Watershot Camera

This 458 was actually parked at a wrapping shop in an underground car park in Mayfair, probably getting a new wrap on the car. What i did notice however, was the plate in the window, which obviously would be affixed to the car, this car is of Moroccan origin. The '1' at the end of the plate suggests that this example is from the capital of Morocco, Rabat. It is my first Moroccan registered car I've spotted.

 

Mayfair, London, United Kingdom

26026 was the sole example of the class among a horde of 20s, 25s, 27s, 37s, 40s and 47s at Eastfield 27/6/81.

We'd already been awake well over 24 hours at 9.50am and had bashed Crewe, Motherwell, Hamilton and Eastfield, before heading off to Glasgow Works Open Day.

Of course this is highly retouched, but after seeing the finished product I realized I resembled any number of television personalities of the era.

 

"December Bride," "I Married Joan," or maybe Ethel Mertz (Vivian Vance) from "I Love Lucy."

Examples of Framing

Exit path from Wonderland ride.

Edit example by our new post production expert. Yes, I've finally found that guy and he's doing great things.

Example @ Magazzini Generali, Milano. Pics by Davide Merli for www.rockon.it

Lens : smc Pentax-A 50mmf1.2

Camera : Sony ILCE-7R

 

ƒ/1.2

50 mm

SS 1/320

ISO 1600

Flash (off, did not fire)

Distance 0.45m

 

DSC03399

For swoofty. This should provide a solid platform for rear vent assembly in any locomotives that has offset widen rear vents (such as EMD SD9). It is one of the sturdy that I can ask for. A simple 3ft drop only knocked off one set of grill brick assembly. Easy to put back together and move on. Not very finicky as well.

 

To attach any fan/exhaust above it, anything can work really well. I use Technic dish 3x3 which can be attached to a Technic brick 1x1 with a hole in it. The placement of the Technic brick depends on the spacing with Technic dish. Of course Ive seen other different uses such as Swoofty's Technic wedge belt wheel.

 

Next step is to attach it to locomotive. It depends on your locomotive body. You can attach it in many ways. You can have 1x4 plate that sticks through the bottom and it could hold on to something else or whatever. I have not come up with something at this moment but the way I see it in my hand, there are endless opportunity to attach this unit.

BayArea Modern Quilt Guild gift exchange

Example of a paper grocery shopping receipt showing expenses for purchase of Kraft brand macaroni and cheese.

 

Image available for public and commercial use. Please credit www.grocerycouponguide.com.

Investment example

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl/, more often /ˈtɑːʒ/; from Persian and Arabic, "crown of palaces", pronounced [ˈt̪aːdʒ mɛˈɦɛl]) is a white marble mausoleum located on the southern bank of Yamuna River in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned 1628–1658) to house the tomb of his favorite wife of three, Mumtaz Mahal.

 

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for an additional ten years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million Indian rupees, which in 2015 would be valued at around 52.8 billion Indian rupees ($827 million US). The construction project employed around 20,000 artisans under the guidance of a board of architects led by Ustad Ahmad Lahauri. The domed marble tomb is part of an integrated complex consisting of gardens and two red-sandstone buildings surrounded by a crenellated wall on three sides.

 

The Taj Mahal is regarded by many as the best example of Mughal architecture and is widely recognized as "the jewel of Muslim art in India". It is one of the world’s most celebrated structures and a symbol of India’s rich history. Designated a UNESCO World Heritage Site in 1983, the Taj Mahal attracts some 3 million visitors a year.

 

INSPIRATION

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief-stricken when his favorite of three wives and beloved companion, Mumtaz Mahal, a Persian princess, died during the birth of their 14th child, Gauhara Begum. Construction of the Taj Mahal began in 1632. The court chronicles of Shah Jahan's grief illustrate the love story traditionally held as an inspiration for Taj Mahal. The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.

 

ARCHITECTURE AND DESIGN

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

 

TOMB

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

 

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

 

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres high. Because of its shape, the dome is often called an onion dome or amrud (guava dome). The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasized by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

 

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

 

The minarets, which are each more than 40 metres tall, display the designer's penchant for symmetry. They were designed as working minarets - a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

 

EXTERIOR DECORATIONS

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.

 

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity". Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

 

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting color which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

 

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

 

INTERIOR DECORATION

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used. The interior walls are about 25 metres high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.

 

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.

 

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal. Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

 

GARDEN

The complex is set around a large 300-metre square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

 

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

 

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.

 

OUTLYING BUILDINGS

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.

 

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

 

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.

 

CONSTRUCTION

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage, and leveled at 50 metres above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

 

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

 

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

 

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". Construction of the mausoleum itself was essentially completed by 1643 while work continued on the outlying buildings. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.

 

LATER DAYS

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb. Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife. In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen. Kanbo, a Mughal historian, said the gold shield which covered the 15-foot high finial at the top of the main dome was also removed during the Jat despoliation.

 

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

 

THREATS

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots.

 

More recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura Oil Refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre area around the monument where strict emissions standards are in place.

 

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 5 feet a year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. In 2011 it was reported that some predictions indicated that the tomb could collapse within 5 years.

 

TOURISM

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which increased to about 3 million in 2015. A two tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center.

 

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

 

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan. For security reasons only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

 

MYTHS

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

 

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

 

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

 

In 2000, India's Supreme Court dismissed P. N. Oak's petition to declare that a Hindu king built the Taj Mahal. In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

 

WIKIPEDIA

This is the prototypical example of a barred spiral galaxy, the type of galaxy we believe the Milky Way to be. Besides the classic, dramatic form of the bold spiral structure, amazing details appear: beautifully resolved spiral arms and dust lanes right to the bright nucleus, numerous star-forming regions starkly delineated, and a disk transparent enough to see distant background galaxies through the galaxy, providing a dramatic feeling of depth. Learn more

Basic one light setup.

 

Found a great location behind PC Connection in Merrimack NH the other night as the sun was setting.

 

580ex at 1/4th power in 28" Westcott Softbox.

merino, a little bamboo, and a lotta sparkle.

  

© I m a g e D a v e F o r b e s

 

Engagement 2,000+

 

Service Courtesy Visit to Greenock

  

Two Royal Navy P2000 Archer Class Patrol Craft.

P164 > HMS Explorer ( launched in 1986 )

P165 > HMS Example ( launched in 1985 )

Both on a tandem visit to Greenock

 

Sixteen of these craft were built by three yards , Vorper Thornycroft , Watercraft & Ailsa Shipyard at Troon. They are mostly all affiliated with British Universities as the Royal Navy Reserve Units. They are often utilised for the training of would-be Midshipmen whilst giving some students the experience of life and discipline onboard a ship at sea and hoping to be recruited into the Royal Navy Officer ranks.

 

Two of these craft are armed permanently with GPMG's as part of the Faslane Patrol Boat Squadron , HMS Tracker & HMS Raider

 

The Chrysler Building is a classic example of Art Deco architecture and considered by many contemporary architects to be one of the finest buildings in New York City.

Mason bees are valuable native American pollinators. They do not sting and should be encouraged in gardens. Homes for them may be very simple, but this example takes it into the realm of garden art! Missouri Botanical Garden, St. Louis, Missouri

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

1.) This image is an example of texture because of the frost on the outside of the leaf. This photo also shows emphasis because it is focused on the leaf only.

2.) f/4.4 1/640 800

3.) Theme: Chilly in the Morning

4.) This is my favorite photo I took this semester. It resembles the change from fall to winter. The ISO is what made the image work the best; it captured a good amount of light to make it dramatic.

The Cathedral of Monreale is one of the greatest extant examples of Norman architecture in the world. It was begun in 1174 by William II, and in 1182 the church, dedicated to the Assumption of the Virgin Mary, was, by a bull of Pope Lucius III, elevated to the rank of a metropolitan cathedral. The church is a national monument of Italy and one of the most important attractions of Sicily.

The archiepiscopal palace and monastic buildings on the south side were of great size and magnificence, and were surrounded by a massive precinct wall, crowned at intervals by twelve towers. This has been mostly rebuilt, and but little now remains except ruins of some of the towers, a great part of the monks' dormitory and frater, and the splendid cloister, completed about 1200. The latter is well preserved, and is one of the finest Italian cloisters both for size and beauty of detail now extant. It is about 2200 m2, with pointed arches decorated with diaper work, supported on pairs of columns in white marble, 216 in all, which were alternately plain and decorated by bands of patterns in gold and colors, made of glass tesserae, arranged either spirally or vertically from end to end of each shaft. The marble capitals are each carved with foliage, biblical scenes and allegories, no two being alike. At one angle, a square pillared projection contains the marble fountain or monks' lavatorium, evidently the work of Muslim sculptors. The church's plan is a mixture of Eastern Rite and Roman Catholic arrangement. The nave is like an Italian basilica, while the large triple-apsed choir is like one of the early three-apsed churches, of which so many examples still exist in Syria and other Oriental countries. It is, in fact, like two quite different churches put together endwise. The basilican nave is wide, with narrow aisles. Monolithic columns of grey oriental granite (except one, which is of cipolin marble), on each side support eight pointed arches much stilted. The capitals of these (mainly Corinthian) are also of the classical period. There is no triforium, but a high clerestory with wide two-light windows, with simple tracery like those in the nave-aisles and throughout the church, which give sufficient light.

The other half, Eastern in two senses, is both wider and higher than the nave. It also is divided into a central space with two aisles, each of the divisions ending at the east with an apse. The roofs throughout are of open woodwork very low in pitch, constructionally plain, but richly decorated with color, now mostly restored. At the west end of the nave are two projecting towers, with a narthex (entrance) between them. A large open atrium, which once existed at the west, is now completely destroyed, having been replaced by a Renaissance portico by Giovanni Domenico and Fazio Gagini (1547–1569).

