View allAll Photos Tagged EMPHASIZES
I shot the angle wrench and then decided to put it in an unexpected context. The car was added to emphasize scale.
[Addendum, 2015: I thought recently about reworking this to take advantage of the many Photoshop tricks I now use but then I decided to let it stand as is. I liked it then and still like it now, even if I could do it better :-). I do want to apologize, however, to whoever took the background shot. I didn't know enough back then to keep track of sources and cite them. I regret the omission!]
Entered in Surrealart challenge "Roads"
He is emphasized by being taken from low angle. He looks bigger than the building, which gives attention to nhim.
I wanted to emphasize the colour of the low lying undregrowth in the boreal forest, so employed a tinting preset in Adobe Camera Raw to created this B&W/selected colour image.
Image made for the Textural Tuesday group.
Natural light from the side to emphasize the coarse texture of the fabric.
This dominant male mandrill at the Denver Zoo was cooperative enough
to pose for me for several minutes at very close range. While the
shots of the front of his face are obviously all about rich color, I
love this alternate angle that emphasizes his whiskers.
We went for a hike near Todd Lake on Saturday. It was such a beautiful day and the sky was amazing. I used a circular polarizer and graduated neutral density filter to emphasize the nice clouds.
Morning sun emphasizes the rippled sand at Witty's Lagoon near Victoria BC Canada. A lone figure takes advantage of the low tide to run across the beach. The rippled sand is created by wave action.
What do you enjoy more, the process and organization of capturing the photo or the editing side of it? This question crossed my mind recently. I know that many, if not all, professional landscape photographers on YouTube that I follow emphasize that they want to be more outside, on the field, taking photos than editing. Which is understandable. So, many of them are using presets to help them finish edits faster, or they have some other ways to finish their work on the computer sooner.
As far as I’m concerned, I’m not a professional nor will I ever be. Photography is my big passion that I discovered most suddenly, where I escape from mundane life, and I want to keep it that way. I enjoy more editing than going out. And don’t get me wrong, I go out quite often and enjoy walks in nature immensely. It’s just that I get some uplifting, warm feeling in my chest when I’m at my computer, with some background music that I like, viewing the photos I’ve got outside and preparing to press the Lightroom icon to start editing them. That’s why I’m not a big fan of the presets. As I’m not rushing myself, and not working with many files at once, I actually enjoy moving sliders left and right and right and left. And I’m not going to describe my editing process and all the back and forth that I’m doing in that process because I could write about that forever. Let’s just say that I’m a big overthinker.
Anyway, finally the cooler weather has arrived and with that, we had some misty mornings recently. A few mornings ago, I prepared myself to go out and explore conditions for some atmospheric photography. I’ve got, among many others, this photo. The light just came up. It was not that foggy morning, but there was some moisture and mist in the air. So when the light hit these trees I was prepared to capture the image. I was just looking for the right perspective for it and I’m absolutely chuffed about the final image.
So, I’ve got my first autumn photo for this season. Looking forward to capturing, hopefully, many more as the season progresses and the colours start to appear more and more.
Anima Series 6
Lismore NSW 2025
The Stoic tradition emphasizes emotional ownership.
It encourages us to take responsibility for everything that is ‘us’ and to remain accountable for the choices we make.
Our physical and mental health, our finances, our home – everything.
Every word, every action, every choice we make belongs solely to us – as do the consequences that flow from these choices.
If you’re not happy with yourself or your circumstances, Stoicism encourages us to question the choices we’ve made rather than blame others.
Stoicism is not a belief system – there’s no God but rather a template for how we may conduct ourselves and the values or principles that guide us.
It provides an ancient and well tested approach to how we can act, how we live in the world and how we may respond to life’s challenges.
So, before I speak or do something, I ask myself – ‘what am I achieving?’
‘Am I adding to the conversation? Am I doing something creative, productive, loving?’
If the answer is ‘no’, then I leave it out.
Stoicism teaches us to embrace what is and take charge of the only thing we have any real control over.
Ourselves.
This is a framing of the Cygnus Starcloud in the northern Milky Way, with the patches of red hydrogen gas throughout the region emphasized. The field takes in the "neck" of Cygnus, from north of Eta Cygni at left, to just south of Beta Cygni, aka Albireo, at right, with the field oriented along the Milky Way. Some of the nebulosity here is numbered in the Sharpless catalogue. For example, the faint arc left of Albireo is Sharpless 2-91. The brightest patch of nebulosity lower left of Eta Cygni is Sh2-101. The nebula in the botttom right corner is NGC 6820 in Vulpecula. The globular cluster M56 in Lyra is at upper right.
