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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
Lt. Gen. Buster Hagenbeck, third from left, cuts the ribbon to open Jefferson Hall during a dedication for West Point's new library Sept. 24. Guest speakers for the event were retired Gen. Richard Cody, former Army vice chief of staff and second from left, and John Charles Thomas, a member of the Thomas Jefferson Foundation board of trustees and fourth from right.
World Impact is a Christian missions organization dedicated to ministering God's love in the inner cities of America.
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Since it's establishment in June of 1996, the Dallas ministry has sought to share the love of Christ with the community through Bible clubs for children, youth ministries, church planting, and leadership training for indigenous leaders.
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History of World Impact
In 1965, Keith Phillips, a student at UCLA, began teaching Youth For Christ Bible clubs in Watts. He began recruiting BIOLA students to volunteer with him and the ministry to the urban poor grew. By 1971, God called Keith to full-time ministry and World Impact was incorporated. Full-time missionaries moved into the communities they served. Evangelism to children expanded to teens and whole families.
News of the ministry spread to other urban areas of the country and by 1972 World Impact was ministering in San Diego, California, and Wichita, Kansas. In 1975, Keith wrote about World Impact's experiences in They Dare to Love the Ghetto. In 1976, the St. Louis and Newark ministries began and World Impact moved into their present headquarters at 20th and Vermont in Los Angeles. In 1977, the Fresno ministry began.
During the 1970's, while retaining a strong emphasis on evangelism, World Impact became more intentional about discipleship. By 1981, Keith Phillips wrote The Making of a Disciple, still recognized as one of the seminal books on discipleship. Films depicting urban ministry, as well as urban ministry training materials, were developed.
In the early 1980's, World Impact started ministries to the whole person, while keeping its priority of evangelism and discipleship. In 1982, the Los Angeles Christian School was opened and Morning Star Ranch was acquired to disciple young men from the inner city. By 1984, World Impact began job training opportunities (Inner City Enterprises), a thrift shop (The Sonshine Shop), and the Newark Christian School, while writing a culturally-conducive "through-the-Bible" curriculum. Out of these experiences, Keith wrote No Quick Fix, explaining the need for ministry to the whole person and the importance of whole families.
In 1986, the Wichita Village property was acquired, from which the Good Samaritan Clinic was launched, an old Y.M.C.A building was remodeled for ministry in St. Louis, low-income housing was developed in Newark, and God provided THE OAKS camp, 65 miles north of Los Angeles. In 1988, the Chester, Pennsylvania, ministry opened, and ministry centers in San Diego and Fresno were remodeled.
During the 1980's, the efforts of evangelism and discipleship were bearing fruit and new believers were forming into worshiping communities, leading World Impact to plant culturally-relevant churches in the inner city. The massive numbers of immigrants from Central America and Asia, along with the growing numbers of urban poor, underscored the need to not only evangelize and disciple individuals, but to establish new churches among the poor. In 1990, church planting became the primary strategy to evangelize, equip, and empower the urban poor.
In the early 1990's, as national attention was focused on the inner-city during the Los Angeles riot, World Impact acquired Harmony Heart camp in Pennsylvania, began ministry in Oakland and San Francisco, opened schools in Watts and Chester, launched The Urban Ministry Institute (TUMI) and planted its first churches in various cities.
In 1996, World Impact celebrated its 25th anniversary as Deer Creek camp (outside Denver) and the Dallas ministry were added. Keith Phillips wrote about World Impact's emerging church planting ministry in Out of Ashes. In 1999, World Impact hosted the first of three conferences on urban church planting, called Crowns of Beauty, each of which welcomed over 1200 international delegates.
In 2000, World Impact began hosting its School for Urban Cross-Cultural Church Planting, training urban church plant teams from all over the nation. In 2001, The John Mark Curriculum was published to train cross-cultural missionaries and three TUMI satellite campuses were opened. By 2004, 20 churches had been planted in eight World Impact cities, and an auditorium at THE OAKS Adult Conference Center was completed, dedicated in honor of board member Dr. Jack Hayford.