It is, however, the large extent (6,500 m2) of the impressive glass mosaics covering the interior which make this church so splendid. With the exception of a high dado, made of marble slabs with bands of mosaic between them, the whole interior surface of the walls, including soffits and jambs of all the arches, is covered with minute mosaic-pictures in bright colors on a gold ground. The mosaic pictures are arranged in tiers, divided by horizontal and vertical bands. In parts of the choir there are five of these tiers of subjects or single figures one above another. The half dome of the central apse has a colossal half-length figure of Christ, with a seated Virgin and Child below; the other apses have full-length figures of St Peter and St Paul. Inscriptions on each picture explain the subject or saint represented; these are in Latin, except some few which are in Greek. The subjects in the nave begin with scenes from the Book of Genesis, illustrating the Old Testament types of Christ and His scheme of redemption, with figures of those who prophesied and prepared for His coming. Around the lower tier and the choir are subjects from the New Testament, chiefly representing Christ's miracles and suffering, with apostles, evangelists and other saints. The design, execution and choice of subjects all appear to be of Byzantine origin, the subjects being selected from the Menologion of Basil II drawn up by the emperor Basil II in the 10th century.

The tomb of William I of Sicily (the founder's father), a magnificent porphyry sarcophagus contemporary with the church, under a marble pillared canopy, and the founder William II's tomb, erected in 1575, were both shattered by a fire, which in 1811 broke out in the choir, injuring some of the mosaics, and destroying all the fine walnut choir-fittings, the organs, and most of the choir roof. The tombs were rebuilt, and the whole of the injured part of the church restored a few years after the fire. The present organ, revised in 1967 by Ruffatti, has six manuals and 102 stops.

On the north of the choir are the tombs of Margaret of Navarre, wife of William I, and her two sons Roger and Henry, together with an urn containing the viscera of Saint Louis of France, who died in 1270. The pavement of the triple choir, though much restored, is a specimen of marble and porphyry mosaic in opus alexandrinum, with signs of Arab influence in its main lines. The mosaic pavement of the nave was completed in the 16th century, and has disks of porphyry and granite with marble bands intermingled with irregular lines.

Photo Copyright 2012, dynamo.photography.

All rights reserved, no use without license

 

++++ FROM WIKIPEDIA ++++

 

The International Finance Centre (abbr. IFC, branded as "ifc") is a skyscraper and an integrated commercial development on the waterfront of Hong Kong's Central District.

 

A prominent landmark on Hong Kong Island, IFC consists of two skyscrapers, the IFC Mall, and the 55-storey Four Seasons Hotel Hong Kong. Tower 2 is the second tallest building in Hong Kong (415 m), behind the International Commerce Centre in West Kowloon. It is the fourth-tallest building in the Greater China region and the eighth-tallest office building in the world, based on structural heights; by roof height, only the Taipei 101, Shanghai World Financial Center, Willis Tower, International Commerce Centre and Burj Khalifa exceed it. It is of similar height to the former World Trade Center. The Airport Express Hong Kong Station is directly beneath it.

 

IFC was constructed and is owned by IFC Development, a consortium of Sun Hung Kai Properties, Henderson Land and Towngas.[6]

 

In 2003, Financial Times, HSBC, and Cathay Pacific put up an advertisement on the facade that stretched more than 50 storeys, covering an area of 19,000 m2 (0.2 million square ft) and a length of 230 m, making it the world's largest advertisement ever put on a skyscraper.[7]

 

Contents

 

1 History

2 One International Finance Centre

3 Two International Finance Centre

4 Four Seasons Hotel Hong Kong

5 IFC Mall

6 Gallery

6.1 2 International Finance Centre

6.2 International Finance Centre Mall

7 See also

8 References

9 External links

 

History

 

Tower 1 is also known as 1IFC and branded in lowercase letters, as "One ifc". Likewise, Tower 2 is also known as 2IFC and branded as "Two ifc".[8]

 

1IFC opened in December 1998, towards the end of the Asian financial crisis. Tenants included ING Bank, Sumitomo Mitsui Banking Corp, Fidelity International, the Mandatory Provident Fund Schemes Authority[9] and the Financial Times.[10]

 

The Hong Kong Monetary Authority purchased 14 floors in 2IFC;[10] the Hong Kong Mortgage Corporation signed a 12-year lease on 24,000-square-foot (2,200 m2);[11] Nomura Group agreed to take 60,000 sq ft (5,600 m2) at 2 IFC; the Financial Times, an existing tenant at One IFC, took 10,000 sq ft (900 m2).[10] Ernst & Young took six floors (from the 11th to 18th floors), or about 180,000 square feet (16,700 m2), in 2IFC, to become the biggest tenant.[12]

 

2IFC, which was completed at the height of the SARS epidemic,[9] was initially available to rent at HK$25-HK$35 per square foot.[13] In 2007, as the economy has improved, high quality ("Grade A") office space is highly sought after; rents for current leases are $150 per square foot as of March 2007.[14]

 

The IFC's towers have featured in several Hollywood films, including Lara Croft Tomb Raider: The Cradle of Life, where Lara Croft leaps off the then-under-construction 2 International Finance Centre, landing on a ship out in the Kowloon Bay, and The Dark Knight, where Batman leapt from 2 IFC to 1 IFC, where an action scene then takes place.[15]

 

The 88th floor of 2IFC is the backdrop of core scenes of the German Thriller "Im Schatten der Lombardis" [1] by Berit Paton Reid, a German writer based in Dubai, UAE.

One International Finance Centre

One International Finance Centre

IFC mall Phase 1 shopping arcade

 

One International Finance Centre was constructed in 1998 and opened in 1999. It is 688 feet (210 m) tall,[16] has 39 storeys and four trading floors, 18 high speed passenger lifts in 4 zones, and comprises 784,000 square feet (72,800 m2). It is similar in design and appearance to 30 Hudson Street in Jersey City, New Jersey. The building currently accommodates approximately 5,000 people.

Two International Finance Centre

 

Two International Finance Centre, completed in 2003, is attached to the second phase of the ifc mall. This 415-metre-tall (1,362 ft) building, currently Hong Kong's second tallest, is quoted as having 88 storeys and 22 high-ceiling trading floors to qualify as being extremely auspicious in Chinese culture. It is, however, short of the magic number, because "taboo floors" like 14th and 24th are omitted as being inauspicious – because 4 sounds like 'die' in Cantonese.

 

The highrise is designed to accommodate financial institutions. For example, the Hong Kong Monetary Authority (HKMA) is located at the 55th floor. It is equipped with advanced telecommunications, raised floors for flexible cabling management, and nearly column-free floor plans. The building expects to accommodate up to 15,000 people. It is one of relatively few buildings in the world equipped with double-deck elevators.

 

The 55th, 56th and the 77th to 88th floors were bought by the HKMA for US$480 million in 2001.[11] An exhibition area, currently containing an exhibit of Hong Kong's monetary history, and a library of the Hong Kong Monetary Authority Information Centre occupy the 55th floor, and are open to the public during office hours.[17]

 

Despite common practice for owners to allow naming buildings after its important tenants, the owners decided not to allow renaming of the building.[18]

Four Seasons Hotel Hong Kong

Main article: Four Seasons Hotel Hong Kong

 

The Four Seasons Hotel is a luxury hotel that was built near the IFC One and Two. It was completed and opened in October 2005. The 206 m (674 ft), 60-storey oceanfront hotel is the only Four Seasons Hotel in Hong Kong. The hotel has 399 guest suites, and 519 serviced apartments. Amenities include a French restaurant Caprice and spa.[19]

IFC Mall

It is an 800,000 sq ft, 4-storey shopping mall, with many luxury retail brands and wide variety of restaurants. The first official Apple Store was also located in this mall (a 3-storey flagship store in Hong Kong).

 

Hong Kong (Chinese: 香港; pronunciation in Hong Kong Cantonese: [hœ́ːŋ.kɔ̌ːŋ]), officially the Hong Kong Special Administrative Region of the People's Republic of China, is an autonomous territory on the eastern side of the Pearl River estuary in East Asia, south of the mainland Chinese province of Guangdong, and east of the former Portuguese colony and fellow special administrative region of Macau. With around 7.3 million Hong Kongers of various nationalities[note 1] in a territory of 1,104 km2, Hong Kong is the fourth-most densely populated region in the world.