This is a blend of exposures taken in "normal" broadband light and exposures taken in red H-alpha light, to bring out the faint nebulosity. This is a stack of 15 x 3-minutes through an URTH Night filter to cut sky glow and bring out nebulas somewhat, plus a stack of 12 x 3-minutes with a 12nm Astronomics Hydrogen-Alpha clip-in filter, all with the Canon RF135mm lens at f/2 (it is f/1.8 wide open) and the filter-modified Canon R camera, at ISO 400 for the broadband images and ISO 3200 for the H-a images. The camera was on the Astro-Physics Mach 1 mount, though with some mis-polar alignment causing minor star trailing.
The H-a images were converted to monochrome B&W and blended in with a Lighten blend mode with just the R channel on, and with Blend If and Fill Opacity controls to affect the degree of blending and to prevent the nebulas from becoming too monochrome red. Photokemi Nebula Filter and Star Reduction actions also brought out the nebulosity.
Taken from home on July 23/24, 2023 on a night with slightly reduced transparency from smoke.
"The Lažanské Palace is originally a Renaissance house, modified in the Baroque style in the first half of the 18th century. It is located in Prague, Malá Strana, at Sněmovní Street 175/5. It is protected as a cultural monument.
The house is a three-winged building forming a courtyard, the fourth northern side of which is bounded by the neighboring Černín Palace. The eastern wing is located by Sněmovní street, the western wing is connected by a small garden.
The main street facade is seven-axis, the middle three axes emphasize the shallow rizalit. There are three shields above the facade, the middle one is larger. In the extreme axes on the ground floor there are aedicule portals, on the right there is a gate with a gate for pedestrians, the portal on the left is blind (with a window).
After the fire of the Gothic house in 1541, the plot on which the palace stands today remained empty, but in the middle of the 16th century a one-story Renaissance house was built there. In the first half of the 17th century, it belonged to Jaroslav Loubský from Lub, and during the modifications between 1640 and 1670, the current baroque form of the palace was created.
It was bought by the Černín family in 1670, and František Josef Valdštejn bought the house from them in 1712. In 1724, the house came into the hands of the burghers, and in the years 1735–1739, the then owner JJ Gelnhausen had late Baroque modifications made according to the project of František Maxmilián Kaňka.
In 1741, the house was bought by the Jan Hennet appeal board (which is why it was sometimes referred to as Hennet's palace). In 1899, the house was bought by Jan Karel Lažanský, who had it modified by Otakar Materna (the Lažanský coat of arms is also in the tympanum above the facade from that time). It was then confiscated to his daughter Terezia in 1945 along with other property.
Currently, the palace is in private hands and houses offices and apartments. In the years 1962–1982, for example, the writer and screenwriter Jiří Brdečka lived here.
Malá Strana (Czech for "Little Side (of the River)", German: Prager Kleinseite) or more formally Menší Město pražské (English: Lesser Town of Prague) is a district of the city of Prague, Czech Republic, and one of its most historic neighbourhoods.
In the Middle Ages, it was a dominant center of the ethnic German (and since 16th century also Italian) citizens of Prague. It also housed many noble palaces while the right-bank towns were comparatively more bourgeois and more Bohemian Czech.
Prague (/ˈprɑːɡ/ PRAHG; Czech: Praha [ˈpraɦa]; German: Prag [pʁaːk]; Latin: Praga) is the capital and largest city of the Czech Republic and the historical capital of Bohemia. On the Vltava river, Prague is home to about 1.3 million people. The city has a temperate oceanic climate, with relatively warm summers and chilly winters.
Prague is a political, cultural, and economic hub of central Europe, with a rich history and Romanesque, Gothic, Renaissance and Baroque architectures. It was the capital of the Kingdom of Bohemia and residence of several Holy Roman Emperors, most notably Charles IV (r. 1346–1378) and Rudolf II (r. 1575–1611).
It was an important city to the Habsburg monarchy and Austro-Hungarian Empire. The city played major roles in the Bohemian and the Protestant Reformations, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia between the World Wars and the post-war Communist era.
Prague is home to a number of well-known cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include Prague Castle, Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the historic center of Prague has been included in the UNESCO list of World Heritage Sites.
The city has more than ten major museums, along with numerous theatres, galleries, cinemas, and other historical exhibits. An extensive modern public transportation system connects the city. It is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.
