Sie ist ebenfalls gotisch. Die größte Umgestaltung erfuhr die Kirche unter den Pröpsten Perfaller und Wenckh. 1692 wurde die Kirche barockisiert, aus der Zeit stammt auch der angebaute 36 Meter hohe Turm mit Zwiebeldach, der ein Jahr später die erste große Glocke (635 kg), 1724 die zweite (1330 kg) aufzunehmen hatte. Die Sakristei und das Oratorium ließ 1730 Propst Langpartner dazubauen.
Das Altarbild der Kirche zeigt neben Maria und Jesus den gekrönten St. Oswald mit dem Raben. Zwischen den gewundenen Säulen befinden sich Statuen der Heiligen Gotthard und Benedikt, an den Seiten des Altars Statuen des heiligen Wolfgang und eines Schutzengels.
Der rechte Seitenaltar im Schiff zeigt im Altarbild den heiligen Benedikt mit Giftschale und Schlange. In einem kleinen Bildausschnitt wird das aufrechte Sterben des Ordensgründers dargestellt, neben dem Altar die Heiligen Bernhard und Benedikt.
Auf dem linken Seitenaltar ist eine Schutzmantelmadonna abgebildet.
Auf der linken Altarseite befindet sich der heilige Leonhard mit einem Esel.
Unter dem Chor, mit einem durch Platten verdeckten Eingang vor den Stufen zum Presbyterium, ist eine Gruft, in der die Pröpste beigesetzt wurden.
Die Marienkapelle
Marienkapelle, Altar
An der Südseite der Kirche befindet sich die Frauenkapelle von Angelus Rumpler, auch Abtkapelle genannt.
Der Marienaltar stammt aus der Barockzeit. Er hat kein Altarblatt. Mittelpunkt war eine gotische Holzstatue Maria mit dem Kind, die in den sechziger Jahren Kirchendieben zum Opfer gefallen ist.
St. Michaels-Kapelle
Zwischen der noch erhaltenen hohen Wehrmauer des Klosters und dem ehemaligen Refektorium befindet sich die St.-Michaels-Kapelle, ein frühgotischer Bau, seit 1322 nachgewiesen, der in der Barockzeit nur wenig verändert wurde. Im Untergeschoss befand sich der Karner.
Ein Außenfresko des Heiligen Christophorus ist, wenn auch schwer beschädigt, noch vorhanden.
This website is dedicated to Timi Yuro and set up by Catvas2, I’m not a member of a Timi Yuro group, and there is no cooperation with other Timi Yuro websites. These images-articles come from my collection. I thought others might appreciate these tidbits of forgotten history. More Timi Yuro information on my profile.
Set Billboard Hot 100 click here: flic.kr/s/aHsjZv5emh
Click the white arrow at the right side, followed by selecting the 'view all sizes' option.
Timi Yuro biography: www.flickr.com/people/timiyuro/
Timi Yuro was an Italian-American gal who could belt out a ballad with such power she could peel paint. She had an undeniable soulful quality but also a keen sense of jazz phrasing . . . as well as pulling r'n'b and country music into the mix. Her first big hit was Hurt in 1961 and she followed it with the equally good What's a Matter Baby (Is It Hurting You?) the following year. Timi Yuro a lady who possessed a tremendous and unique voice. She made some great records.
“I have to be horrible at everything or else it wouldn't be me.”
