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Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom.[1] Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
HISTORY
FOUNDATION & DEDICATION
Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.
Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara—great lord of the threefold world—in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.
The temple's modern name, Bantãy Srĕi—citadel of the women, or citadel of beauty—is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.
EXPANSION & REDICATION
Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.
RESTAURATION
The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.
Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.
MATERIALS & STYLE
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".
THE SITE
The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.
THE OUTER GOPURA
The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
THE THIRD (OUTER) ENCLOSURE
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris.[18] It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
THE SECOND ENCLOSURE
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.
THE FIRST (INNER) ENCLOSURE
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
THE LIBRARIES
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.
The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.
THE SANCTUARY
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.
WIKIPEDIA
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Ekambaranathar Temple (Tamil: ஏகாம்பரநாதர் கோயில்) or Ekambareswarar Temple is a Hindu temple dedicated to Shiva, located in Kanchipuram in the state of Tamil Nadu, India. The temple is the largest temple in the town of Kanchipuram and is located in the northern part of the town. The temple gopuram (gateway tower) is 59m tall, which is one of the tallest gopurams in India.
It is one of the five major Shiva temples or Pancha Bootha Sthalams (each representing a natural element) representing the element - Earth. The other four temples in this category are Thiruvanaikaval Jambukeswara (water), Chidambaram Natarajar (Sky), Thiruvannamalai Arunachaleswara (fire) and Kalahasti Nathar (wind). It is one of the 275 Paadal Petra Sthalams, where all of the four most revered Nayanars (Saivite Saints) have sung the glories of this temple.
LEGEND
Legend has it that once Parvati, the consort of Shiva was doing penance under the temple's ancient Mango tree near Vegavathi river. In order to test her devotion Shiva sent fire on her. Goddess Parvati prayed to her brother, Vishnu, for help. In order to save her, he took the Moon from Shiva's head and showed the rays which then cooled down the tree as well as Parvati. Shiva again sent the river Ganga (Ganges) to disrupt Parvati's penance. Parvati prayed to Ganga and convinced her that both of them were sisters and so should not harm her. Subsequently, Ganga did not disturb her penance and Parvati made a Shiva Linga out of sand to get united with Shiva. The God here came to be known as Ekambareswarar or "Lord of Mango Tree".
According to another legend, it is believed that Parvati worshipped Shiva in the form of a Prithivi Lingam (or a Lingam improvised out of sand), under a mango tree. Legend has it that the neighboring Vegavati river overflowed and threatened to engulf the Shiva Lingam and that Parvati or Kamakshi embraced the Lingam. Shiva touched by the gesture materialized in person and married her. In this context he is referred to as Tazhuva kuzhainthaar ("He who melted in Her embrace") in Tamil.
Tiurkuripputhonda Nayanar, one of the 63 saivite saints, called nayanars was a washerman in near the temple and he washed the clothes of all the Saivities. He was divinely tricked by God Shiva appearing as an aged brahmin and asked him to wash before dawn. At the same time Shiva made a cloudly evening. On observing the approach of the evening, the washerman banged his head in a stone in disappointment. God appeared in his true form and graced his devotee.
HISTORY
This vast temple is one of the most ancient in India having been in existence since at least 600 AD. Second century AD Tamil poetry speaks of Kama kottam, and the Kumara kottam (currently the Kamakashi Amman temple and the Subramanya temple).Initially temple was built by Pallavas. The Vedantist Kachiyapper served as a priest at the temple. The existing structure then, was pulled down and rebuilt by the later Chola Kings. Adi Sankara, the 10th-century saint got Kanchipuram remodelled along with expansion of this temple along with Kamakshi Amman temple and Varadaraja Perumal Temple with the help of local rulers.
The Vijayanagar kings, during the 15th century, also made lot of contributions to the temple and later developed by Vallal Pachiyappa Mudaliar used to go regularly from Chennai to Kanchipuram to worship in this temple, he spent significant money he amazed during British rule on the temple renovation, Pachiyappa Mudaliar seated at horse back can be seen in the temple pillar. At the later stage a similar temple with same name Ekambareswarar was constructed in Chennai by Pachiappa Mudaliar in order to avoid travelling time to Kanchipuram. The Archaeological Survey of India report of 1905–06 indicates widespread renovation activities carried out in the temple by Nattukottai Chettiar.
TEMPLE
The temple covers an area of over 93,000 m2. Reaching a height of 59 meters, the temple's Raja gopuram (the entrance tower to the temple) is one of the tallest in South India. One notable feature of the temple is the Aayiram Kaal Mandapam, or the "hallway with a thousand pillars", which was built by the Vijayanagar Kings. The temple's inner walls are decorated with an array of 1,008 Siva lingams. The campus is 25 acres with 5 prakarams (or courtyards) and has a thousand-pillared hall. Kampai Tirtha, the temple tank is believed to have an underground holy river. The fourth courtyard contains a small Ganesha temple and a pond. The third courtyard contains lot of smaller shrines. The sanctum sanctorum contains the lingam along with the image of Shiva.