Prague is classified as a "Alpha-" global city according to GaWC studies. In 2019, the city was ranked as 69th most livable city in the world by Mercer. In the same year, the PICSA Index ranked the city as 13th most livable city in the world. Its rich history makes it a popular tourist destination and as of 2017, the city receives more than 8.5 million international visitors annually. In 2017, Prague was listed as the fifth most visited European city after London, Paris, Rome, and Istanbul.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
The silhouette of this male brown bear emphasizes the distinct shoulder hump that differentiates brown bears from black bears.
国立西洋美術館の彫刻たちもライトアップされていた
「カレーの市民」の苦悩が強調されていた
The sculptures of the National Museum of Western Art were also lighted up
"The citizen of Calais" was stressed emphasis
Advice from a Cactus
Emphasize your strong points.
Be patient during the dry spells.
Bloom where you are planted.
Always stay sharp.
—anon
SPONSORED
Outfit: {Seams Legit} Lily Outfit @ Mainstore
♡ Rigged for TD, Tweeneedoo, Bebe, Chonk, and LullaBeebs.
♡ Fatpack HUD comes with 10 skirt and 10 shirt colors.
Sandals: Essi & Co. Circe Sandals
Poses: {PixelBaby} Wander Pose Pack
♡ Five static poses, with mirrors where applicable. Intended for LB Infant.
(But yes, I am using them with my TD! Make sure to demo ❤)
For direct links and remaining credits, take a look at my post on my blog, PixelBabe.
Shot from a low-angle perspective, this image emphasizes the towering grandeur of the Ribblehead Viaduct as it stretches into the distance. The strong, diagonal composition leads the viewer’s eye along the sweeping arches, creating a sense of scale and depth. The textured stone, rich with history, contrasts against the moody sky, while the rugged foreground of windswept grasses and dry stone walls adds a raw, untamed energy to the scene.
By positioning the viaduct’s massive pillars to dominate the frame, the image captures both the weight of history and the elegance of its design. The converging lines naturally draw the gaze upward, evoking a sense of awe and admiration for this enduring structure set against the dramatic Yorkshire Dales landscape.
Hatha yoga emphasizes physical exercises to master the body along with mind exercises to withdraw it from external objects. The word haṭha means "force" in Sanskrit, and may have this association because the early Indians believed that its practice was challenging and "forced its results to happen" on the yogi. The term "Hatha yoga" connotes a system of supplementary physical techniques within the broader concept of Yoga.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Happy Independence Day to all flickreenos from the USA! :-)
Technique/Processing
I took 7 shots, ranging from -3EV to +3EV hand held (I didn't want to mess with the strong looking security guys ;-)) and then blended using Smart Objects (Mean - in the mathematical sense *ggg* - stacking mode) in Photoshop CS5. After that much processing followed, basically including placing extra lights on the windows (Knoll Light Factory plugin) and then applying glamour glow on them for the soft look of the light.
The ceiling had to be processed seperately - adding much local/micro contrast here, to emphasize the tiny details.
Viewing On Black is highly recommended.
Info
The heart of the Piazza del Duomo is, obviously, the Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, being the archbishop of Pisa a Primate since 1092.
Construction was begun in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.
The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator.
The Duomo at Sunset
The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.
Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.
Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.
The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works.
Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin.
Galileo is believed to have formulated his theory about the movement of a pendulum by watching the swinging of the incense lamp (not the present one) hanging from the ceiling of the nave. That lamp, smaller and simpler than the present one, it is now kept in the Camposanto, in the Aulla chapel.
The impressive granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.
The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.
The elaborately carved pulpit (1302-1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues. The present day reconstruction of the pulpit is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) were lost.
The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.
The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.
Pope Gregory VIII was also buried in the cathedral. The fire in 1595 destoyed his tomb.
The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit a shelf egg-shaped on the right side, just above the pulpit by Giovanni Pisano. This occurs at noon.
In the Cathedral also can be found some relics brought during the Crusades: the remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that it is said to be one of the jars of Cana.
The building, as have several in Pisa, has tilted slightly since its construction.
Arca Swiss F-Line 4x5
120mm Schneider Super-Symmar
Fomapan 400 @ 250
Rodinal 1+50, 11min, MOD54
This creek had beautiful views no matter which way you turned. A bit of rear swing was employed to keep the right-hand cliffs in focus and emphasize them a bit.
This is my favorite of the series.
The city is a dynamic physical space that emphasizes culture, development and urban design in the built environment.
I believe landmarks provide a sense of place through aesthetic beauty or emotional values. It helps frame one individual's perception of one particular place; from a physical structure that stood out among the rest or from relevant experiences of culture and everyday life expressed in a way like no other.