~ Ryan Dunn
June 11, 1977 ~ June 20, 2011
Eventide rise for ritual
With the thrill of a kill vengefully the engine will
Roar forth steer the dead leave forced
Driven by fear shift gears veer towards
The foolishly equipped swift these
Failed bids breathed taillights from the crypt
Reflect upon the way beyond redemption
Let the necronometer beckon for the destined
Blessed when first lent sin then condemned to bear the burden
Of this curse the consequence of which can never be averted
Each tormented attempt that is made in vain
To evade this debt which is certain to be paid
Without question is met with a counterclocked surge
In reverse as if backmasked words of the black mass were
All heard by a clutch engaged
Over trails blazed to the western gates
Heaven may be running on empty yet the devil rides
Heaven may be running on empty yet the devil rides
Heaven may be running on empty yet the devil rides
Hell burns by angel turns her pillow to the cooler side
Something diabolical
Idle hands are bound for the
Damned once sam went down to georgia
Speed was forged of the divine salt
Mined from the vaults of flame by the lost
Named as those sought as faults rests beneath
The wrong that was spawned from the tired screech
Of essence halted engulfed in the scent of exhaustion
A false witness with the sensed end is brought
To bended knees when abandoned belief in
The mephistophelian plea for wicked unleashed sends
Heed to reap grim an infernally decreed
Reposession vested in the fallen creed called on to retrieve
Meed with the fueled intention of deprived intervention
The thundered calm that comes from the rattle of descension
Numbs the panicked from a havoc that reeks of oil
Barreling down this mortal coil
Heaven may be running on empty yet the devil rides
Heaven may be running on empty yet the devil rides
Heaven may be running on empty yet the devil rides
Hell burns by angel turns her pillow to the cooler side
Something diabolical
Tonight belongs to him
Tonight belongs to him
Tonight belongs to him
Tonight belongs to him
To him
To him
To him
* Something Diabolical * ~ by Bloodhound Gang
Admin Fave - Unforgettable Flowers,
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Admin Award - Perfect Petals,
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Russell Huiet, a pharmacist with the Disaster Medical Assistance Team (DMAT) from South Carolina, is working day and night in sweltering hot temperatures to help people in Puerto Rico get the care that they need. Huiet is hesitant to be too far from the action and he even found an innovative way to get a little sleep when he wasn’t on duty, setting up a makeshift cot just inches away from the pharmacy.
Shaun Flack, Barry Parker, Eric Almeida, David Flack( Semper Fi), Shelly Prescod, Duane Nickerson, Brent Hines,( front)Jerry Moore, Vinnie Smith, and Carmen Sowers
This beautiful event is dedicated to the Divine Mother, Gayatri Devi. It took place at Bhakti Marga's main Ashram Shree Peetha Nilaya in Heidenrod-Springen (close to Frankfurt).
Find out more visit at www.bhaktimarga.org
Crucifixion. Window erected in memory of Richard & Pauline Schomburgk by their children, created by Montgomery & Grimbly, unveiled 25 Aug 1895 in St Paul’s church, Pulteney St. When St Paul’s closed 1982, window was transferred to All Souls Anglican church in suburb of St Peters and re-dedicated 27 Oct 1985. Richard was the second director of Adelaide’s Botanic Gardens. “to the Glory of God and in loving memory of Richard Moritz Schomburgh Ph D and of Pauline his wife this window has been erected by their children AD 1895.”