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World Impact Center
2017 S. Ervay
Dallas, TX 75215
214-426-0044
The Brihadeshvara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD, Peruvudaiyaar Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimanam (or temple tower) is 66 m) high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshvara Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshvara Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimanam.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. . The temple is said to be made up of about 60,000 tons of sandstone and granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple portrays the figure of the Thanjavur Temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises which is an architectural amazement in the world of architecture.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
WIKIPEDIA
Altar dedicated to St. Joseph, Westwego, Louisiana, circa 2002. The Feast of Saint Joseph, celebrated around March 19, by the construction of elaborate three-tiered altars displaying traditional foods--shaped hard-breads, whole fish, sweets, olive oil and fresh fruits. A Silcian legend credits St. Joseph as saint who sent rain to save starving peasants during Medieval times, and as thanks, ever since then, faithful Sicilians have offered the saint their crops and foodstuffs. During the festival, which can last up to three days, all those who come to view the altars are fed, and the altar displays are given over to feed the poor when the festival reaches its end. Altars in New Orleans are erected in private homes, as well at churches serving the Italian community.
Admin Fave - Unforgettable Flowers,
Award of Distinction - Unforgettable Flowers,
Super Photographer - Perfect Petals,
Admin Award - Perfect Petals,
Gold Award - The Best Of Unforgettable Flowers,
Master Photographer - Perfect Petals,
You're A Star Award - Perfect Petals,
Platinum Award - The Best Of Unforgettable Flowers
An exhibition dedicated entirley to 90’s pop phenomenon the Spice Girls is coming to Derry.
The Spiceworld Exhibition takes up residence in the Tower Museum from August 16, featuring memorabilia from the Spice Girls’ glittering Brit pop career.
The exhibition is expected to be a huge draw for young and old music fans who are interested in viewing some of the iconic items from the band’s whirlwind success story.
The exhibition includes memorabilia, costumes, shoes – including Gerri Halliwell’s Union Jack boots - and other iconic items from their stage and screen performances over the years. It tells the story of how Sporty, Baby, Scary, Posh and Ginger became one of the most successful marketing engines ever and enjoyed phenomenal global success.
The objects have been collected by Spice Girls super-fan Liz West, who has amassed over 4,000 pieces associated with the girls’ phenomenal impact on the world of pop throughout the 90’s.
Dedicated to Lennaert Nijgh (textwriter for Boudewijn de Groot, etc)
By Marinus Boezem, 2005
HAARLEM 16March2016
This church, dedicated to St. Joseph, is located next to the Clock Tower and faces out onto Piazza IX Aprile. A double staircase, with a balustrade of Syracuse stone, leads up to the entrance.
The gable façade in the baroque style, has a large central portal that leads into the church, and two small side portals, of which the right places in the sacristy and the left one leads to a recreation room that is often used for exhibitions of painting.
The monumental main portal is made with marbles of Taormina from different varieties, jambs and architrave in white, grey and pink in the other decorative pieces.
On the right side of the church stands the great bell tower, the lower part of which is made from large blocks of Taormina stone.
The interior, decorated with stucco work of the eighteenth century reproducing floral motifs and heads of winged angels, has a single nave with a transept that has at its center a dome where you can admire a fresco depicting St. John Bosco child between Madonna and Jesus.
The main altar of the church is made with Taormina marble. Under the tabernacle there is inlaid the Madonna rises above the souls in Purgatory.
Behind the altar, in a niche of the apse there is the statue of Maria Ausiliatrice.
Above the main altar, on the right, there is in a niche the statue of St. John Bosco with two boys, while to the left there is a statue of St. Joseph.
Beside the altar of St. Joseph there is another niche which houses the wood and glass urn with the statue of the Dead Christ, which is carried in procession on Good Friday.
Lungo le pareti laterali si trovano degli affreschi con le figure dei profeti e in alto a questi dei dipinti raffiguranti fatti evangelici.
The pulpit is located at the base of the arch before the main altar. Next to the pulpit there is a small marble statue of Saint Dominic Savio, the saint of mothers and cradles, which holds a chart in the left hand with the words: "Death rather than sin - Domenico Savio 1857", while in the right hand he is holding a crucifix on his chest.
In the sacristy of the church is remarkable a Taormina pink marble fountain placed in a niche surrounded by a round arch; at the top of the arc there is depicted the Virgin Mary with the souls in the flames of Purgatory at her feet, which is identical to that shown on the front of the main altar.
Unfortunately, the Church of St. Joseph is currently closed following a collapse of part of the ceiling of the church took place in October 2015.
The clock tower is situated half way down the Corso Umberto I, next to IX April Square. Because of its location, the tower is also called Porta di Mezzo and it...
Shaun Flack, Barry Parker, Eric Almeida, David Flack( Semper Fi), Shelly Prescod, Duane Nickerson, Brent Hines,( front)Jerry Moore, Vinnie Smith, and Carmen Sowers
Dedicated to Maxeen Ford without whom I would never have seen these beauties in the wood behind Tyne Crescent! Thanks Max.