Whether it is your favourite restaurant or the place that you triggered a life changing experience, sense of place holds essential meaning. I wanted to portray this concept with my urban photography through landmarks because for me I love my hometown. I enjoy photographing cityscape and personal landmarks within it. I find it easy to illustrate this through emphasizing Toronto's infamous CN Tower with the Sky Dome (Rogers Centre) among its blurred out skyline. Ok, my urban planning geekness came out so I do apologize for that :P
Have a good one!
"Commissioned by Bacardi, and completed in 1975, the Jewel Box is a rare example of Miami Modern architecture.
Designed by Igancio Carrera-Justiz, the Jewel Box hovers forty-seven feet above ground on Biscayne Boulevard. The colorful glass mosaic walls on all four sides of the building are based on designs by German artist Johannes Dietz. Each side depicts the rum-making process: how stalks of sugar cane are converted into molasses.
Its vibrant glamor and vivid extravagance is highlighted during the morning sun, and emphasized at night with strong, hot ceiling lights." Aimee Rubensteen
Another iconic portion of Paris that is relatively incredibly young. The Louvre Pyramid has been standing for less than 30 years but has already begun to make its mark on the city thanks to a combination of its architectural beauty, its appearance in popular fiction and conspiracies involving its construction. The most popular conspiracy theory is that French president Mitterand commissioned the pyramid to be built with exactly 666 panes of glass because he apparently worshipped Satan or such. The actual number has been attributed higher than 670 or 680 depending on your sources, though debate still pops up here and there. The biggest debate comes from how the newer architecture clashes with the older classical architecture of the Louvre. Personally, I appreciated it. The contrast helps emphasize both styles, even if for this image I concentrated on just the pyramid itself.
A forest-framed view of Powerscourt Waterfall, captured in late autumn from a moss-covered rock outcrop. The composition draws the eye from the earthy foreground—fallen leaves, brown ferns, and textured stone—toward the white cascade descending through Wicklow’s woodland. Bare branches and patches of moss add seasonal detail, while the overcast sky softens the contrast between water and terrain. This image emphasizes the layered depth and natural textures of Ireland’s tallest waterfall, offering a grounded perspective from within the forest.
Standing at the base of one of the Tour Duo buildings in Paris, I was struck by how it seemed to slice through the night sky. I positioned myself to capture this extreme upward angle that emphasizes its height and the clean geometric pattern of its facade.
The black and white processing was a natural choice - it strips away distractions and focuses attention on the strong diagonal line and the repeating pattern of the windows. I wanted the darkness to envelop the building, creating this dramatic contrast between solid and void.
Looking up at these massive towers always gives me a sense of disorientation and smallness. By framing just this edge disappearing into darkness, I aimed to capture that dizzying feeling you get when you crane your neck skyward in an urban canyon.
I deliberately kept a bit of that subtle glow at the top where the building meets the sky - a hint of light that draws your eye upward along the path of the structure and adds a touch of mystery to the composition.
photo rights reserved by B℮n
Sameba Cathedral in Tbilisi is one of the largest Orthodox churches in the world and the main cathedral of the Georgian Orthodox Church. The cathedral is located on the hilltop of Elijah in the historic center of Tbilisi, the capital of Georgia, and dominates the city skyline with its impressive architecture. Completed in 2004, the cathedral combines elements of traditional Georgian architecture with Byzantine influences. The design incorporates classic Georgian elements such as cruciform structures and details found in older monasteries and churches in Georgia. The dome of the church, covered in gold, rises 87 meters above the ground, giving the cathedral an impressive height difference and making it visible from many parts of the city. The construction of the cathedral was intended to symbolize Georgian unity and revival after the collapse of the Soviet Union. The project began in the 1990s and was largely funded by donations from both the Georgian government and the Georgian people.
The main entrance to the complex surrounding the Sameba Cathedral in Tbilisi leads to the cathedral itself. This entrance consists of a beautifully decorated gate with stone columns and crucifixes on both sides of the path, creating a symbolic passage to the holy place. The wide promenade, surrounded by green bushes and benches, invites visitors to walk serenely towards the cathedral. The architecture of the entrance wall is grand and massive, with round turrets and arched doors, which together create an imposing appearance. The building above the gate is crowned with a dome that emphasizes the Georgian style and serves as a landmark from the surroundings. The bell tower is a striking architectural feature that stands out from the main cathedral itself. It functions not only as a tower for the bells, but also as a symbolic gateway to the sacred precincts. The bell tower contributes to the overall grandeur and spiritual atmosphere of Sameba Cathedral and is an essential part of this important religious and cultural complex in Georgia.