 

Hong Kong was formerly a colony of the British Empire, after the perpetual cession of Hong Kong Island from Qing China at the conclusion of the First Opium War in 1842. The colony expanded to the Kowloon Peninsula in 1860, and acquired a 99-year lease of the New Territories from 1898. Hong Kong was later occupied by Japan during the Second World War, until British control resumed in 1945. The territory was returned to China under the framework of the Sino-British Joint Declaration, signed between the United Kingdom and China in 1984 and marked by the transfer of sovereignty of Hong Kong in 1997, when it became a special administrative region of the People's Republic of China.[13]

 

Under the principle of "one country, two systems",[14][15] Hong Kong maintains a separate political and economic system apart from China. Except in military defence and foreign affairs, Hong Kong retains independent executive, legislative, and judiciary powers.[16] Nevertheless, Hong Kong does directly develop relations with foreign states and international organizations in a broad range of "appropriate fields",[17] being actively and independently involved in institutions such as the Asia-Pacific Economic Cooperation forum[18] and the World Trade Organization.[19]

 

Hong Kong is one of the world's most significant financial centres, holding the highest Financial Development Index score and consistently ranking as the world's most competitive and freest economic entity.[20][21] As the world's eighth-largest trading entity,[22] its legal tender, Hong Kong dollar, is the world's 13th most traded currency.[23] Hong Kong's tertiary sector dominated economy is characterised by competitive simple taxation and supported by its independent judiciary system.[24] Although the city boasts one of the highest per capita incomes in the world, it suffers from severe income inequality.[25]

 

Hong Kong features the most skyscrapers in the world, surrounding Victoria Harbour, which lies in the centre of the city's dense urban region.[26][27] It has a very high Human Development Index ranking and the world's longest life expectancy.[28][29] Over 90% of its population makes use of well-developed public transportation.[30] Seasonal air pollution with origins from neighbouring industrial areas of mainland China, which adopts loose emissions standards, has resulted in a high level of atmospheric particulates in winter.[31][32][33]

Contents

 

1 Etymology

2 History

2.1 Prehistory

2.2 Imperial China

2.3 British colony

2.4 Japanese military occupation

2.5 Post-war industrialisation

2.6 Transfer of sovereignty

2.7 Special administrative region

3 Government and politics

3.1 Legal system and judiciary

3.2 Foreign relations

3.3 Regional and administrative divisions

3.4 Electoral and political reforms

3.5 Sociopolitical issues and human rights

3.6 Military

4 Geography

4.1 Climate

4.2 Architecture

4.3 Cityscape

5 Demographics

5.1 Languages

5.2 Religion

5.3 Personal income

6 Economy

6.1 Financial centre

6.2 International trading

6.3 Tourism and expatriation

6.4 Policy

7 Infrastructure

7.1 Energy

7.2 Water and sanitation

7.3 Health

8 Transport

8.1 Rail

8.2 Roads and taxis

8.3 Aviation

8.4 Ferries

8.5 Buses and trams

9 Education

10 Culture

10.1 Sport

11 Media

12 Notable people

13 See also

14 Notes

15 References

15.1 Citations

15.2 Sources

16 Further reading

17 External links

 

Etymology

Hong Kong

Hong Kong in Chinese 2.svg

"Hong Kong" in Chinese characters

Chinese 香港

Cantonese Yale Hēunggóng or Hèunggóng

Literal meaning Fragrant Harbour,

Incense Harbour[34][35]

[show]Transcriptions

Hong Kong Special Administrative Region

Traditional Chinese 香港特別行政區

(香港特區)

Simplified Chinese 香港特别行政区

(香港特区)

Cantonese Yale Hēunggóng Dahkbiht Hàhngjingkēui

(Hēunggóng Dahkkēui)

or

Hèunggóng Dahkbiht Hàhngjingkēui

(Hèunggóng Dahkkēui)

[show]Transcriptions

 

The name Hong Kong originally referred to a small inlet between Aberdeen Island and the southern coast of Hong Kong Island. The town of Aberdeen was an initial point of contact between British sailors and local fishermen.[36] The source of the romanised name is not known, but it is generally believed to be an early imprecise phonetic rendering of the spoken Cantonese pronunciation of 香港 (Cantonese Yale: hēung góng), which means "Fragrant Harbour" or "Incense Harbour".[34][35][37] Fragrance may refer to the sweet taste of the harbour's fresh water influx from the Pearl River estuary or to the incense from factories lining the coast of northern Kowloon. The incense was stored near Aberdeen Harbour for export before Victoria Harbour was developed.[37] Another theory is that the name originates from the Tanka, early inhabitants of the region; it is equally probable that a romanisation of the name in their dialect was used (i.e. hōng, not hēung in Cantonese).[38] Regardless of origin, the name was recorded in the Treaty of Nanking to encompass all of Hong Kong Island, and has been used to refer to the territory in its entirety ever since.[39]

 

The name had often been written as the single word Hongkong until the government adopted the current form in 1926.[40] Nevertheless, a number of institutions founded during the early colonial era still retain the single-word form, such as the Hongkong Post, Hongkong Electric, and the Hongkong and Shanghai Banking Corporation.

History

Main articles: History of Hong Kong and History of China

Prehistory

Main article: Prehistoric Hong Kong

 

Archaeological studies support human presence in the Chek Lap Kok area from 35,000 to 39,000 years ago and on Sai Kung Peninsula from 6,000 years ago.[41][42][43] Wong Tei Tung and Three Fathoms Cove are the earliest sites of human habitation in Hong Kong during the Paleolithic Period. It is believed that the Three Fathom Cove was a river-valley settlement and Wong Tei Tung was a lithic manufacturing site. Excavated Neolithic artefacts suggested cultural differences from the Longshan culture of northern China and settlement by the Che people, prior to the migration of the Baiyue to Hong Kong.[44][45] Eight petroglyphs dated to the Shang Dynasty were discovered on the surrounding islands.[46]

Imperial China

Main article: History of Hong Kong under Imperial China

 

In 214 BC, the Qin dynasty conquered the Baiyue tribes in Jiaozhi (modern-day Liangguang region and Vietnam) and incorporated the area of Hong Kong into China for the first time.[47] After a brief period of centralisation and subsequent collapse of the Qin dynasty, the area of Hong Kong was consolidated under the Nanyue kingdom, founded by general Zhao Tuo in 204 BC.[48] After the Han conquered Nanyue in 111 BC, Hong Kong was assigned to the Jiaozhi commandery. Archaeological evidence indicates an increase of population and expansion of salt production. The Lei Cheng Uk Han Tomb on the Kowloon Peninsula is believed to have been built as a burial site during the Han dynasty.[49]

Sung Wong Toi, believed to be a memorial to the last two boy emperors of the Southern Song dynasty, as it appeared before the Second Sino-Japanese War.

 

During the Tang dynasty, the Guangdong region flourished as an international trading center. A military stronghold was established in Tuen Mun to strengthen defence of the coastal area.[50] Lantau Island was a salt production centre and smuggler riots occasionally broke out against the government. The first village school, Li Ying College, was established around 1075 in the modern-day New Territories by the Song dynasty.[51] During their war against the Mongols, the Southern Song court was briefly stationed at modern-day Kowloon City (the Sung Wong Toi site) before their ultimate defeat at the Battle of Yamen in 1279.[52]

 

The earliest European visitor on record was Jorge Álvares, a Portuguese explorer, who arrived in 1513.[53][54] Having established a trading post in a site they called "Tamão" in Hong Kong waters, Portuguese merchants commenced with regular trading in southern China. Subsequent military clashes between China and Portugal, however, led to the expulsion of all Portuguese merchants from southern China.[55] After the Qing conquest, Hong Kong was directly affected by the Great Clearance, an imperial decree that ordered the evacuation of coastal areas of Guangdong from 1661 to 1669 as part of his efforts against Ming loyalist rebels in southern China. Over 16,000 inhabitants of Xin'an County, which included Hong Kong, were forced to migrate inland; only 1,648 of those who had evacuated returned in subsequent years.[56] With frequent pirate attacks and ever increasing incursions by European explorers, forts were constructed at Tung Chung and the Kowloon Walled City.[57]

 

Though maritime trade had previously been banned, after repopulation of the coast and final defeat of all rebels with Ming sympathies, the Kangxi Emperor lifted the trade prohibition in 1684 and allowed foreigners to enter Chinese ports.[58] Trade with Europeans was more strictly regulated and became concentrated in the Pearl River Delta after establishment of the Canton System in 1757, which forbade non-Russian ships from northern Chinese ports and forced all commerce to be conducted solely in the port of Canton, just north of Hong Kong.[59] While European demand for Chinese commodities like tea, silk, and porcelain was high, Chinese interest in European manufactured goods was comparatively negligible, creating a large trade imbalance between Qing China and Great Britain. To counter this deficit, the British began to sell increasingly large volumes of Indian opium to China.[60] Faced with a drug addiction crisis,[61] Chinese officials pursued ever more aggressive actions in an attempt to halt the opium trade.[60]

British colony

Main articles: British Hong Kong and History of Hong Kong (1800s–1930s)

City of Victoria, 1860s

 

In 1839, threats by the Qing imperial court to place sanctions on opium imports caused diplomatic friction with the British Empire. Tensions escalated into the First Opium War. After British victory in the Second Battle of Chuenpi, the Qing initially admitted defeat. As part of a ceasefire agreement between Captain Charles Elliot and Qishan, Viceroy of Liangguang, Hong Kong Island was declared to be ceded under the Convention of Chuenpi. British forces took formal possession of the island on 26 January 1841. However, disputes between high-ranking officials of both countries led to the failure of the treaty's ratification.[62] After more than another year of further hostilities, Hong Kong Island was formally ceded in perpetuity to the United Kingdom under the terms of the Treaty of Nanking on 29 August 1842.[63] The British officially established a Crown colony and founded the City of Victoria in the following year.[64]

 

The population of Hong Kong Island was 7,450 when the Union Jack raised over Possession Point on 26 January 1841. It mostly consisted of Tanka fishermen and Hakka charcoal burners, whose settlements scattered along several coastal hamlets. In the 1850s, a large number of Chinese refugees crossed the open border fleeing from the Taiping Rebellion. Other natural disasters, such as flooding, typhoons, and famine in mainland China would play a role in establishing Hong Kong as a place for safe shelter.[65][66] Further conflicts over the opium trade between the British and Qing quickly escalated into the Second Opium War. Following the Anglo-French victory, the colony was expanded to include Kowloon Peninsula (south of Boundary Street) and Stonecutter's Island, both of which were ceded to the British in perpetuity under the Convention of Beijing in 1860. The colony was expanded further in 1898, when Britain obtained a 99-year lease of additional territory from the Qing under the Convention for the Extension of Hong Kong Territory; Lantau Island, the area north of Boundary Street in Kowloon up to the Sham Chun River, and over 200 other outlying islands were given over to British control.[67][68][69]

Queen's Road Central at the junction of Duddell Street, c. 1900

 

Hong Kong soon became a major entrepôt thanks to its free port status, attracting new immigrants from both China and Europe. However, the population remained racially divided and polarised under early British colonial policies. Despite the rise of a British-educated Chinese upper-class by the late-19th century, racial discrimination laws, such as the Peak Reservation Ordinance, prevented ethnic Chinese from acquiring property in reserved areas, such as Victoria Peak. At this time, the majority of the Chinese population in Hong Kong had no political representation in the British colonial government. The British governors did rely, however, on a small number of Chinese elites, including Sir Kai Ho and Robert Hotung, who served as ambassadors and mediators between the government and local population.