There is no separate shrine for Parvati within the complex as with other Shiva temples in Kanchipuram. A local belief is that Kamakshi Amman Temple is the consort for Ekambaranathar. There is a small shrine for Vishnu named Thiru Nilaaththingal Thundathan inside the temple complex. Vishnu is prayed as Vamana Murthy and the shrine is hailed by the Alvar saints as one of the 108 Divya Desams. The sthala-virutcham or temple tree is a 3,500 year old mango tree whose branches are said to yield four different types of mangoes from its four branches.
Panguni Uthiram festival celebrated during the month of March–April is the most popular of all the temple festivals in Kanchipuram.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of Prithvi Lingam. The other four manifestations are Appu Lingam (representing water) at Jambukeswarar Temple, Thiruvanaikaval, Akaya Lingam (representing sky) at Thillai Nataraja Temple, Chidambaram, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.
INSCRIPTIONS
There are inscriptions dated 1532 CE (record 544 of 1919) indicating the gift of number of villages made by Achutaraya. Vira Narasingaraya Saluva Nayaka who was directed by Achutaraya broke the royal order by giving more lands to Ekambaranathar temple than the Varadaraja Swamy temple against the instruction of an equal gift to either of the temples. Achutaraya on hearing this equally distributed the lands to both the temples.
IN CULTURE
Kanchipuram is famous for hand woven silk sarees - a design by name Ekambaranathar obtain its name from the designs of these shrines.
WIKIPEDIA
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Dedicated to the Glory of Ukraine - 20 images - Canon EOS 40D with Legacy Super-Takumar 1:3.5 28mm Prime (M42 mount) & Fotodiox M42-EOS adapter & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Ilha da Madeira -
There was an earlier hermitage, dedicated to Nossa Senhora da Piedade, in the current Sítio dos Casais, which was created by Bishop Friar António Teles.
Given the degree of deterioration and ruin in which it was, it was decided to build a new church to replace it, by the royal charter of January 18, 1740. This new church was blessed on March 19, 1744, being then dedicated to St. Joseph, a saint celebrated on March 19.
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.
GEOGRAPHY
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.
HISTORY
The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.
The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.
ARCHITECTURE
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.
SHRINES
The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.
The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
OTHER FEATURES
The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.
CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
FESTIVAL
Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.
WIKIPEDIA
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Mallikarjuna Jyotirlinga
Sri Bhramaramba Mallikarjuna Temple is a Hindu temple dedicated to the deities Shiva and Parvati, located at Srisailam in Indian state of Andhra Pradesh. It is significant to the Hindu sects of both Shaivam and Shaktam as this temple is referred to as one of the twelve Jyothirlingas of Lord Shiva and as one of the eighhteen Shakti Peethas of goddess Parvati. Shiva is worshiped as Mallikarjuna, and is represented by the lingam. His consort Parvati is depicted as Brahmaramba. It is the only temple in India which is revered as both Jyotirlinga and Shaktipeeth.
When Shiva and Parvati decided to find suitable brides for their sons, Ganesha and Kartikeya argued as to who is to get wedded first. Shiva bade that the one who goes round the world in Pradakshinam could get married first. By the time Kartikeya could go round the world on his vahana, Ganesha went round his parents 7 times (for according to Shastras, going in pradakshinam round one's parents is equivalent to going once round the world (Bhupradakshinam)). Siva got Buddhi(intellect), Siddhi (spiritual power), and Riddhi (prosperity) married to Ganesha. kartikeya on his return was enraged and went away to stay alone on Mount Kraunja in the name of Kumarabrahmachari. On seeing his father coming over to pacify him, he tried to move to another place, but on the request of the Devas, stayed close by. The place where Siva and Parvati stayed came to be known as Shrishailam
Srisailam Sri Mallikarjuna Swamy Temple is one of the 18 Maha Shakti Peetha. The legend of Daksha yaga and Sati's self immolation resulted in the emergence of Sri Parvati in the place of Sati Devi and making Shiva a house holder. This mythology is the story behind the origin of Shakti Peethas. They are holy abodes of Adiparashaktiformed due the falling of Sati Devi's corpse when Shiva carried it and wandered. It is believed that Sati Devi's Upper lip has fallen here
BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Toronto FC 0 - Chicago Fire - 3
A great stadium with dedicated fans (if still in the honeymoon stage with their expansion team) and a fantastic atmosphere.
Toronto FC on the other hand is a terrible football club. Clueless defenders... a midfield that looked like they'd never met before the game... and forwards with about as much killer instinct around the ball (or even a concept of what to do) as roadkill. A terrible effort and probably the worst game played by a "professional" team as I've ever seen. And it wasn't the competition. They were playing the worst team in their division and the first shot on goal was in the 80th.