De hoofdingang van het complex rond de Sameba-kathedraal in Tbilisi, leidt naar de kathedraal zelf. Deze ingang bestaat uit een prachtig versierde poort met stenen zuilen en kruisbeelden aan beide zijden van het pad, wat een symbolische doorgang creëert naar de heilige plek. De brede promenade, omringd door groene struiken en banken, nodigt bezoekers uit om op een serene manier naar de kathedraal toe te lopen. De architectuur van de ingangsmuur is groots en massief, met ronde torentjes en boogvormige deuren, die samen een imposante uitstraling geven. Het gebouw boven de poort is bekroond met een koepel die de Georgische stijl benadrukt en als een herkenningspunt dient vanaf de omgeving. De klokkentoren van de kathedraal is een opvallend architectonisch element dat zich onderscheidt van de hoofdkathedraal zelf. De klokkentoren staat apart bij de ingang van het complex. Het fungeert niet alleen als een toren voor de klokken, maar ook als een symbolische poort naar het heilige terrein. De Sameba-kathedraal in Tbilisi is één van de grootste orthodoxe kerken ter wereld en de belangrijkste kathedraal van de Georgisch-Orthodoxe Kerk. De kathedraal staat op de heuveltop van Elia in het historische centrum van Tbilisi, de hoofdstad van Georgië, en domineert de skyline van de stad met zijn indrukwekkende architectuur. De kathedraal, voltooid in 2004, combineert elementen van traditionele Georgische architectuur met Byzantijnse invloeden. Het ontwerp bevat klassieke Georgische elementen zoals kruisvormige structuren en details die je ook terugziet in oudere kloosters en kerken in Georgië. De koepel van de kerk, bedekt met goud, steekt 87 meter boven de grond uit, wat de kathedraal een indrukwekkend hoogteverschil geeft en zorgt dat deze vanuit veel delen van de stad zichtbaar is. De constructie van de kathedraal was bedoeld als symbool voor de Georgische eenheid en heropleving na het uiteenvallen van de Sovjet-Unie. Het project begon in de jaren 90 en werd voor een groot deel gefinancierd door donaties van zowel de Georgische regering als het Georgische volk.
Week 2 - Monday
I feel that this image emphasizes pattern.
On a photo shoot down by the lake, I noticed how the the reflections of water made dancing patterns on the side of the boat. I took several shots and really loved this one. Also because the red part of the boat produces even more patterns in the water.
I realize that the metal cord and rope play an important role in being quite present and they add an element of colour and texture and the main, wider part, crosses the image in a good place without cutting it in two. It seems to lead my eye up to those dancing patterns.
I love the calm energy I feel when I look at this image.
The seventh generation adds modern chiseled looks to its heritage-inspired design, which sets out to appeal to the broadest Mustang customer mindset yet.
Its low, horizontal brow across the front emphasizes overall frontal width, while the upper grille design shape is influenced by the original 1960s design. The Tri-Bar LED headlamps continue the Mustang’s classic lighting signature. Its sleek roofline, broad sprinting stance and shortened rear overhang are also true to the authentic proportions of the first generation, while the widened rear haunches point to the power over the wheels in true Mustang style. .
Each model in the Mustang lineup carries its own unique front end. GT is differentiated from EcoBoost models by larger, more aggressive grille openings, engineered to allow increased airflow, reflecting the increase in power and performance. The car’s aerodynamics are optimized further with the addition of new hood vents and redesigned front splitter.
“Both the EcoBoost and Mustang GT have unique styling cues that deliver on their promise of Mustang Performance,” said Christopher Walter, Ford Mustang design manager. “The new Mustang is more chiseled and edgier, leaning into Mustang’s classic brawniness and timelessness.”
The way Mustang looks, drives and sounds is key to the experience that makes customers want to get in the driver’s seat and hit the road. The all-new Mustang delivers an even more exciting drive experience with new and advanced engine technologies.
It starts with Mustang GT, now powered by an advanced, 5.0-liter Coyote V8 engine. The fourth-generation 5.0-liter is set to deliver the most naturally aspirated horsepower of any Mustang GT thanks to an innovative dual air intake box and dual-throttle body design, that helps minimize induction loss by enabling higher air flow rates.
Ford has saved the manual transmission for a new generation and the 5.0-liter V8 continues to offer a standard six-speed manual transmission for customers who want an uncompromised connection to eight-cylinder power.