File:1937 Hong Kong VP8.webmPlay media

Hong Kong filmed in 1937

 

The colony continued to experience modest growth during the first half of the 20th century. The University of Hong Kong was established in 1911 as the territory's first higher education institute. While there had been an exodus of 60,000 residents for fear of a German attack on the British colony during the First World War, Hong Kong remained unscathed. Its population increased from 530,000 in 1916 to 725,000 in 1925 and reached 1.6 million by 1941.[70]

 

In 1925, Cecil Clementi became the 17th Governor of Hong Kong. Fluent in Cantonese and without a need for translators, Clementi appointed Shouson Chow to the Executive Council as its first ethnic Chinese member. Under Clementi's tenure, Kai Tak Airport entered operation as RAF Kai Tak and several aviation clubs. At the outbreak of the Second Sino-Japanese War in 1937, when the Empire of Japan invaded China from its protectorate in Manchuria, Governor Geoffry Northcote declared the colony a neutral zone to safeguard Hong Kong's status as a free port.

Japanese military occupation

Main article: Japanese occupation of Hong Kong

Liberation of Hong Kong in 1945. Picture taken at the Cenotaph in Central.

 

On 8 December 1941, the same morning as the attack on Pearl Harbor, the Imperial Japanese Army moved south from Guangzhou and crossed the Sham Chun River to attack Hong Kong as part of a coordinated military offensive against the Allied Powers.[71] The Battle of Hong Kong lasted for 17 days, through which British, Canadian, Indian, and local colonial units defended Hong Kong. By the fifth day, Commonwealth troops, under heavy artillery and aerial bombardment, had been forced to abandon their positions in Kowloon and retreated to Hong Kong Island.[72] With the remaining troops unable to further mount an effective defence, Governor Young surrendered the colony on Christmas Day. This day is remembered by locals as "Black Christmas".[73]

 

During the occupation, the garrisoned Japanese soldiers committed many atrocities against both civilians and prisoners of war, including the St. Stephen's College massacre. Local residents suffered widespread food shortages, strict rationing, and hyperinflation arising from the forced exchange of currency from Hong Kong dollars to Japanese military yen. Widespread starvation and forced deportation of residents for use as slave labour to mainland China drastically reduced the population of Hong Kong from 1.6 million in 1941 to 600,000 in 1945, when control of the colony returned to the British.[74]

Post-war industrialisation

Main articles: British Hong Kong, 1950s in Hong Kong, 1960s in Hong Kong, 1970s in Hong Kong, 1980s in Hong Kong, and 1990s in Hong Kong

Flag of British Hong Kong from 1959 to 1997

 

Hong Kong's population recovered quickly after the war, as a wave of skilled migrants from the Republic of China sought refuge from the Chinese Civil War in a territory neutral to the conflict. When the Communist Party took full control of mainland China in 1949, even more refugees fled across the open border in fear of persecution.[67] Many newcomers, especially those who had been based in the major port cities of Shanghai and Guangzhou, established corporations and small- to medium-sized businesses and shifted their base operations to British Hong Kong.[67] The establishment of the People's Republic of China caused the British colonial government to reconsider Hong Kong's open border to mainland China. In 1951, a boundary zone was demarked as a buffer zone against potential military attacks from communist China. Border posts along the north of Hong Kong began operation in 1953 to regulate the movement of people and goods into and out of the territory.

Hong Kong in 1965

 

In the 1950s, Hong Kong became the first of the Four Asian Tiger economies that was undergoing rapid industrialisation driven by textile exports, manufacturing industries, and re-exports of goods to China. As the population grew, with labour costs remaining low, living standards began to rise steadily.[75] The construction of the Shek Kip Mei Estate in 1953 marked the beginning of the public housing estate programme, which provided shelter for the less privileged and helped cope with the continuing influx of immigrants.

 

Under Governor Murray MacLehose, the government began a series of reforms to improve the quality of infrastructure and public services through the 1970s. Systemic corruption in the uniformed services had crippled trust in the government; MacLehose established the ICAC, an independent security service under the direct authority of the Governor, to restore the integrity of the civil service.[76] Chinese was recognised as an official language during his tenure, accelerating the process of localisation in the government, slowly handing key official posts long held only by British members of the government over to local ethnic Chinese people.[77][78] To alleviate road traffic congestion and provide a more reliable means of crossing the Victoria Harbour, the Mass Transit Railway was constructed and began operations of its first line in 1979. The Island Line, Kwun Tong Line, and Tsuen Wan Line all opened in the early 1980s, connecting Hong Kong Island, Kowloon, and parts of the New Territories to a single transport system.[79] MacLehose was the longest-serving colonial governor and, by the end of his governorship, had become one of the most popular and well-known figures in the territory. MacLehose laid the foundation for Hong Kong to establish itself as a key global city in the 1980s and early 1990s.

A sky view of Hong Kong Island

An aerial view of the northern shore of Hong Kong Island in 1986

 

Since 1983, the value of the Hong Kong dollar has been pegged to that of the United States dollar. The territory's competitiveness in manufacturing gradually declined due to rising labour and property costs, as well as new industrial capacity developed in southern China under the Open Door Policy, which was introduced in 1978. Nevertheless, by the early 1990s, Hong Kong had established itself as a global financial centre, a regional hub for logistics and freight, one of the fastest-growing economies in Asia, and the world's exemplar of laissez-faire market policy.[80]

The Hong Kong issue

 

In 1971, China's permanent seat on the United Nations Security Council was transferred from the Republic of China, which had evacuated to Taiwan at the conclusion of the Chinese Civil War, to the People's Republic of China. Hong Kong was soon after removed from the organization's list of non-self-governing territories, at the request of the PRC. Facing an uncertain future for the colony and the expiration of the New Territories lease beyond 1997, Governor MacLehose raised the question of Hong Kong's status with Deng Xiaoping in 1979.

 

Diplomatic negotiations with China resulted in the Sino-British Joint Declaration in 1984. The United Kingdom agreed to transfer to China the entirety of the colony, including the perpetually ceded areas of Hong Kong Island and Kowloon Peninsula, at the conclusion of the 99-year New Territories lease in 1997, when Hong Kong would become a special administrative region governed separately from the mainland, retaining its free-market economy, common law judicial system, independent representation in international organizations, treaty arrangements, and self-governance in all areas except foreign diplomacy and military defence. The treaty further stipulated that the territory would be guaranteed a high degree of autonomy for at least 50 years after the transfer, with the Basic Law of Hong Kong serving as its constitutional document.[67]

A street at the edge of the Kowloon Walled City at night.

 

Under the terms of the Second Convention of Peking, the colony was expanded out to the New Territories, but the treaty did not include a small military outpost over which the Kowloon Walled City would later be built. After the end of Japanese occupation, thousands of refugees fleeing from the mainland during the Chinese Civil War made their way to the Walled City and became squatters occupying this parcel of land where China was technically still the sovereign power. Over the following decades, the population of this 2.6-hectare (6.4-acre) area dramatically increased, reaching 33,000 by 1987, making the Walled City the most densely populated area in the world at its peak.[81][82] Despite widespread illegal activity and unsanitary living conditions, the British largely took a 'hands-off' approach with regard to the Walled City due to the area's muddled territorial status and to avoid confrontation with the mainland authority.[83] The Sino-British Joint Declaration laid the groundwork for cooperation between the British and Chinese governments concerning any Hong Kong-related issues, including the fate of the former military fort. The Chinese government acquiesced to the demolition of the settlement in 1987.[84] The structure was cleared away in 1994 and the area converted into the Kowloon Walled City Park.[85]

Transfer of sovereignty

Main article: Transfer of sovereignty over Hong Kong

The Hong Kong Convention and Exhibition Centre, where the handover ceremony took place in 1997

 

On 1 July 1997, sovereignty over Hong Kong was officially transferred from the United Kingdom to the People's Republic of China, marking the end of 156 years of British colonial rule. As Britain's last major and most populous remaining colony, the handover effectively represented the end of the British Empire. This event made Hong Kong the first special administrative region of China. Exactly at midnight, all government organisations with royal patronage simultaneously dropped the Royal prefix from their titles and any regalia with references to the Crown were replaced with insignia bearing the Bauhinia.[86] After the handover ceremony, Chris Patten, the last Governor of Hong Kong, together with Prince Charles, departed the city on board the Royal Yacht Britannia.[87]

Special administrative region

Main articles: 2000s in Hong Kong and Hong Kong–Mainland conflict

 

Almost immediately after the transfer of sovereignty, Hong Kong's economy was severely affected by the Asian financial crisis and further depressed by the outbreak of the H5N1 strain of avian flu. Financial Secretary Donald Tsang used the substantial territorial foreign currency reserves to maintain the Hong Kong dollar's currency peg and spent over HK$120 billion on significant holdings of major Hong Kong companies to prevent a general market collapse.[67] While complete disaster was averted, Chief Executive Tung's housing policy of building 85,000 subsidised flats a year triggered a housing market crisis in 1998, depressing property prices and causing some homeowners to become bankrupt.[88] Hong Kong was again gravely affected by the outbreak of severe acute respiratory syndrome (SARS) in 2003.[89][90] In total, 1,755 people were infected, with 299 fatalities.[91] Economic activities slowed and schools were closed for weeks at the height of the epidemic. An estimated HK$380 million (US$48.9 million) in contracts were lost as a result of the epidemic.[92] While Hong Kong was also severely affected by the global recession of the late 2000s, the Tsang government introduced a series of economic stimulus measures prevented a prolonged recession.[93]