Their keeper has some talent though... but the number of times he was left on his own was despicable.
Participants / The Dream Rocket Project Project
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
Charles M. Christiansen provided the vision and leadership in establishing the Phoenix Mountain Preserve trail system so that we can all enjoy this treasure in the middle of Phoenix. Piestewa Peak may be the crown, but The Christiansen Trail is the heart of & soul of the preserve.
Those of us who hike, bike or ride horses in the Preserve, should pause every now & then and give thanks to those who made this all possible.
Dedicated to Beatrice B. from Bologna.
Special feel for a special women.
"Bea la Dea" is a strong woman working with psycho mental problematic people... For many of those she is the light in the night ... also for me...
Thanks sister for your LOVE!
(file: 07_06_25_06409b)
An abbey, dedicated to Saint Saturnin, first bishop of Toulouse, is mentioned already in 825. In 870 the relics of Saint Hilaire, who had evangelized the region in the 6th century and was the first bishop of Carcassonne were "translated" to the abbey.
During the Albigensian Crusade the monks were accused of heresy - and the abbey got looted. It got re-established, but the plague and the Hundred Years' War caused more difficulties to the abbey and the village around it. The fortifications erected at that time did not prevent severe damages during the Wars of Religions.
After a period of decline, the abbey closed in 1748, since then the church served the parish of the village.
Most visitors enter the former abbey-church, built within the 12th century, to admire the "Sarcophagus of Saint Sernin" carved by the "Maître de Cabestany", but there is more to see.
Here is the monkey more detailed and from a different angle.
For an overview see the previous upload.
(•) – 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.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
Dedicated to the generous and gently Kevin, who made me very happy by giving to me a pro account.
Thanks a lot!
A dedicated sign from a few years back...
Some how seems to serve as a reminder during these Covid times, these volatile times, these times of division...
When I found this little toy while helping my son to clean his toybin, I couldn't help thinking of Pete's gecko pictures.
Also, first half-serious experiment with PS.
صياح الباب يكفي لا ظهرت .. وبكتم صياحي
لك الله لو تبيني اصرخ .. حبيبي لا تهج الباب
تكلم واحرق بنار العتب طيني وألواحي
عيوني لك مرايا لو تبي .. وافتح ضلوعي كتاب
12.11.09
Hydrabad - Nagpur
One of the my favourite service of NGP which is travelled through sexiest NH 7..!!
There are total 3 services on the route from both side.
* From Nagpur - Hydrabad : 6:00, 8:15, 15:00
* From Hydarabd - Nagpur : 6:00, 7:00, 18:00
This one is 7:00 schedule from Hydrabad towards Nagpur.
MH-40-Y-5006/ MH-40-Y-5007/ MH-40-Y-5085/ MH-40-Y-5087 are 4 dedicated buses on the route from NGP 2
All schedules goes via Pandharkawda, Adilabad, Nirmal, Nijamabad.
Captured at Mahatma Gandhi Bus Stand, Hydrabad...!!!
DAY 1 of the FINALE to the 2021 Motorsport Season and the end of the Season Brings us once again Back to Brands Hatch for a weekend Dedicated to the Enduro KA Series with Many Ford KA'S Ready to do Battle on the Track along with other Support Races such as Champion of Brands MSVT Track Day Trophy and MSV Super Cup Championship to name Just a Few.
With a Full Day of Motorsport on the Circuit Each Driver was Getting their Car Ready and making sure they had a Really Hardy Breakfast Before Getting into their Cars to Begin their Respective Qualifying Sessions for the Day.
Lets Get to it and See what The Last Event of the Motorsport Season Brings and who has Taken the First Pole of the Weekend.
Champion Of Brands-(Qualifying)
First Up onto the Circuit was The Champion of Brands and these Cars are Formula Ford Based and can be Very Quick in a Straight Line and through the Corner. With Cars such as the Van Diemen JL13 and the Ray GR16 Thease Cars and Drivers know how to Really Push Hard and Get Superb Results.
Lets Find Out who Took Pole and By How Much
In First Place Taking the First Pole Position of the Weekend was (Morgan Quinn) in his Formula Ford 1600 Kent with a Best Lap Time of 50.561 and a Top Speed of 86.00mph. Brilliant Work there Morgan Fantastic Lap to Start the Weekend of with a Bang.
In Second Place was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.594 and a Top Speed of 85.95mph. Amazing Drive there Lucas Fantastic Work and a Very Good Spot on the Front Row for Race 1.
In Third Place was (Johnny Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.250 and a Top Speed of 84.85mph. Great Drive there Johnny Fantastic Car Control and a Brilliant Lap to Complete The Top Three.
A Really Great First Qualifying Session of the Day with the Likes of Morgan Lucas and Johnny all taking the Top Three Spots in Qualifying but will anyone Else in the Field be able to Beat them off the Line into the First Corner at Paddock Hill Bend?