Basilica di Santa Giusta
Il portale è delimitato ai lati da due stipiti marmorei, conclusi da pseudo-capitelli decorati a foglie, e da un architrave, anch'esso marmoreo.
Questo reca scolpiti alle estremità un leone e una leonessa nell'atto di ghermire dei cervi: il sesso delle due fiere è particolarmente enfatizzato, e la leonessa mostra sulla coscia una croce, realizzata attraverso una differente realizzazione del pelo.
Conclude il portale una lunetta al centro della quale campeggia una croce in basalto scuro.
Basilica of Santa Giusta
The portal is bordered on the sides by two marble jambs, concluded by pseudo-capitals decorated with leaves, and by an architrave, also in marble.
This one has a lion and a lioness carved at the ends in the act of snatching deer: the sex of the two beasts is particularly emphasized, and the lioness shows a cross on her thigh, made through a different realization of the hair.
The portal ends with a lunette in the center of which stands a dark basalt cross.
❖Even better in full screen mode ❖
When I photographed this crabapple branch with blossoms, what came to mind was Ikebana, the Japanese art of flower arrangement, emphasizing its shape, line and form. Hope you like it!
Two week-ends ago, we had a few snow flakes with temperature hovering around 0 C. This last week-end, it has been gloriously sunny and warm with highs around 26 C. What a change!
Have a great day!
HBW!
Thank you kindly for your support and comments.
Un gros merci de votre soutien et de vos commentaires.
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From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
Eastern perspective of the theater, emphasizing the colonnaded street stretching to the right, offering a unique architectural angle.
Through My Eyes: Asklepion Archaeological Site (Bergama) and Pergamon Ancient City (Historical Place Museum)
My first steps into the museums of Bergama go back some 35 years, when my wife Kathy’s interest in health led us to spend time at the Asklepion site. Even then, despite the crowds, we could easily explore thanks to the map and concise information handed out at the entrance.
Visiting again last year and this year, I was saddened to see how little has changed—except for the worse. Beyond a fixed general map, no handouts or detailed guides are provided. Toilets stood closed, with peeling white doors, and several areas looked neglected. In most Turkish museums today, “audio guide services” in multiple languages are offered, which is wonderful. But in such a vast site, walking without a map feels almost like punishment. Even for me, someone aiming to photograph pre-planned spots, it was nearly impossible to find them—wandering around for hours without success. QR codes under signboards, which should be helpful, didn’t work after several attempts. Eventually, I gave up.
Pergamon Ancient City, with its heavy visitor traffic, suffers from similar neglect. Disorder is the first impression: collapsed stone columns fenced off with plastic chains, and ongoing excavation near the ancient theater leaving unsightly views of plastic sheets under the harsh sun. Thousands of visitors take photos here—yet these “dirty details” end up in every frame unless edited out.
What troubles me most is the lack of clear orientation. At Pergamon, even the scaled reconstruction panels do not show clearly where visitors are standing. Such “small but vital” shortcomings reduce the impact of this extraordinary heritage. I sincerely believe that these treasures deserve the same careful attention as Istanbul’s Topkapi Palace, Dolmabahçe Palace, Archaeology Museum, or Museum of Turkish and Islamic Arts.
Meanwhile in Berlin, the Pergamonmuseum—Germany’s “most visited art museum”—has closed the great hall displaying the Pergamon Altar until 2026 for renovation. For decades, Türkiye has formally requested the return of these artifacts, excavated from within its borders. While that debate continues, my hope is simple: that the values of Bergama itself, here on Türkiye Aegean coast, will be properly revisited, protected, and presented with the dignity they truly deserve.
Additional Information -
Pergamon Acropolis: Once the capital of the Attalid dynasty (3rd–2nd century BC), the Acropolis of Pergamon was home to some of antiquity’s greatest achievements: the renowned Library of 200,000 volumes, the invention of parchment, the steepest ancient theater with a capacity of 10,000 spectators, and the monumental Altar of Zeus, decorated with a frieze of the Gigantomachy. Today, remains of temples, fortifications, and the theater still dominate the hilltop, overlooking the Bakırçay plain.
Asklepion: Dedicated to the God of Healing, Asklepios, this sanctuary dates back to the 4th century BC. It developed into one of the most advanced healing centers of the Roman world, offering treatments through sacred springs, mud baths, dream therapy, music, and diet. The complex included a theater for 3,500 people, libraries, temples, baths, and circular treatment rooms. It is also the birthplace of Galen, one of antiquity’s greatest physicians and father of pharmacology.