The Brihadeshvara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD, Peruvudaiyaar Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimanam (or temple tower) is 66 m) high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshvara Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshvara Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimanam.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. . The temple is said to be made up of about 60,000 tons of sandstone and granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple portrays the figure of the Thanjavur Temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises which is an architectural amazement in the world of architecture.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
WIKIPEDIA
Papua New Guinea Prime Minister Peter O’Neill today joined Head of P&O
Cruises Ann Sherry to celebrate the cruise line’s first dedicated Papua New
Guinea cruise and its maiden visit to Milne Bay capital Alotau.
Traditional war canoes escorted P&O Cruises’ Pacific Dawn into Milne Bay
for the inaugural visit this morning, with the superliner arriving during
the sacred Kenu and Kundu Festival – an annual event with cultural
performances, canoe races and vibrant costumes.
P&O Cruises has worked closely with PNG Tourism Promotion Authority to open
up cruise tourism in the region, while the Papua New Guinea Government
funded the construction of a purpose built wharf at Alotau and jetties at
several other ports to allow the cruise line’s superliners to call. Today’s
visit is the first of six scheduled calls for the cruise line at Alotau
over the coming 18 months.
Please note the image credit is: Colin Taimbari.
Official welcome (left to right)
Pacific Dawn Hotel Director Andrew Spencer, Pacific Dawn Chief Engineer
Raphaelle Pollio, Papua New Guinea Minister for Tourism and Culture Boka
Kondra, Papua New Guinea Prime Minister Peter O'Neill, Head of P&O Cruises
Ann Sherry AO, Pacific Dawn Captain Salvatore Lupo, Pacific Dawn Cruise
Director Zoltina-J Medwik-Daley.
Canoe welcome (left to right)
Head of P&O Cruises Ann Sherry AO, Pacific Dawn Cruise Director Zoltina-J
Medwik-Daley, Pacific Dawn Captain Salvatore Lupo, Hotel Director Andrew
Spencer and Chief Engineer Raphaelle Pollio enjoy the canoe welcome with
Alotau local tribes.
I bought this Lenten Rose on Thursday for the garden in Holland and I'm dedicating this plant to my lovely OU friend Liz Ayers , who sadly died on Thursday, as she was as beautiful, delicate, yet strong and light as the flowers.
Digitised image from the Town Hall Photographer's Collection - GB127.M850.
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
Digitised image from the Town Hall Photographer's Collection - GB127.M850
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
Dedicated to Dylan,an outlaw who took the seemingly impossible quest of changing the world by music and according to many many people around the world,he succeeded! As you can assume,i took this title from 'Dignity'.
"Someone showed me a picture and I just laughed
Dignity never been photographed.
I went into the red, went into the black
Into the valley of dry bone dreams.
So many roads, so much at stake,
So many dead ends, I'm at the edge of the lake.
Sometimes I wonder what it's gonna take,
To find dignity! "
Don`t know what people think about this but to me,it`s another protest song with yet another perspective.You have blamed the world around you without paying any heed to your deeds! We lose our dignity while actually trying to earn it in our long hard walks of life.
Dedicated to my friend Antonio, without him it wouldn't have been possible. Thanks!!. It has been a great pleasure for a sunday afternoon.
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]
Dedicated to Major Frederick Stukeley Savage (died 31st March 1866)
Located to the west, at the north end of St. Chad's Avenue, Midsomer Norton
History from the Midsomer Norton Town Trust website:
towntrust.co.uk/st-chads-well/
Norton House:
en.wikipedia.org/wiki/Norton_House,_Somerset
Historic England:
historicengland.org.uk/listing/the-list/list-entry/111517...
British Listed Buildings:
britishlistedbuildings.co.uk/101115172-st-chads-well-abou...
Photo Cdv by B Woodward, Church Walk, Trowbridge
4800dpi scan
Original unpublished private photograph from my own collection
© All rights reserved
The University of Central Arkansas Student Government Association and university administration held a groundbreaking ceremony for the new student recreational field on Tuesday. The field will be located behind the HPER Center and the Physical Plant. President Tom Courtway, Dean of Students Gary Roberts, Vice President for Finance and Administration Diane Newton, and SGA President Spencer Sims spoke during the ceremony.
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).
_____________________________
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
What do our dedicated teachers do after the end of the school year? Attend professional development sessions, of course. More than 200 educators attended the Writing to Learn professional development conference on June 9-10 at the Des Moines Botanical Center.