Lets Find Out
Champion Of Brands-(Race 1 Results)
After a Thrilling Qualifying Session which saw the likes of Morgan Quinn take Pole Position from Second Place Lucas Romanek with Johnny Cochran in Third Position in a Very Close Battle at the Top, it was Now Time to see which of thease Top Three Drivers could Defend their Positions thought the Race and who would be Brave Enough to make a Challenge for the Podium.
In First Place Taking the Victory was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.711 and an Average Speed of 84.44mph. Congratulations Lucas a Really Well Deserved Win Under Immense Pressure Thought The Entire Race from Morgan Quinn. Brilliant Drive.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.564 and an Average Speed of 84.42mph. Super Job out there Morgan Only 0.131 Seconds Behind Lucas and Some Really Good Defending and Battling From both of You Thought the Race. Fantastic Drive and Well Deserved.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.095 and an Average Speed of 83.99mph. Great Work there Benjamin Keeping Hold of that P3 Position and Doing some Incredible work to Keep that Car on the Tarmac in Conditions that were Already Quite Dark.
A Really Thrilling Race to Open up the Weekend with the Likes of Lucas, Morgan and Benjamin all Taking Superb Victories in Race 1 as Well As Proving Thrilling Battles at The Top End of the Field.
Really Well Done to (Morgan Quinn) who also Took the Fastest Lap of the Race an Incredible (50.564) Second Lap Around The Famous Indy Circuit. Amazing Driving from Morgan.
A Big Congratulations to All of the other Drivers who also Took Part Your Passion and Dedication is Immense.
With One Last Race to Go will the likes of Lucas Romanek be able to Make it 2 out of 2 Wins for Champion of Brands or will the likes of both Benjamin and Morgan try to take that Last Victory Away from Him?
Lets Find Out
Champion Of Brands-(Race 2 Results FINAL)
In First Place taking the Last Victory for Champion of Brands Is (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.825 and an Average Speed of 83.45mph. Congratulations Once Again Lucas Two out of Two Wins and no Doubt a Very Happy Team and Family Awaiting You Before and After the Podium Fantastic Driving All Weekend.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.754 and an Average Speed of 82.99mph. Very Well Driven there Morgan Great to See Such an Intense Battle Between you and Lucas for Victory in Conditions that were Almost Impossible to see anything in. Incredible Dedication and Drive.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.862 and an Average Speed of 81.70mph. Nice Work there Benjamin Fantastic Driving in both Qualifying and The Two Races with a Brilliant P3 Finnish to Round off The Weekend for Champion of Brands.
What a Fantastic Day it has been for Champion of Brands seeing some Incredible Racing Action and a huge amount of Competitiveness from the Likes of Lucas Morgan and Benjamin who All Drove Fantastically and Put on One Hell of a Good Show.
A Huge Congratulations to both Lucas and Morgan as Well Who were in a Class of their Own at The Front of the Field Racing in Deteriorating Lighting Conditions with no Front Headlights on their Formula Fords to Light their Way around The Indy Circuit they Both Drove Insanely Well.
MSV Super Cup-(Qualifying)
Next Up onto the Circuit for the Day was the MSV Super Cup Championship and with a Wide Range and Variety of Racing Cars on Display it will be Very Interesting to see how many different Battles will Develop thought Both Qualifying and The Race.
From BMW E36's to Seat Super Copa's and even a Peugeot 205 GTI This Series has a Huge Amount of Variety Racing Within it.
Lets Take a Look at Qualifying and See Who Came Where
In First Place taking Pole Position was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.257 and a Top Speed of 82.21mph. Great Work there Darren Really Pushing the Car Hard and Having to Extract Everything from both Car and Driver to take P1. Super Job.
In Second Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.621 and a Top Speed of 82.64mph. Really Well Driven Gentlemen Very Close to Darren looking Forward to a Competitive First Race Between you All.
In Third Place was (Gary Hufford) in his BMW E46 M3 with a Best Lap Time of 52.723 and a Top Speed of 82.48mph. Nice Work there Gary Keeping that Fast and Capable BMW on the Track Looked to be no Easy Task but what a Fantastic Position to Start the First Race in.
Another Really Close Qualifying Session Between the likes of Darren Goes and the Pairing of A Brandley and D Bradley at the Top with Third Place Gary Hufford Following Closely Behind them.
With Their Only Race of the Day Coming Up Next will Daren Be able to Fend off the Charging Pair of A Bradley and D Bradley to take Home Victory or Will the Likes of Gary Hufford Surprise them All and Take the Victory for Himself?
Let's Find Out!
MSV Super Cup-(Race 1 Results FINAL)
In First Place Taking Victory was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.891 and an Average Speed of 77.05mph. Congratulations Darren A Well Deserved Victory Under Immense Pressure the Entire Time and No Doubt a Very Proud and Happy Family Waiting for Him Back in the Paddock.