 

Infrastructure post-handover has been rapidly developed, with major transport links continuing to be planned and constructed. The Rose Garden Project, which began under British administration, to construct a new international airport was completed in 1998 and operations began at the new site during the same year. The Ngong Ping Cable Car, West Kowloon Cultural District, multiple new railway lines, and additional cross-harbour tunnels were all completed in the first 20 years of territorial self-governance. Direct infrastructure links with mainland China are also being actively developed, with both the Hong Kong–Zhuhai–Macau Bridge and Hong Kong section of the national high-speed railway currently under construction. Construction of the rail link generated a high level of controversy surrounding the demolition of key landmarks and displacement of residents along the planned route.[94]

Hong Kong Island north coast, overlooking Victoria Harbour and Central and East Kowloon from middle section of Lugard Road at daytime

 

Political debates have centred themselves predominately on issues surrounding electoral reform and Hong Kong's jurisdictional independence from the central government. Following the handover, democratic reform of the Legislative Council was immediately terminated and the government attempted to legislate sweeping national security legislation pursuant to Article 23 of the Basic Law. Coupled with years of economic hardships and discontent of Chief Executive Tung's pro-Beijing stance, over 500,000 people demonstrated against the government, which eventually led to Tung's resignation in 2005.[95] Further proposals by the government to introduce a national education curriculum and nominee pre-screening before allowing Chief Executive elections triggered a number of mass protests in 2014, collectively known as the Umbrella Revolution.[96] Violent attacks on journalists, an increasing level of press self-censorship, alleged extraterritorial abduction of anti-China publishers,[97] and covert intervention into Hong Kong's educational, political, and independent institutions have posed challenges to the policy of one country, two systems. In the 2016 legislative election, there were reports of discrepancies in the electorate registry, which contained ghost registrations across constituencies, as well as political intervention to strip pro-independence individuals of their right to stand in elections[98] and alleged death threats to election candidates.[99] Social tension heightened during Leung's term, with many residents believing that China increased their efforts to exert influence on everyday life in Hong Kong. A survey in 2016 showed that only 17.8% of residents considered themselves as "Chinese citizens", whereas 41.9% considered themselves purely as "citizens of Hong Kong".[100]

Government and politics

香港候任特首林鄭月娥13.jpg 政務司司長張建宗15.jpg

Carrie Lam

Chief Executive Matthew Cheung

Chief Secretary

Main articles: Government of Hong Kong, Politics of Hong Kong, and Elections in Hong Kong

 

Hong Kong is a special administrative region of China, maintaining a separate legislature, executive, and judiciary from the rest of the country. It has a parliamentary government modelled after the Westminster system, inheriting this from British colonial administration. The Sino-British Joint Declaration guarantees the territory's capitalist economic system and autonomous system of government for 50 years after the transfer of sovereignty.[note 2] Under this framework, the Basic Law of Hong Kong is the regional constitutional document, establishing the structure and responsibility of the government.[101][102] The head of government is the Chief Executive, who is selected by the Election Committee for a five-year term that is renewable once. The central government provides oversight for the regional government; final interpretative power of the Basic Law rests with the Standing Committee of the National People's Congress and the Chief Executive is formally appointed by the State Council after nomination by the aforementioned Election Committee.[101] Responsibility for foreign and military affairs is also assumed by the central authority.[note 3]

Government House, official residence of the Chief Executive.

A chamber within the Legislative Council Complex.

The grey dome and front gable of a granite neo-classical building, with a skyscraper in the background against a clear blue sky.

Court of Final Appeal Building in Central. Formerly housed the Supreme Court and the Legislative Council before its current function.

 

The Legislative Council is a unicameral legislature with 70 members, consisting of 35 directly elected members apportioned to geographical constituencies, 30 members representing professional or special interest groups formed as functional constituencies, and 5 members nominated by members of the District Councils and elected in territory-wide elections.[14][103] Legislators are elected using multiple different voting systems, determined by whichever constituency a particular seat is representing. All directly elected seats are filled using a proportional representative system, while functional constituencies other than the all-territory District Council constituency choose their councillors using first-past-the-post or instant-runoff voting.[104]

 

Government policy is determined by the Executive Council, a body of advisors appointed by the Chief Executive with the authority to issue delegated legislation and proposes new bills to the legislature for debate and promulgation. Direct administration is managed by the Civil Service, an apolitical bureaucracy that ensures positive implementation of policy.[14][105] Hong Kong is nationally represented in the National People's Congress by 36 delegates chosen through an electoral college.[16][106]

 

22 political parties had representatives elected to the Legislative Council in the 2016 election.[107] These parties have aligned themselves into three ideological groups: the pro-Beijing camp who form the current government, the pro-democracy camp, and localist groups.[108] The Communist Party does not have an official political presence in Hong Kong and its members do not run in local elections.[109]

 

The Monetary Authority is the currency board and de facto central bank of the territory.[110] It is responsible for regulation of the Hong Kong dollar and, along with HSBC, Standard Chartered Hong Kong, and the Bank of China, issues currency in the form of banknotes. Coinage is solely minted by the Monetary Authority.[111]

Legal system and judiciary

Main articles: Law of Hong Kong and Judiciary of Hong Kong

 

The judicial system of Hong Kong is derived from the common law system of English law, and was created at the establishment of the territory as a British colony. Chinese national law does not generally apply in the region, and Hong Kong is treated as an independent jurisdiction.[112] The Court of Final Appeal is the territory's highest court, exercising final adjudication over interpretation of laws and has the power to strike down statutes and legislation inconsistent with the Basic Law.[113][114] It is led by the Chief Justice and consists of three additional permanent judges and one non-permanent seat filled by judges from overseas common law jurisdictions on a rotating basis.[14][115] However, final interpretation of the Basic Law itself is a power vested in the Standing Committee of the National People's Congress. Judges on all courts are appointed by the Chief Executive on the recommendation of an independent commission.[14][116] As a common law system, judicial courts in Hong Kong may refer to precedents set in English law and Commonwealth jurisdictions.[14][115][14]

 

The Department of Justice is responsible for handling legal matters for the government. Its responsibilities include providing legal advice, criminal prosecution, civil representation, legal and policy drafting and reform and international legal co-operation between different jurisdictions.[112] Apart from prosecuting criminal cases, lawyers of the Department of Justice act on behalf of the government in all civil and administrative lawsuits against the government.[112] The department may call for judicial review of government action or legislation and may intervene in any cases involving the greater public interest.[117] The Basic Law protects the Department of Justice from any interference by the government when exercising its control over criminal prosecution.[14][118] Law enforcement is a responsibility of the Security Bureau and the Hong Kong Police, with agencies like the Customs and Excise Department and Immigration Department handling more specialised tasks.

  

Another example of the horrid 1000asa film manufactured by Kodak.

I've included it because it portrays the buffet at Victoria station that served the most delicious sausage rolls. Note also the Nestles chocolate machines on the wall.

This was a flying visit to Manchester during our All Region Railrover, and 25 189 was acting as station pilot/banker.

Duran Duran had "The Reflex" proudly perched at No.1 on this particular day.

 

This 'Rat' was withdrawn in July 1985 and cut-up in May 1986. RIP.

Here is an example on an HDR Pano that I have done, a few people have inquired. For the most part it's straight forward an used default settings. I don't have the time to get too carried away on the computer processing the photo's. My standard mode of operation is to always use a tripod and always autobracket each shot. My Fuji S9000 limits autobracketing to 1 stop, the recommended for HDR is 2 stops, but it works pretty well regardless. If the scene I'm shooting can be added to by stitching then I'll also take overlapping shots to include all items of interest. In this cases the colorful clouds.

I then batch process the HDR photo's in the default settings depending on the Photomatix version "Contrast or details enhancer" and "Smooth or Tone Compressor". When that's completed I pick out the ones I overlapped and use Panoramic Factory or Autostitch to "stitch" them together. Again I usually don't spend to much time so If it doesn't work in the auto setting I don't usually worry about it.

I should use the same "Manual" camera settings to make sure the exposures are the same but I don't. I think the HDR process helps even things out.

Panorama Factory - I use it mainly for sunsets/clouds as seems to blend the exposures of the photos better. And there isn't the details to worry about. It also seems to saturate the colors just a bit. www.panoramafactory.com/index.html

AutoStitch - It's main advantage is that is more accurate on the stitching process and placement of objects. Although it doesn't blend the exposures as well. FREE program www.cs.ubc.ca/~mbrown/autostitch/autostitch.html

There is some info out there about how to correctly complete panoramic photo's, but I'm not there yet. I need a panoramic tripod head for one, to eliminate lens parallax, it has to do with moving the camera around a specific point.

Photomatix - www.hdrsoft.com/ You can find guides around that get pretty technical but I found that the default settings work pretty well. If I like the photo but feel it could be better I will sometimes play around with the settings and It isn't that difficult. For the most part I should be more aware of the photo's I'm taking, In the above example I should have taken some more overexposed photo's to bring out the grass better, but the software is forgiving. To do it correctly you should take photo's to cover the complete range of exposure levels present.

The biggest problem I have is sometimes the software has trouble lining things up and light/exposure levels don't blend well enough not to be visible.

Hope it helps whoever want's to try this. I found this combination seems to work for me.

Showing the pixels that are actually being drawn in the skipped-pixels example.