“SCHOMBURGK.- On the 24th July, at the Botanic Gardens, Adelaide, Pauline, the beloved wife of Dr. R. Schomburgk, aged 57.” [Register 24 Jul 1879]
“SCHOMBURGK. —On the 24th March, at the Botanic Garden, Adelaide, Dr. Richard Schomburgk, in his 80th year.” [Register 25 Mar 1891]
“the venerable and renowned Dr. Sehomburgk. . . was a son of the late Rev. J. F. L. Schomburgk, of the Lutheran persuasion, was born at Fribault, in Saxony, on October 5, 1811. Making a special study of botany he became connected with the Imperial Gardens at Potsdam, and to further cultivate his taste for this branch of science sought the tuition of his famous brother Sir Robert . . . and in one of the expeditions with his brother Richard went to British Guiana in 1840. . . After his return to the Fatherland he took an active part in the political agitation of the time and was eventually compelled to leave the country. He left with his brother Otto, and came to South Australia. Settling on the Gawler River the Schomburgks adopted farming and viticulture as a means of livelihood, and resided near Buchsfelde for ten years. In 1865 Mr. Otto Schomburgk died, and in the following year the surviving brother, then Curator of the Gawler Museum, accepted the Directorship of the Botanic Gardens on the death of Mr. Francis. . . [who] had prepared plans of the Gardens, and had laid out and planted a considerable portion of them . . . but it was left to Dr. Schomburgk to make the Gardens what they are now — a paradise of flowers and noble trees and plants occupying a prominent place amongst the Gardens of the world. . . the Doctor also converted a large area between Hackney and Adelaide, now known as the Botanic Park, from a primeval forest into an attractive enclosure, which possesses charming drives through pine avenues and lofty gumtrees. . . Captain Otto Schomburgk, of the Militia Field Artillery, is a son of the deceased, who also leaves two married daughters, one the wife of Dr. Phillips, the other Mrs. Charles Herbert, and two unmarried daughters.” [Register 31 Mar 1891]
“the beautiful memorial window presented by the family of the late Dr. Schomburgk, and the work of Messrs. Grimbley & Montgomery, of Adelaide, was unveiled . . . The Schomburgk memorial window of stained glass, which is in three panels, fills the eastern end of the Church, and with its rich colouring and artistic sacerdotal design greatly enhances the ecclesiastical character of the interior. The centrepiece contains the representation of the Crucifixion, with Mary kneeling at the foot of the Cross . . . [the left panel] Virgin Mary and Mary the wife of Cleopas. On the other panel are depicted St. John and the Centurion; sacred symbols and the arms of the Schomburgk family are among the embellishments.” [Register 26 Aug 1895]
St Paul’s church foundation stone 15 Apr 1856 by Governor Richard Macdonnell, architect Edmund W Wright, opened 5 Jan 1860, exterior renovated 1894, vestry 1895, deconsecrated 1963. All Souls church foundation stone 11 Sep 1915 by Bishop Thomas, dedicated 30 Jun 1916.
this morning I was in the intense small Catalonian village of Falset, in the downtown crawed of people and, suddenly an emtpy street smiled to me. I explain to my wife this picture was an homage to my MES (Master of Empty Spaces) 'cause I can almost belive how he manages himself to getting empty people captures.
In June 2024, I travelled into the Xingu Indigenous Park, Brazil’s first demarcated indigenous territory. To get there, I flew from Sao Paolo to Goiania and then took a bus overnight to Querência, in Brazil’s Mato Grosso state, where we were picked up by men from the Xingu village of Afukuri.
The Indigenous Park is host to a large number of villages in the Upper Xingu area, the inhabitants speaking fourteen different language (of five different language families). In Afukuri, where I stayed, Kuikoro / Kuikuru is the indigenous language (identified as part of the Cariban group). Villagers also communicate in Brazilian Portuguese with varying levels of fluency. While I speak and read French and Spanish, and can make therefore headway with written Portuguese, my spoken Portuguese is limited, so my ability to converse with the villagers relied on translation.
The Park was the world’s first ever dedicated indigenous national park (established in 1961 through the hard work of the Villas-Boas brothers). When the various ethic groups settled along the Xingu is not fully determined – generally believed to be predominantly between the 12th and 16th centuries but one ethnic group, the Trumai, for example, only settled there in the 19th century, perhaps seeking refuge from settler incursions. The Xingu area, not having great rubber or mineral assets, had a lower priority during Brazil’s expansion, which helped protect the park, but various areas directly outside have now been deforested.
Culturally, one thing I found interesting was the philosophy of adapting to the modern world while retaining their identity. Xingu leaders will often be seen in traditional costume e.g. when outside on political mission. The option apparently is either to work hard to maintain their unique culture or to ‘become just another Brazilian in poverty’.