In Second Place was the Pairing of (Brytchta/Smith) in their Seat Super Copa with a Best Lap Time of 52.594 and an Average Speed of 77.04mph. Great Drive from Both of You and Keeping Right on the Heels of Darren All The Time as well as Putting up a Huge Fight for First Place. Superb Drive and a Well Deserved P2 Finnish.
In Third Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.680 and an Average Speed of 76.93mph. Great Work to the Both of You Putting Pressure on Second Place Brytchta and Smith.
What an Intense Finnish to the Super Cup Championship with the Likes of Darren Goes Brytchta/Smith and A Bradley and D Bradley All Taking Superb Podium Finishes and no Doubt Going Back Home to a Very Happy and Proud Family of Great People.
Congratulations to All of the Other Drivers who were Also Out there Giving it their All You Guys are What Brings to Sprit of Every Racing Series to Life. Keep Working Hard and I'm Sure your Time Will Come.
MSVT Trackday Championship-(Qualifying)
Next Up was the Track Day Championship and with Another Massive Grid of 32 Cars from All Different Makes such as BMW Volkswagen Renault Ford and Caterham it was Going to be a Dynamic Qualifying Session with Many Different Cars and Drivers All Battling for Positions thought the Qualifying Session.
Lets Find Out who Came Out on Top and Who will be Starting on the Front Row for what Promises to be a Very Exciting and Close Race Later on.
In First Place taking the Victory and The Fastest Lap was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.419 and a Top Speed of 79.90mph. Congratulations Scott a Brilliant Pole Lap and Fantastic Car Control thought Every Corner.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.540 and an Average Speed of 79.73mph. Awesome Drive there from Chris Keeping up at The Front with Scott and Trading Fastest Laps thought the Qualifying Session. I Think both of them are going to put on a Brilliant Display of Racing Later.
In Third Place was The Pairing of (Keen and Roberts) in their Honda Civic Type R with a Best Lap Time of 55.231 and a Top Speed of 78.73mph. Amazing Drive from Thease Two Both Pushing Hard and Securing a Brilliant P3 Position for The Race. Great Job.
What a Qualifying Session with the Likes of Scott Parkin and Chris Payne Both Looking to be Very Competitive and Ready to Take Each other Head On Come the Race. But Will the Pairing of Keen and Roberts Come in and Also do Battle with Them?
Lets Find Out!
MSVT Trackday Championship-(Race 1 Results FINAL)
In First Place taking the Victory was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.706 and an Average Speed of 70.47mph. Congratulations Scott what a Performance and a Really Dominant Display of Driving to take Home a Wonderful Victory.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.397 and an Average Speed of 70.35mph. Amazing Drive there Chris Really Working Hard to Keep that 2nd Position while Also Fighting Hard to take 1st away from Scott at the front during some Laps.
In Third Place was (John Lyne) in his BMW E36 328i with a Best Lap Time of 55.309 and an Average Speed of 68.87mph. Congratulations John P3 with a Very Clean and Perfectly Controlled Drive thought, Its so Great to See a New Face on the Podium and Taking Victory. His Family and Close Friends Will be Very Proud of Him Indeed.
Another Incredible Race Today with the Likes of Scott Chris and John All Taking Home Superb Victories and no Doubt some Fantastic Memories from the Days Events too.
A Big Congratulations to both the Pairing of Keen and Roberts too who also put in a Monstrous Qualifying Lap to Land P3 on the Gird. Finishing the Race in 8th is not too Bad but I'm sure they have a lot of Work to-do Back at the Workshop and Will Come Back Next Year with an even more Competitive Honda Ready to Go.
Finally Congratulations to the Many other Drivers who also Took Part in this Race You All Put in a Tone of Hard Work and Dedication and I'm Sure that Over Time We Will See Some of You also on the Podium Just like John Lyne Today.
MSVT Trackday Trophy-(Qualifying)
Now it was Time for The Penultimate Qualifying and Race of the Day for the Track Day Trophy. Just like with the Previous Track Day Championship Many of the Same cars that Competed Before Also Entered This Race Giving Some Drivers a Second change to Show their Skills and Talents on the Race Track.
Lets take a Look at Qualifying and See Who will be on Pole This Time.
In First Place Taking Pole Position and The Fastest Lap was The Pairing of (R. Parkin and S. Parkin) in their VW Golf with a Best Lap Time of 53.795 and a Top Speed of 80.83mph. Incredible Work by both of the Parkin Pair as Scott Parkin Previously Won in Super Cup and Now he takes His Second Pole Position of the Day! Brilliant Driving.
In Second Place was (Chris Kirby) in his Caterham 1.6 Super Sport with a Best Lap Time of 53.863 and a Top Speed of 80.73mph. Brilliant Driving there Chris Keeping the Two Parkins on their Toes and Almost Taking Away Pole Position from them by Just 0.068 at The Checkered Flag.