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. The NYT (18 Aug. 2020) & Scuderie del Quirinale / You-Tube (13 Apr. 2020). S.v., "Raffaello architetto", in: The NYT (06 March 2020); Università di Padova (20/07/2020); Archivio di Stato di Mantova (2020); Jhon Correa / Facebook (1 July 2020) & Prof. Cammy Brothers (2001). wp.me/pbMWvy-uQ

 

1). ROME - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (5 March - June 2020).

 

A monographic exhibition with over two hundred masterpieces among paintings, drawings and comparative works, dedicated to Raffaello on the 500th anniversary of his death, which took place in Rome on April 6, 1520 at the age of just 37 years old.

 

The exhibition, which finds inspiration particularly in the Raffaello's fundamental Roman period which consecrated him as an artist of incomparable and legendary greatness, tells his whole complex and articulated creative path with richness of detail through a vast corpus of works, for the first time exposed all together.

 

Many institutions involved have contributed to enrich the exhibition with masterpieces from their collections: among these, in Italy, the National Galleries of Ancient Art, the National Art Gallery of Bologna, the Museum and the Real Bosco di Capodimonte, the National Archaeological Museum of Naples, the Brescia Museums Foundation, and abroad, in addition to the Vatican Museums, the Louvre, the National Gallery of London, the Prado Museum, the National Gallery of Art in Washington, the Albertina in Vienna, the British Museum, the Royal Collection, the Ashmolean Museum in Oxford, the Musée des Beaux-Arts in Lille.

 

Fonte / source:

--- Scuderie del Quirinale (5 March - June 2020).

www.scuderiequirinale.it/mostra/copia-di-raffaello

 

2.1). ROMA - «Raffaello 1520-1483», in: Intervento delle Scuderie del Quirinale per la maratona del MiBACT "Italia chiamò" / Scuderie del Quirinale / You-Tube (Mar 13, 2020).

www.youtube.com/watch?v=e8l6q9ywLxY&t=112s

 

2.2). ROME - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. / English / Scuderie del Quirinale / You-Tube (Apr. 13, 2020). www.youtube.com/watch?v=s58gYvvNrKQ&t=61s

 

3). ROMA - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (05/03 - 02/06/2020).

 

Il 6 aprile 1520 muore a Roma, a trentasette anni, Raffaello Sanzio, il più grande pittore del Rinascimento. La città sembra fermarsi nella commozione e nel rimpianto, mentre la notizia della scomparsa si diffonde con incredibile rapidità in tutte le corti europee. S’interrompeva non solo un percorso artistico senza precedenti, ma anche l’ambizioso progetto di ricostruzione grafica della Roma antica, commissionato dal pontefice, che avrebbe riscattato dopo secoli di oblio e rovina la grandezza e la nobiltà della capitale dei Cesari, affermando inoltre una nuova idea di tutela. Sepolto secondo le sue ultime volontà nel Pantheon, simbolo della continuità fra diverse tradizioni di culto, forse l’esempio più emblematico dell’architettura classica, Raffaello diviene immediatamente oggetto di un processo di divinizzazione, mai veramente interrotto, che ci consegna oggi la perfezione e l’armonia della sua arte.

A distanza di cinquecento anni, questa mostra racconta la sua storia e insieme quella di tutta la cultura figurativa occidentale che l’ha considerato un modello imprescindibile. La mostra, articolata secondo un’idea originale, propone un percorso che ripercorre a ritroso l’avventura creativa di Raffaello, da Roma a Firenze, da Firenze all’Umbria, fino alla nativa Urbino. Un incalzante flash-back che consente di ripensare il percorso biografico partendo dalla sua massima espansione creativa negli anni di Leone X. Risalendo il corso della vita di Raffaello di capolavoro in capolavoro, il visitatore potrà rintracciare in filigrana la prefigurazione di quel linguaggio classico che solo a Roma, assimilata nel profondo la lezione dell’antico, si sviluppò con una pienezza che non ha precedenti nella storia dell’arte. Grazie ad un numero eccezionale di capolavori provenienti dalle maggiori raccolte italiane ed europee, la mostra organizzata dalle Scuderie del Quirinale insieme con le Gallerie degli Uffizi, costituisce un’occasione ineguagliabile per osservare da vicino le invenzioni dell’Urbinate. Il suo breve, luminoso percorso ha cambiato per sempre la storia delle arti e del gusto: Raffaello rivive nelle sale dell’esposizione che lo celebra come genio universale.

 

Fonte / source:

--- Scuderie del Quirinale (05/03 - 02/06/2020).

www.scuderiequirinale.it/mostra/raffaello-000

 

3). ROME «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. The NYT (18 Aug. 2020).

 

ROME - In the Virtual (and Actual) Footsteps of Raphael - In Italy and beyond, the plan was to celebrate the 500th anniversary of the Renaissance artist’s death with great fanfare. Then came the pandemic, and the virtual world stepped in. The NYT (18 Aug. 2020).

 

______

Also see:

 

--- ROME - Rome Celebrates the Short, but Beautiful, Life of Raphael - Amid new coronavirus restrictions on museums in Italy, a blockbuster show traces the artistʼs life from finish to start. The NYT (06 March 2020).

www.nytimes.com/2020/03/06/arts/raphael-rome-coronavirus....

______

 

This was supposed to be the year of Raphael. Five hundred years after his death at 37, the Renaissance master was due to receive the exalted rollout reserved for artistic superstars: blockbuster museum shows in Rome and London; conferences and lectures at universities and cultural centers around the world; flag-waving and wreath-laying in his Italian hometown, Urbino. There was even the tang of controversy when the advisory committee of Florence’s Uffizi Gallery resigned en masse to protest the inclusion of a precious papal portrait in the big exhibition at Rome’s Scuderie del Quirinale. Then the coronavirus hit and Raphael’s annus mirabilis turned into the world’s annus horribilis.

 

When news of the handsome young artist’s death broke in Rome on April 6, 1520, Pope Leo X wept and church bells tolled all over the city.

Half a millennium later, Rome was in lockdown along with the rest of Italy as deaths from the virus spiraled. The Scuderie show, a once-in-a-lifetime gathering of more than 200 works (120 by Raphael) from all over the world, was forced to shut its doors after just three days, despite having presold a record 70,000 tickets. Raphael’s tomb in the Pantheon was supposed to be adorned with a red rose every day of 2020 to commemorate his death — but the ancient temple was also shuttered because of the virus. Lectures and conferences were canceled, postponed or moved online.

 

Poor Raphael. Last year, the 500th anniversary of Leonardo da Vinci’s death came off without a hitch. Raphael’s devotees hoped that this

year’s celebrations would restore the artist’s luster, which has dimmed over the past centuries. When the world fell ill this past winter,

Raphael was one of the casualties. But all is not lost. The Scuderie show reopened on June 2 and will remain up until the end of August. The Scuderie’s president, Mario de Simoni, had expected as many as 500,000 people to see the show pre-virus, but now says the number probably won’t exceed 160,000. For those unable to attend in person, the Scuderie has released an English-language version of its excellent video, recapping the highlights of the exhibition, room by room. You’ll want to hit the pause button in Room 2 to admire two masterpieces on loan from the Louvre: a selfportrait with a friend and the portrait of Baldassare Castiglione, one of the glories of Renaissance portraiture. The close-ups of his paintings of women in Room 6 testify to the artist’s passionate appreciation of feminine beauty. Other Scuderie videos (in Italian) delve into particular aspects of his genius — for instance, the jewelry worn by his female subjects, or the literary world he moved in.

Tour guides such as Clam Tours and Joy of Rome now offer virtual journeys in which small groups can zoom around Italy in the footsteps of the artist. On Sept. 13, for example, you can join the Renaissance specialist Antonio Forcellino and other Italian art experts on Clam Tour’s virtual exploration of Raphael’s incomparable frescoes of the four sibyls at Rome’s Santa Maria della Pace church ($25). Check out Joy of Rome’s free two-minute video about Raphael’s frescoes at the Villa Farnesina to see if you’d like to sign up for a two-and-a-half hour virtual tour (prices on request).

 

Even on a laptop screen, Raphael’s ever-evolving craftsmanship and quicksilver brilliance are apparent. “The year of Raphael has not

been ruined, but simply modified,” said Marzia Faietti, a curator of the Scuderie show. “Since many conferences and lectures have been

put off until next year, in a sense there will be two years of Raphael.”

 

For Italians, a silver lining of the pandemic has been the opportunity to relish their cultural treasures without the tourist hordes. “I cried,”

said Francesca Pagliaro, founder of the Joy of Rome tour company, of the experience of standing alone in the Vatican’s recently reopened

Sala di Costantino — one of four rooms in the museum frescoed by Raphael and his students, and which you can view here. “It’s the first

time in five years that I’ve seen the Stanze without scaffolding — and I had it to myself,” Ms. Pagliaro said. “It was magical.” Americans, barred from European travel for the foreseeable future, will have to make do with all this virtual magic. Not ideal — but Raphael’s magic is powerful, subtle and enduring enough to withstand the challenge.

 

The spirit of Urbino

I can attest to this because back in November 2019, I had the opportunity to follow in Raphael’s actual, not virtual, footsteps in Italy. I stood

shivering in the room where he was born in Urbino in 1483. I knelt at the austere tomb in a niche inside the Pantheon where he was

interred 37 years later. I feasted my eyes not only on paintings and frescoes, but on the humble church and glorious Roman chapel that

attest to his emerging genius for architecture. My pilgrimage would be impossible today — but thanks to the wonders of the internet and

the resourcefulness of Italy’s leading cultural institutions, I can remotely retrace my steps, refresh my memories and relive the

revelations.

 

The first revelation came, aptly, in Urbino’s Palazzo Ducale, the magnificent Renaissance palace constructed in the late 15th century by the

humanist and warlord Federico da Montefeltro that now houses the Galleria Nazionale delle Marche. Judge the magnificence for yourself

by clicking through Google Images’ impressive photo archive. Another click puts you face to face with the museum’s sole work by Raphael

— the haunting portrait known as “La Muta” (“The Mute Woman”). As in so many of his portraits, Raphael posed this stern beauty against a solid dark background, eschewing any visual cues that would evoke a sense of place.