The village structure is typically a circular plaza with houses – ocas – on the perimeter and a central meeting house / men’s house (where traditionally the long sacred flutes that only the men can play are kept). In Afukuri we saw the meeting of the old and the new – the ocas, their roofs traditionally made from thatched layers of sapé grasses, becoming ever more challenging in the era of deforestation, were not being repaired with grass, but with plastic tarpaulins. One reason for this, we were told, was that following the death of the chief, the village would normally move to another location once the funerary festival (Kuarup / Kwarup – the most famous of the Xingu festivals) had taken place, but that would require financial resources that the village did not yet have. Therefore, all the current ocas (which can stretch to 30m in length and 10m in height) will in due course be abandoned, with entirely new structures erected in their place in the future village, leading to a decision not to undertake cost- and labour-intensive thatch repairs. In Afukuri, the men’s house was not an oca (which historic photos from other villages led me to expect) but a columned shelter without walls, which provided us with shade as we watched life in the village.
The modern world was evidenced not just by the blue plastic roof-sheeting, but by the existence of small modern buildings outside the oca perimeter – one structure to host visiting medical/dental professionals. A second, a shower/toilet block (I think built because of these visitors, but available also to us). A generator powers a water pump / electricity for several hours a day. Solar panels were being delivered during my time there – and I did wonder what would happen to the water pipes and solar installations when the village moved, a very modern problem.
Our visit was chosen to coincide with three village festivals – the Javari / Yawari (a war/peace ritual with men mock-fighting), the Taquara / Takuaga inauguration of new urua long flutes (often connected with a girls’ coming of age ritual) and the Yamurikuma women’s festival, where women take on make roles, such as being permitted to wrestle against each other in the traditionally male huka-huka.
The more famous (and larger) Kuarup festivals draw visitors from Brazil and around the world, but in Afukuri, it was just our small group of travellers, allocated a section of on oca for our tents. I enjoyed watching the preparations as much as the festivals: body painting, feathers, and colourful textiles around ankles and knees (especially for the huka-huka). Important among the body paints was the red urucum pigment (similar in colour perhaps to Venetian red or Indian red oil paints) from the achiote plant (known in some places as the ‘lipstick tree’).
Villages have their specialities and Afukuri is known for fishing. The staple meal in dry season is mashed fish with a manioc/cassava flat bread (the flour toasted in large circular breads that are then shared). The pequi nut, important to the Xingu, is usually harvested in Jan/Feb and I therefore didn’t see any and don’t know how much is used for diet and how much for ceremonies.
One thing I will never forget is an unexpected aspect of the Yamurikuma festival: in it the Xingu women fight off males. I (and the other men in our group) looked forward to watching this, but had not been warned that the only men to be attacked would be our little band of travellers. On the evening when the Yamurikuma took place we were bemused at the unhappy look on the women’s faces and what seemed to be a premature end of the festivities. The next morning we learned that the village chief had discovered that we had been unaware of our role as victims – and he had wisely, seeing us fully dressed, with camera gear, glasses and mobile phones, decided that a surprise attack might not be appropriate. The women were disappointed at losing their opportunity. Fortunately, we were willing to accommodate them, and two days later, we awaited our fates by the mens’ house in the middle of the plaza. We had mostly reduced our clothing to underwear and disposable tee-shirts (to protect myself from the sun, I used an old cotton sleeping bag liner as a toga). When the women arrived, they poked and pinched us, and covered our faces and bodies in a resinous orange-yellow that later took great effort (scrubbing with river sand) to remove. The Afukuri women’s Yamurikuma honour restored, they completed their festival by paying visits en groupe to the village's ocas.
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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!
The smallest models are the pigeons in Trafalgar Square which contain 5 LEGO bricks each
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This is what a dedicated rack mount server out. The picture shows that the server is just undergoing a routine maintenance.
Brihadeeswarar Temple is a Hindu temple dedicated to Shiva located in Thanjavur in the Indian state of Tamil Nadu. It is also known as RajaRajeswara Temple Rajarajeswaram and Peruvudayar Temple.
The Province is helping keep people safe by creating hubs of police, dedicated prosecutors and probation officers focused on tackling repeat violent offending in every region of the province. Learn more: news.gov.bc.ca/28552