In Third Place was the Pair of (Palk and Pottinger) in their Reno Clio with a Best Lap Time of 54.757 and a Top Speed of 79.41mph. Very Well Done both Palk and Pottinger on a Well Deserved and Defended P3 Finish by Less than a Second to Start on the Second Row for The Race.
A Super Fast and Really Exciting Qualifying Session Once Again with the Pairing of R. Parkin and S. Parkin Taking Pole Position Followed Closely by Chris Kirby in Second Place and Finally The Pairing of Palk and Pottinger in Third Place.
With The Race Just Around the Corner Will it be the Pairing of R Parkin and Scott Parkin Taking Victory Once More or Will a New Challenger Appear to take the Fight right to the Front of the Field?
MSVT Trackday Trophy-(Race 1 Results FINAL)
In First Place Taking the Victory is (R.Parkin and S.Parkin) in their VW Golf with a Best Lap Time of 54.046 and an Average Speed of 74.44mph. What a Dominant Display of Driving from thease Two Drivers in a Class of their Own they Have Managed to Win in Both Trackday Championship and Trackday Trophy. Brilliant Driving Well Deserved.
In Second Place was (John Lyne) in his BMW E36 328 with a Best Lap Time of 55.415 and an Average Speed of 73.09mph. Congratulations Once Again John P2 Finish and a Lot of Smiles and Congratulations from the Family I'm sure when you Return to the Paddock. Great Driving All Weekend.
In Third Place was (Stewart Donavan) in his Toyota Celica with a Best Lap Time of 55.083 and an Average Speed of 73.08mph. Congratulations Stewart P3 and Another New Face on the Podium and a Brilliant Looking Celica too. Fantastic Driving Great Job.
What a Brilliant Race from the Trackday Trophy with the Likes of Scott Parkin and R Parkin Taking the Spoils on P1 Followed Closely by John Lyne in P2 and Finally Stewart Donavan in P3.
A Big Congratulations Once Again to All of the other Drivers who took Part and Fought their way Through the Field to Finnish at The Checkered Flag. Keep Racing and Keep Pushing.
Enduro KA -(Qualifying)
After a Long Days Racing and with Night Falling Fast The Headlights of The Enduro KA'S Began to Illuminate the Indy Circuit.
Every Part of the Track was a Wash with Darkness and The Only Thing Illuminating the Way for Each Driver was The Bright Headlights and LED'S Fitted to Each Car with some Teams and Driver Trying their Luck on the KA'S Standard Headlights to Brighten their Way to Victory.
A Silent Hum Came From the Engines as they Raced Around the Indy Circuit with Each Driver Pushing Hard to Set the Fastest Time Possible.
The Tension in the Air was Electrifying as Drivers Danced their Cars Through Traffic and Had Small Battles with One Another Trying to see what their Opponents Tactics were and How Brave each of Them Dare Go in Terms of Pace.
It Wasn't Long before Each Driver Began to Put their Right Foot Hard Down and Push their
73BHP KA To its Limits Trying Desperately to Grab Hold of Pole Position Ahead of Sundays Intense 8 Hour 500 Minute Race.
After a Really Hectic Day of Both Qualifying and Racing Lets Find Out Who Took The Last Pole of Today and Who Will be Starting on The Front Row for Tomorrow's 8 Hour Endurance Race.
In First Place Taking the Victory and pole Position was Team (IP Racings) (Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) in their Ford KA with a Best Lap Time of 1:02.845 and a Top Speed of 69.19mph. Congratulations IP Racing Fantastic Work and a Super Start to the Endurance Race at The Very Front of The Grid.
In Second Place Following Closely Behind by Just 0.261 Seconds was Team (JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in their Ford KA with a Best Lap Time of 1:03.106 and a Top Speed of 68.90mph. Superb Job there JTR Fantastic Effort and Really Good Pace to Gain P2 on the Grid for Tomorrow.
In Third Place was Team (Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in their Ford KA with a Best Lap Time of 1:03.110 and a Top Speed of 68.90mph. Great Work Octane Junkies Pushing Hard and Giving it Everything for P3.
After an Intense Qualifying Session the Likes of
Team IP Racings
(Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) Start the Endurance Race in First Place with
(JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in Second Place Followed By
(Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in Third Place with the Top Three Very Closely Matched on Lap Times Thought Qualifying.
With Tomorrows Endurance Race being 8 Hours and The use of Driver Changes after 2 Hours in a Team with Four Drivers as Well as Pit Stops and a Whole Field of 45 Cars and Drivers Will the Likes of Team IP Racing Be able to Hold Out and Take Victory After 8 Gruelling Hours of Hard Racing.
Or Will JTR or Octane Junkies Try and Take that Thunder Away From Them? and Can Anyone Else Have a Go at Taking The Victory?