 

How, I wondered, did Urbino influence the art of its most famous son?

 

I posed this question to Peter Aufreiter, then director of the Galleria Nazionale delle Marche, when I sat down with him in his office in the

Palazzo Ducale. Mr. Aufreiter’s response was to click on an image of Raphael’s 1507 portrait of Federico’s son, Duke Guidobaldo da

Montefeltro (now in the Uffizi), and then summon me to the window. “Look at the hillside across the valley and that house at the base of

the hill — it’s the same background Raphael put in his painting of Guidobaldo.” You can see exactly what Mr. Aufreiter meant by using the

magnify feature on this online image. Urbino’s steep green landscape, limpid light and crystalline architecture — you can also get a good sense of it here — imprinted themselves on the artist’s young mind and surface repeatedly in his work.

 

Even though Raphael spent most of his career in Florence and Rome, Mr. Aufreiter insists that Urbino, whose cityscape has changed little

since the Renaissance, is where you can feel his spirit most intensely.

 

The spirit is palpable in the artisans’ quarter surrounding the house where Raphael was born, the son of the local court painter Giovanni

Santi. Near the summit of the ski-slope-pitched Via Raffaello, just a stone’s throw from the rather pompous bronze monument of the artist

erected in 1897, the Casa Natale di Raffaello has been preserved as a museum. There’s a rather rudimentary virtual tour on its website, but

you’ll get a better feel for the interior and exterior spaces in this YouTube video. In these bare simple rooms and the deep brick courtyard

they enclose, little imagination is required to dial the scene back to Raphael’s apprenticeship in the last years of the 15th century. Giovanni

Santi’s bottega (workshop) occupied the ground floor, and the future master grew up amid the bustle of painters grinding pigments,

dabbing madonnas and trading in art supplies.

 

Father and son conducted a more exalted commerce at Urbino’s Palazzo Ducale. Fabricated of brick, stone and flawless geometry, this

palace was one of the glories of the Italian Renaissance — not only for its divine architecture, but for the refined elegance of the nobles

who gathered here. This video captures some facets of the palace’s perfection — the way its silhouette pierces the profile of surrounding

hills, the ideal proportions of its noble courtyard, the interplay of volume and decoration in its interior.

 

Baldassare Castiglione set his 1528 masterpiece, “The Book of the Courtier,” in this storied palace — and it was here that the young

Raphael polished his manners, sharpened his wit, cultivated invaluable connections and acquired a lifelong passion for classical antiquity.

Raised at court, Raphael was pursued by the powerful (Popes Julius II and Leo X), esteemed by the brilliant (Castiglione and the Urbinoborn

architect Donato Bramante were close friends) and adored by the beautiful. “Raphael was a very amorous person,” wrote Giorgio Vasari, his first biographer. It was Vasari who originated the claim that Raphael died after an overindulgence in sex with his Roman mistress, Margherita Luti. Whatever really killed him on April 6, 1520, Raphael accomplished much and rose high in his brief life — but he never ceased to be “il maestro Urbinate,” the master from Urbino.

 

A couch-surfing brush-for-hire.

Orphaned when his father died in 1494 (his mother had died three years earlier), Raphael spent his teenage years as an apprentice before

undertaking commissions in Umbria and Tuscany. It’s likely that he was in Florence by 1504 — not as a permanent resident but rather a

couch-surfing brush-for-hire.

 

Though Raphael’s footsteps in Florence are faint, there is no question that he encountered the works of both Leonardo da Vinci and

Michelangelo here — including, very likely, the Mona Lisa, which you can view here, and the marble statue of David, which you can see

and read about on the Accademia’s detailed website. Critics and connoisseurs have been measuring this Renaissance trio against each other for 500 years now. Florence’s Uffizi Gallery is the ideal place to revisit this rivalry, both in person and virtually. After a recent renovation, paintings by the big three have been put on display in two beautifully lit adjoining rooms, and you can find them on the Uffizi website.

 

To my eyes, neither Michelangelo nor Leonardo ever matched the sheer painterly virtuosity of the fringed white collar that Raphael stitched around the neck of the cloth merchant Agnolo Doni, or the faint dent he incised between the young businessman’s anxious brows (use the magnify function to zoom in on this image). Agnolo’s 15-year-old bride, Maddalena Strozzi, hangs beside him, posed like the Mona Lisa with bejeweled hands clasped on her lap, but clad in a kaleidoscope of watered red silk, embroidered blue damask and shimmering gauze. Across the Arno are the glories of the Pitti Palace’s Galleria Palatina — the largest collection of Raphael’s works outside the Vatican. Unlike the Uffizi, the Pitti Palace retains the ambience and layout of an aristocratic residence: Paintings are stacked three deep in gilded high-ceilinged chambers; works are arranged idiosyncratically rather than chronologically; and the lighting can be maddeningly inadequate. Luckily for remote visitors, the lighting is much better on the palace’s website, as well as in the Italian and Spanish language videos about the museum’s treasures, posted here.

 

To the Eternal City

Raphael was summoned to Rome in 1508 by Pope Julius II, and he remained there until his death in 1520. Those 12 final years in the

Eternal City marked the apogee of his career. Painter, architect, entrepreneur, archaeologist, pioneer printmaker, Raphael became the

prototype of the artist as celebrity — the Andy Warhol of the Renaissance.

 

In pre-pandemic Rome, visitors had to endure the lines and tour groups that plagued the Vatican Museums in order to spend a few crowded moments with one of Raphael’s supreme accomplishments: the four papal chambers, known as the Stanze di Raffaello, that the artist and his workshop frescoed between 1508 and 1520. These days, in-person visitors to the reopened Vatican Museums enjoy the Stanze along with the nearby Sistine Chapel in ideal conditions. But remote visits can also be rewarding, thanks to the beautifully produced videos and virtual tours now available on the Vatican’s website. With the click of a mouse, you can hop back and forth between the virtual Sistine Chapel ceiling and the Raphael Stanze and decide for yourself which is the greater masterpiece.

 

“Everything he had in art, he had from me,” the curmudgeonly Michelangelo once grumbled of his younger rival. When you view their

roughly contemporaneous fresco cycles one after the other (or side by side on your computer), it’s clear that Raphael did much more than

borrow. “The School of Athens,” the most celebrated work in the Stanze, has the propulsive tension of a film paused at its climactic scene.

Cast members — a mix of classical philosophers and Renaissance savants — converse, argue, scribble, read and declaim on a sprawling,

but unified, “set” framed by classical architecture. By contrast, Michelangelo’s Sistine ceiling, for all its bravura, reads like a series of

static cels.

 

After the Vatican’s Raphael Stanze, a logical next stop, whether actually or virtually, is the Villa Farnesina, with its two beguiling frescoed

loggias — “The Triumph of Galatea” in one of the loggias and “Cupid and Psyche” in the other. Despite the name, this riverside Trastevere landmark is neither a villa nor originally a Farnese property, but rather a suburban pleasure pavilion that Agostino Chigi built for himself in the early 16th century. Chigi brought in the finest artists of the day to fresco the loggias; the result is a delightful crazy quilt of mythological scenes and astrological symbols. Raphael’s “Galatea,” with her wind-whipped tresses, elegantly torqued bare torso and dolphin-powered, scallop-shell raft, has become an icon of High Renaissance grace and wit, and you can see it and other highlights in the villa’s video archive. Even if you don’t speak Italian, the short films are worth delving into for the imagery alone.

 

From painting to architecture

In the last phase of his career, Raphael increasingly turned from painting to architecture. Sadly, his major architectural achievements — the grand unfinished Villa Madama perched on a wooded hill two miles north of the Vatican, and the classically inspired Raphael loggias inside the Vatican’s Apostolic Palace — were inaccessible to the public even before the pandemic, and remain so. To get a sense of Raphael’s architectural genius, make (or click) your way to the church of Santa Maria del Popolo in the piazza of the same name at the northwest edge of the historic center. Like so many transplants, Raphael fell under the spell of the Eternal City’s classical substructure: Rome itself, its layers, its ruins and relics, its ceaseless commerce with the past, became a source of inspiration. The chapel he designed for Chigi inside the Popolo church evinces just how deeply and fruitfully Raphael internalized this inspiration. At first glance, it’s just another church chapel — tight, high, adorned with art and inlaid with precious stone. But on this site you can glimpse the almost miraculous geometry of this space — the interplay of disc and dome, the rhythm set up between the vertical pleats of the Corinthian pilasters and the elongated triangles of the twin red marble pyramids that mark the Chigis' graves. Fittingly, the artist who devoted the final years of his career to measuring, cataloging, preserving and mapping Roman antiquities, was laid to rest in the greatest classical structure to survive the ages: the Pantheon. If a trip to the physical Pantheon is not in the cards, you can drop in with Tom Hanks as your guide in this clip from the film “Angels and Demons.” As for his tomb — an easy-to-miss niche with a statue of the Virgin, modest and vague, presiding over the glassed-in coffin — you can view it here.

 

Marzia Faietti, curator of Rome’s Scuderie show, has been struck by how the virus has enhanced Raphael’s reputation and heightened

awareness of the twin beauties of his art and character. “Young people in particular have reacted with an outpouring of enthusiasm and

benevolence which I really didn’t expect,” she said. “The pandemic has brought suffering to so many, but the year of Raphael will be

remembered more vividly, not despite the virus, but because of it.”

 

Fonte / source:

--- The NYT (18 Aug. 2020).

www.nytimes.com/2020/08/18/travel/in-the-virtual-and-actu...