I've captured some unforgettable moments with my camera, and I hope you feel the same joy viewing these images as I did while shooting them.
Thank you so much for visiting my gallery, whether you leave a comment, add it to your favorites, or simply take a moment to look around. Your support means a lot to me, and I wish you good luck and beautiful light in all your endeavors.
© All rights belong to R.Ertuğ. Please refrain from using these images without my express written permission. If you are interested in purchasing or using them, feel free to contact me via Flickr mail.
Your comments and criticism are very valuable.
Thanks for taking the time to stop by and explore :)
Waterdrops on a feather emphasize its weatherproof nature.
A typical vaned feather features a main shaft, called the rachis. Fused to the rachis are a series of branches, or barbs; the barbs themselves are also branched and form the barbules. These barbules have minute hooks called barbicels for cross-attachment. [...] Feathers insulate birds from water and cold temperatures.
I thought a mono conversion of this spiral stair in Tate Britain might emphasize the curving composition but I'm not convinced it does that any more than the colour version really. I'd be interested to know what you think.
More shots of spiral stairs here : www.flickr.com/photos/darrellg/sets/72157649305925251
From Wikipedia : "In 2012, Tate Britain announced that it had raised the £45 million required to complete a major renovation, largely thanks to a £4.9 million grant from the Heritage Lottery Fund and £1 million given by Tate Members. The museum stayed open throughout the three phases of renovation.
Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the building's Thames-facing entrance as well as a new spiral staircase beneath its rotunda. The circular balcony of the rotunda's domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated schools' entrance and reception beneath its entrance steps on Millbank and a new archive gallery for the presentation of temporary displays."
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Please join the campaign, if you do not like the proposed new flickr layout.
You can also make your own picture with the text as seen in this picture ( or of similar nature, but make sure to emphasize the boycott ), in any language of your choice. Please circulate it and remember to upload it on Sunday, January 5, 2014 ( or before, if you know you'll be away on January 5 ).
Thank you. I LOVE FLICKR - JANUARY 5TH 2014 ! ! ! !
***January 5 is 'I Love Flickr Day'. It's a call to BOYCOTT ALL BRANDS AND PRODUCTS THAT ADVERTISE ON YAHOO ! ! ! !****
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MORE INFORMATION HERE
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Sign the Petition PLEASE :
petitions.moveon.org/show.html?show_optin_checkbox=0&...
Pages with BETA
www.flickr.com/photos/110293295@N04/11461406716/in/photos...
www.flickr.com/photos/110293295@N04/11461406746/in/photos...
More Information
www.flickr.com/photos/110293295@N04/11325078084/in/photos...
Now my Poster in Beta
www.flickr.com/photos/annajames006/11675245583/in/photost...
www.flickr.com/photos/annajames006/11675366884/in/photost...
bottom of page and finished (is all).
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YOU CAN DOWNLOAD THIS IMAGES & UPLOAD IN YOUR PHOTOSTREAM BEFORE 5TH JANUARY 2014
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Français :
J'aime Flickr
J'aime Flickr jour - 5 janvier 2014
Les changements proposés vont ruiner Flickr.
Si la nouvelle photo expérience de est mis en œuvre sans option, je vais déciderai à boycotter et appel également tous mes amis et les famille à boycotter toutes les marques / produits qui affichent des publicités sur Yahoo.
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Deutsch :
Ich liebe Flickr !
Ich liebe Flickr -Tag am 5. Januar 2014
Die geplanten Änderungen werden Flickr ruinieren.
Wenn die neue Gestaltung von Flickr ohne Wahlmöglichkeit verpflichtend eingeführt wird, werde ich boykottieren und an alle meine Freunde, Kontakte und Familienmtglieder appelieren, in Zukunft alle Marken/Produkte zu boykottieren, die bei Yahoo werben.
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Spanish : (apelacion para colocar debajo del cartel)
Por favor únase a la campaña, si no te gusta el diseño de la nueva propuesta flickr.
Descargue la imagen y subirla a su galeria el domingo 5 de enero de 2014. Usted puede hacer su propia imagen tambien con el texto como se ve en esta imagen (o de naturaleza similar, el objetivo de hacer un uso seguro enfatizar el boicot), en cualquier idioma de su elección. Ejemplo si la nueva experiencia fotográfica se realiza sin opcion , voy a decidir boicotear y también llamar a todos mis amigos y familiares a boicotear todas las marcas / productos que muestran anuncios en Yahoo .