Only Time Will Tell!
See You All On Sunday.........!
Information On Race Results Found on TSL Timing Solutions
Dedicated By Aurora Historical Society in 1930. For the Aurora branch incorporated Feb 9 ,1849.stated from Aurora 13miles to Turner Jct.now West Chicago IL. Up date the Burlington's home plate new home, now at the Aurora Tranportantion Center.
From Wikipedia:
"St Paul's Cathedral is an Anglican cathedral dedicated to Paul the Apostle.
It sits at the top of Ludgate Hill, the highest point in the City of London, and is the seat of the Bishop of London. The present building dates from the 17th century and was designed by Sir Christopher Wren.
It is generally reckoned to be London's fifth St Paul's Cathedral, all having been built on the same site since AD 604. The cathedral is one of London's most famous and most recognisable sights.
At 365 feet (111m) high, it was the tallest building in London from 1710 to 1962, and its dome is also among the highest in the world. In terms of area, St Paul's is the second largest church building in the United Kingdom after Liverpool Cathedral.
Important services held at St Paul's include the funerals of Lord Nelson, the Duke of Wellington and Sir Winston Churchill; Jubilee celebrations for Queen Victoria; peace services marking the end of the First and Second World Wars; the launch of the Festival of Britain and the thanksgiving services for both the Golden Jubilee and 80th Birthday of Queen Elizabeth II.
The British Royal Family holds most of its important marriages, christenings and funerals at Westminster Abbey, but St Paul's was used for the marriage of Charles, Prince of Wales, and Lady Diana Spencer. St Paul's Cathedral is still a busy working church, with hourly prayer and daily services.
"Old St Paul's" (generally thought to be the fourth on the site) was gutted in the Great Fire of London of 1666. While it might have been salvageable, albeit with almost complete reconstruction, a decision was taken to build a new cathedral in a modern style instead. Indeed this had been contemplated even before the fire.
The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669.
On Thursday, 2 December 1697, thirty-two years and three months after a spark from Farryner's bakery had caused the Great Fire of London, St Paul's Cathedral came into use.
The 'topping out' of the Cathedral (when the final stone was placed on the lantern) took place in October 1708 and the cathedral was declared officially complete by Parliament on Christmas Day 1711. In fact construction was to continue for several years after that, with the statues on the roof only being added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£147 million as of 2011)."
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
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Dedicated to all women, mothers, grandmothers, daughters, housewife's, working ladies, queens and goddesses....
May their grace, generosity and perseverance be praised and remembered. They create magic of the simplest moments in spite of today's violation against their human rights and their physical, sexual, psychological and economic abuse.Every women may be a victim once in any part of their life..and every women expecting to be treated as HUMAN BEING and BEING HUMAN to them..
Help to create a better tomorrow for all of them!
Still in the Millenium there is too much to be done and the awareness has to be spread globe wise. After all, they are the mother's of each and every one of us.
Hoysaleswara temple (Kannada: ಹೊಯ್ಸಳೇಶ್ವರ ದೇವಸ್ಥಾನ) (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.
HISTORY
According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamala and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.
TEMPLE PLAN
The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".
The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.
SCULPTURES
The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.
HORIZONTAL TREATMENT
In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.
GARUDA PILLAR
Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance
WIKIPEDIA
專注 [ Large Size (1024 x 683)∣Original Size (1800 x 1200) ]
Canon EOS 30D + Tamron SP 35-105mm f/2.8 ( for Nikon Mount )
April 22, 2007
by Yueh-Hua
St. Kolumba, once a magnificent medieval parish church dating back to 980, was dedicated to the inspiring Columba of Sens. The transition from a Romanesque to a Gothic structure brought a stunning transformation.
Yet, the ravages of war left scars on this hallowed sanctuary, almost reducing it to dust. In 1947, hope grew amidst the ruins, birthing a chapel that honored Mary as the resilient "Madonna of the Ruins."
From 2007 onwards, it took on the name St. Kolumba, becoming an integral part of the esteemed Kolumba, the museum of the Archdiocese of Cologne.
Embarking on this transformative journey in 2003, the grand vision of Kolumba finally materialized in 2007, unveiling its splendor to the world.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
The shrine is dedicated to the services for Oyamazumi no Okami God, brother of the Amaterasu Omikami god.
The guardian deity for marine safety has been respected as the Japanese tutelary deity since ancient times keeping safe the whole national costal land of Japan.
100 huge Japanese cinnamon trees densely encloses the shrine ground.
The main and worship hall, and Hokyo Into have been designated as national important cultural assets.
The Treasury Museum situated next to the shrine stores a great number of important cultural assets including some national treasures.
Jagannath Temple_Puri_Odisha_India...
(The Jagannath Temple of Puri is a sacred Hindu temple dedicated to Jagannath and located on the eastern coast of India, at Puri in the state of Odisha.