NOTE: Photographs on this Flickr page are for the use of the news media or educational institutions. If published in any format, please give attribution to Des Moines Public Schools.
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 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
St Peter's Church, Bolton-le-Moors, commonly known as Bolton Parish Church, is a Church of England parish church in Bolton, Greater Manchester, England. The parish church, dedicated to St Peter, is an example of the Gothic Revival style. The church is recorded in the National Heritage List for England as a Grade II* listed building, having been designated in 1974. St Peter's is an active parish church in the Diocese of Manchester and is part of the Bolton deanery and Bolton archdeaconry.
The church, on a hill overlooking the River Croal, is the fourth to be built on the site. Until the 1840s the ancient ecclesiastical parish of Bolton-le-Moors covered a large area and was divided into townships, some of which had chapels of ease. The modern parish covers the town centre and its immediate surroundings.
Demolition of the 15th-century church in 1866 revealed several pre-Norman stones under the tower, including a preaching cross in three pieces. Fragments of other crosses and stones from the 11th, 12th and 13th centuries, a sepulchral slab, stone coffin, and the remains of a 14th-century stone female figure, indicate that two earlier churches had existed on the same site, one Anglo Saxon and one Norman.
Little is known of the first two buildings, but the squat, 15th-century church which replaced the Norman structure had an embattled west tower, a chancel, nave, north and south aisles and a south porch which was rebuilt in 1694. Its east window had seven lights. The Chetham and Bradford Chapels occupied the east end of the aisles on either side of the chancel. Galleries were added in the 18th century and the aisle walls were raised and windows inserted to light them. Though the church was modified over the years, the population of Bolton expanded rapidly during the Industrial Revolution and the church, in a poor state of repair, became too small and was demolished. Fragments of stone and other artefacts from the first three buildings are displayed in the museum corner of the present church.
The present church, built between 1867 and 1871, was designed by the Lancaster architect E. G. Paley. It cost £47,000 (equivalent to £4,460,000 in 2021), and was paid for by Peter Ormrod, a local cotton spinner and banker, of Halliwell Hall.
The church is 67 feet (20 m) wide, 156 feet (48 m) long, and 83 feet (25 m) high. Its tower is 180 feet (55 m) high, and is the highest church tower in the historic county of Lancashire.
The church, built in ashlar sandstone with slate roofs, has a nave with clerestory and north and south aisles, transepts, a chancel with a lady chapel and pipe organ chamber. On the south side of the south aisle is a gabled porch with a wrought-iron screen. The vestry, which was added later at its north east corner, is reminiscent of the chapter houses of pre-Reformation abbeys.
The four-stage tower projects from the west end of the north aisle and has clasping buttresses at each corner which terminate in crocketted finials. There are two-light decorated, lancet windows in the second and third stages, and paired bell-chamber lights at the fourth stage. Its west door is in a moulded archway with polished granite shafts. The door, designed by Hubert Austin, retains its original ornate hammered ironwork door furniture.
The church has a five-bay nave, divided by buttresses with lean-to aisles and a clerestory above. In each bay is a three-light decorated window with tracery. The clerestory has paired windows with ball flower decorations and gargoyles. There are traceried pinnacles at the east end of chancel. There is a seven-light east window in the chancel with lancet windows above it. The north transept has a seven-light window and there is a five-light decorated window in the south transept. The lady chapel to the east of the chancel has two two-light windows to south and a three-light east window.
The chancel and west end of the nave have encaustic tiled floors by Minton. The octagonal wood panelled pulpit wraps round the northern crossing pier, it has stone base and a wrought iron rail to the stairs. The nave seating, canopied civic stalls and choir stalls are original. Three misericords were saved from the 15th-century church.
Of the eight bells installed when the church opened, five were cast in 1699 by Henry Bagley of Ecton in Northamptonshire and three by Rudhall of Gloucester in 1806. The old bells were replaced by the bells from Saviours Church on Deane Road in 1974. Five new trebles were recast from the old bells by John Taylor & Co and the tenor bell was retained and hung "dead" and is rung electrically when required. The tenor bell is inscribed, "I to the Chvrch the living call And to the grave doe svmmon all Henry Bagley made mee 1699".
An organ built in 1795 was enlarged in 1852 and replaced in 1882 by a new one which reused some of the old pipes. The three-manual organ built by A. G. Hill in 1882, in a case decorated with stylised flowers and angels, was rebuilt in 2008 by Principal Pipe Organs of York. The organ has almost 3,000 internal pipes, the largest 16 feet long and the smallest half an inch.