Por favor, distribuirlo y recordar a subirlo a Domingo, 05 de enero 2014 (o antes, si usted sabe que va a estar fuera el 5 de enero)
Si usted desea hacer su propio cartel :
Me encanta Flickr
Amo día Flickr - 05 de enero 2014
Los cambios que se proponen arruinaran Flickr.
Yo decidiré boicotear y también apelar a todos mis amigos y familiares a boicotear, también a todas las marcas / productos que muestran anuncios en YAHOO
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In Italian :
Che amo Flickr
Amo giorno Flickr - 5 GENNAIO 2014
Le modifiche proposte rovinare Flickr .
Se la nuova esperienza foto è attuato senza l'opzione , deciderò di boicottare e anche chiamare tutti i miei amici e la famiglia di boicottare tutti i marchi / prodotti che visualizzano gli annunci su Yahoo .
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In Portugues
Eu amo Flickr
Eu amo Flickr dia - 05 de janeiro de 2014
As alterações propostas não estragar Flickr.
Se a nova experiência foto é implementado sem a opção, vou decidir boicotar e também chamar todos os meus amigos e família para boicotar todas as marcas / produtos que exibem anúncios no Yahoo.
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Greek :
(really thank you Tania my dear friend for your clarification ), I put here
"I love Flickr day - January 5, 2014" .
We might use the word "υποστηρίζω" which means "support" in English...
I 'll try to translate now the text...
Option 1 : "Αγαπώ το Flickr.
Υποστηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014.
Οι προτεινόμενες αλλαγές πρόκειται να καταστρέψουν το Flickr.
Εάν η νέα παρουσίαση/εμπειρία εφαρμοστεί χωρίς να δίνεται η
δυνατότητα εναλλακτικής επιλογής, θα αποφασίσω να μποϊκοτάρω
όλες τις μάρκες / προϊόντα που εμφανίζουν διαφημίσεις στη Yahoo
και θα καλέσω τους φίλους και την οικογένειά μου να πράξουν το ίδιο."
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Another clarification of my friend Tania
Instead of the word "Υποστηριζω", it would fit better the word "Στηρίζω".
So the new phrase is this:
"Στηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014."
Option 2 : "Αγαπώ το Flickr.
Στηρίζω την Hμέρα για το Flickr της 5ης Ιανουαρίου 2014.
Οι προτεινόμενες αλλαγές πρόκειται να καταστρέψουν το Flickr.
Εάν η νέα παρουσίαση/εμπειρία εφαρμοστεί χωρίς να δίνεται η
δυνατότητα εναλλακτικής επιλογής, θα αποφασίσω να μποϊκοτάρω
όλες τις μάρκες / προϊόντα που εμφανίζουν διαφημίσεις στη Yahoo
και θα καλέσω τους φίλους και την οικογένειά μου να πράξουν το ίδιο."
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All these translations are made to me, except the Greek and Portuguez that my friends who have made it.
And all were checked, also for my friends to different countries
** Thank you very much again
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Crop to emphasize triangles, including an incomplete golden triangle line, which follows the diagonal between the green base & the rock outcropping.
This seems to emphasize recent drought effects on Big Creek's flow, haywood County, Great Smoky Mountains National Park, North Carolina
the FD (ФД20) class of freight locomotives of 2-10-2 (1-4-1 in Russia) class 3100 hp with the axle load 20 t (it is emphasized in the name FD-20) were developed at V.V. Kuybyshev Locomotive Factory in Kolomna, Russian SFSR using experience in the operation of 2-10-4 class steam locomotives of the Ta (Та) and Tb (Тб) types (Texas type) built for the USSR in small series by ALCO and Baldwin to 1931 y. Firstly their high 23 t axle load must be decreased to comply to weaker Russian rail tracks. It was achieved by general optimization of design including more fine-grade casts. The FD class was named after Felix Dzerzhinsky, who led the first two Soviet state-security organizations. They were constructively highly unified to the IS class of passenger steam locomotives of Soviet railways (ИС20, named after Joseph Stalin) that preserved original design 2-8-4 class. Locomotives of the IS and FD series were manufactured between 1931 and 1942 by the October Revolution Locomotive Factory at Voroshilovgrad (Luhansk) in Soviet Ukraine with 649 IS and 3213 FD produced totally. After voluntarist decision of the Soviet leader Nikita Khrushchev to cease the steam locomotives production to change them entirely on the diesel locomotives (1956) circa one thousand of the FD were generously given to Communist China were they worked until 1970th.