The temple is an important pilgrimage destination for many Hindu traditions, particularly worshippers of god Krishna and god Vishnu, and part of the Char Dham pilgrimages that a Hindu is expected to make in one's lifetime.
The Jagannath temple was built in the 12th century during the era of the Eastern Ganga dynasty's King Anantavarman Chodaganga Deva, a dynasty known for also building the Sun temple of Konark and several major Shaivism temples.
The temple is famous for its annual Rath Yatra, or chariot festival, in which the three main temple deities are hauled on huge and elaborately decorated temple cars. Since medieval times, it is also associated with intense religious fervour. Even though the icons of most Hindu deities that are worshiped are made out of stone or metal, the image of Jagannath is wooden. Every twelve or nineteen years these wooden figures are ceremoniously replaced by using sacred trees, that have to be carved as an exact replica.
The temple is sacred to the Vaishnava traditions and saint Ramananda who was closely associated with the temple. It is also of particular significance to the followers of the Gaudiya Vaishnavism whose founder, Chaitanya Mahaprabhu, was attracted to the deity, Jagannath, and lived in Puri for many years.)
Sasbahu Temple, also called the Sas-Bahu Mandir, Sas-Bahu Temples, Sahastrabahu Temple or Harisadanam temple, is an 11th-century twin temple in Gwalior, Madhya Pradesh, India. Near the Gwalior Fort and dedicated to Vishnu in his Padmanabha form, like most Hindu and Jain temples in this region, it is mostly in ruins and was badly damaged from numerous invasions and Hindu-Muslim wars in the region. It was built in 1093 by King Mahipala of the Kachchhapaghata dynasty, according to an inscription found in the larger of the twin temple. The twin temples are situated in the Gwalior Fort.
The temple's tower and sanctum has been destroyed, but its architecture and damaged carvings can still be appreciated from the ruins. The jagati platform is 100 feet (30 m) long and 63 feet (19 m) wide, on a square plan. The temple was three-storeyed, which was one of its distinguishing features and sophistication. It followed a central cluster concept, states Adam Hardy. The surviving elements of the temple are the entrance porch and the mandapa. According to James Harle, though the prasada (tower, spire) no longer exists, the triple storey plan with a cruciform foundation and balconies suggests that it had a North Indian Bhumija style architecture. This style, states Harle, is marked by a well proportioned superstructure, its "regularly arranged little subordinate sikharas strung out like gigantic beaded garlands".
This temple mainly has three entrances from three different directions. In the fourth direction, there is a room which is currently closed. The entire temple is covered with carvings, notably 4 idols of Brahma, Vishnu and Saraswati above its entrance door. The pillar carvings show Vaishnavism, Shaivism and Shaktism related carvings. The larger temple ornamentation covers all the exterior walls and all surviving interior surfaces.
The twin temple, like elsewhere in India, has locally been called Sasbahu temple. The word Sasbahu means "mother-in-law, bride" or "a mother with her daughter-in-law", an association that implies their being together and interdependent. The Sas temple is typically the larger older temple of the twin. The Gwalior Sasbahu temple follows this style, but both temples are dedicated to Vishnu. Only the Sas temple has survived in some form, the Bahu temple is a shell structure of the original one storey with a highly ornate door frame and its defaced wall reliefs surviving. The remnants of the Bahu temple at Gwalior suggest that it may have been a smaller version of the Saas temple.
The Sas temple has a square sanctum attached to a rectangular two storey antarala and a closed three storey mandapa with three entrances. The temple main entrance porch has four carved Ruchaka ghatapallava-style pillars that are load-bearing. The walls and lintels are intricately carved, though much defaced. On the lintel of the entrances, friezes of Krishna-leela scenes are carved inside, while the outer side narrate legends from other Hindu texts. Above the lintel is Garuda, the vahana of Vishnu.
The Bahu temple also has a square sanctum with 9.33 feet (2.84 m) side, with four central pillars. Its maha-mandapa is also a square with 23.33 feet (7.11 m) side, with twelve pillars. The temple, like most Malwa and Rajputana historic temples, provides multiple entrances to the devotee. The roof consists of two rotated squares that intersect to form an octagon capped by successive overlapping circles. The pillars have octagonal bases as well, with girls carved but these have been defaced and mutilated. The sanctum has an image of damaged Vishnu, next to whom stands Brahma holding the Vedas on one side and Shiva holding the trident on the other side.
a Catholic monument and shrine dedicated to the Sacred Heart of Jesus Christ overlooking the city of Lisbon situated in Almada, in Portugal. It was inspired by the Christ the Redeemer statue of Rio de Janeiro, in Brazil, after the Cardinal Patriarch of Lisbon visited that monument. The project was inaugurated on 17 May 1959. The giant statue was erected to express gratitude because the Portuguese were spared the direct destructive effects of World War II.
Wikipedia]