 

Foto / fonte / source:

--- ROMA - «Raffaello 1520-1483», et al., Scuderie del Quirinale / You-Tube (05/03 - 02/06/2020) (08/2020).

www.youtube.com/user/ScuderieQuirinale/videos

 

4.). ROMA - «Raffaello 1520-1483»., in: "Raffaello architetto e la Lettera a Papa Leone X." Università di Padova (20/07/2020).

 

Artista dal talento straordinario, affermato, corteggiato, desiderato. Questo, ma non solo questo, fu Raffaello Sanzio (1483-1520): l'esperienza come architetto, lo studio e l'impegno per la tutela degli edifici antichi di Roma sono di importanza centrale nel suo percorso, a partire dalla realizzazione di opere come la Cappella Chigi e Villa Madama, fino alla stesura, insieme a Baldassarre Castiglione, della Lettera a Papa Leone X. La grande mostra Raffaello 1520-1483, allestita alle Scuderie del Quirinale di Roma, prorogata fino al 30 agosto, dedica ampio spazio alla sua appassionata attività nel campo dell'architettura.

 

"Sin dai primi anni di formazione, l'interesse di Raffaello per l'architettura, in particolare per quella del mondo antico, è fortemente presente - racconta il professor Zaggia al Bo Live - Fino a sfociare in un'opera fondamentale come Lo sposalizio della vergine, in cui compare un tempio a pianta centrale sullo sfondo che interpreta in modo molto chiaro le sperimentazioni del suo tempo in ambito architettonico. A questa sperimentazione dell'architettura sul piano della rappresentazione, segue poi, con il trasferimento di Raffaello a Roma tra il 1508 e il 1509 e l'incontro con Bramante, un interesse concreto rivolto alla costruzione e alla progettazione vera e propria. Da questo punto di vista, il rapporto che si instaura tra Raffaello e Bramante per lo studio dell'architettura antica, conservata all'interno della città, diventa fondamentale punto di partenza per un approfondimento che aprirà strade nuove all'architettura successiva. Con la morte di figure di riferimento, come Bramante appunto, Raffaello diventa la personalità più importante che opera nel campo dell'architettura all'interno dei grandi cantieri pontifici. Si apre così una stagione breve in cui le opere realizzate da Raffaello saranno numerose e importanti: alcune realmente costruite, altre solo progettate".

 

In questo contesto si inserisce la Lettera a Papa Leone X, scritta nel 1519 da Raffaello e Baldassarre Castiglione, il raffinato autore del Cortegiano (ai due, uniti da amicizia e stima reciproca, è dedicata una mostra al Palazzo Ducale di Urbino, dal titolo Baldassarre Castiglione e Raffaello.Volti e momenti della civiltà di corte), sul tema della tutela e dello studio degli edifici antichi. La premessa al documento è rintracciabile nei fatti avvenuti qualche anno prima: nell'estate del 1515, infatti, Leone X nomina Raffaello præfectus marmorum et lapidum omnium (dal 1514 l'Urbinate già dirigeva la fabbrica di San Pietro). La lettera dedicatoria, la cui prima edizione venne inserita all'interno delle opere di Baldassare Castiglione pubblicate a Padova nel 1733, si apre così: "Sono molti, padre santissimo, i quali misurando col loro piccolo giudizio le cose grandissime che delli romani circa l’arme, e della città di Roma circa al mirabile artificio, ai ricchi ornamenti e alla grandezza degli edifici si scrivono, quelle più presto stimano favolose che vere. Ma altrimenti a me suole avvenire; perché considerando dalle ruine, che ancor si veggono di Roma, la divinità di quegli animi antichi, non istimo fuor di ragione il credere che molte cose a noi paiono impossibili, che ad essi erano facilissime".

 

Nella prima parte Raffaello esalta la grandezza del passato, dichiara le proprie competenze in ambito architettonico e invita il pontefice a intervenire per garantire la tutela dei monumenti antichi, da salvare dal degrado. Nella seconda invece si concentra su questione più tecniche, introducendo anche la descrizione di uno strumento per la misurazione degli edifici antichi di sua invenzione: "Farassi adunque un instromento tondo e piano, come un astrolabio, il diametro del quale sarà due palmi o più o meno, come piace a chi vuole adoperarlo, e la circonferenza di questo istromento si partirà in otto parti giusti, e a ciascuna di quelle parti si porrà il nome d’uno degli otto venti, dividendola in trentadue altre parti picciole, che si chiameranno gradi [...] Con questo adunque misureremo ogni sorte di edificio, di che forma sia, o tondo o quadro o con istrani angoli e svoglimenti quanto dir si possa".

 

"L'importanza della lettera risiede nei principi enunciati all'inizio del testo, in cui Raffaello e Baldassarre Castiglione sostengono la necessità e l'urgenza di tutelare i monumenti antichi, per trasmetterle alle generazioni future - conclude Zaggia -. Non a caso la lettera, pubblicata alla fine del Settecento, una volta riconosciuto l'autore in Raffaello, diventa il punto di partenza per la legislazione adottata successivamente dagli Stati europei per la protezione del patrimonio artistico e culturale. Erede ultimo di questa tradizione è l'articolo 9 della nostra Costituzione".

 

Fonte/ source:

--- Università di Padova (20/07/2020).

ilbolive.unipd.it/it/news/raffaello-architetto-lettera-pa...

 

4.1). ROMA / Archivio di Stato di Mantova (2020): «Raffaello 1520-1483»., "Raffaello architetto e la Lettera a Papa Leone X." S.v., Lettera a papa Leone X di Raffaello e Baldassarre Castiglione; in: Archivio di Stato di Mantova (2020).

 

Nella galleria fotografica potrete scorrere la lettera di Raffaello e Baladassare Castiglione a papa Leone X. Raffaello e Baldassarre Castiglione, Lettera a papa Leone X, s.d. [1519]. Manoscritto cartaceo costituito da 6 carte di formato 220 x 290 mm circa, ripiegate a formare fascicoletto non rilegato di 24 facciate, di cui 21 scritte, 3 bianche. ASMn, Archivio Castiglioni (acquisto 2016), busta 2, n. 12.

 

Fonte / source:

--- Lettera a papa Leone X di Raffaello e Baldassarre Castiglione, in: Archivio di Stato di Mantova (2020).

www.archiviodistatomantova.beniculturali.it/index.php?it/...

 

4.2). ROMA - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (05/03 - 02/06/2020), in: Jhon Correa / Facebook (1 July 2020). www.facebook.com/jhon.correa.7549

 

4.3). ROMA - «Raffaello 1520-1483». Lettera a papa Leone X di Raffaello e Baldassarre Castiglione. S.v.,

Prof. Cammy Brothers, “Architecture, History, Archaeology: Drawing Ancient Rome in the Letter to Leo X & in Sixteenth-Century Practice,” in Coming About…A Festschrift for John Shearman, ed. Lars R. Jones and Louisa C. Matthew. Cambridge: Harvard University Art Museums (2001): 135–40 [in PDF].

 

Fonte / source:

--- Prof. Cammy Brothers / academia.edu. (2020).

neu.academia.edu/CammyBrothers

 

In a fine example of "You can't keep a good company down", here is Hearne's temporary new shop on the quayside in Waterford, in business exactly 3 weeks after a devastating fire on Friday, 2 April.

 

The Great Fire Salvage Sale was for 4 days only, and began on the day this photo was taken.

 

The boat behind Hearne's shop has been identified by ofarrl as the Portlairge, a steam dredger known around Waterford as the Mudboat:

"Built in 1907 by the Dublin Dockyard Co. she was the last working steamship in Ireland when she was retired in 1980."

Meanwhile Niall McAuley found the Portlairge at its new home in Saltmills, Co. Wexford.

 

Date: Friday, 23 April 1915

 

NLI Ref.: P_WP_2607

See the full story at www.brothers-brick.com

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

An example of meals available within our catered halls at the University of Exeter

Examples of Chinese ornament selected from objects in the South Kensington Museum and other collections (1867)

Please ignore the crappy photo and the baseplate, just built fast to show Mя. Soop an idea, fig for size comparison.

Yellowstone Lake State Parksouthwest Wisconsin fall 2015

Example of a new type of light bronze gun introduced in 1775. It was light enough to be carried on men's shoulders or packed on horses or mules. This one was made in 1776 and brought to America. It was captured when British General Cornwallis surrendered his army at the Siege of Yorktown, Virginia, in 1781.

 

After capture, the Americans engraved on the piece: Surrendered by the Capitulation of Yorktown Oct 18, 1781.

 

After visiting the Cherokee National Museum, I drove southwest, to go to Fort Sill. This is a United States Army post north of Lawton, Oklahoma. It is home to the Artillery Museum and the Air Defense Artillery Museum. I visited this place on June 8, 2019.

 

Example

"Tvrđa (Citadel) is the Old Town of the city of Osijek in Croatia. It is the best-preserved and largest ensemble of Baroque buildings in Croatia and consists of a Habsburg star fort built on the right bank of the River Drava. Tvrđa has been described by the World Monuments Fund as "a unique example of an eighteenth-century baroque military, administrative, and commercial urban center."

 

According to the 2001 census, within the Tvrđa city district, there are 10,277 inhabitants living in 3,310 households.The fort interior is now a centre of Osijek's nightlife with numerous bars and restaurants.

An example of meals available within our catered halls at the University of Exeter

An example of meals available within our catered halls at the University of Exeter

An example of meals available within our catered halls at the University of Exeter

An example of meals available within our catered halls at the University of Exeter

 

Many people in the society are looking for helping hands. Let’s be a hope to them. Amma Nanna Charitable Trust is one among them.

We are joining more orphan children who have no parent’s age group between 3 to 12 years and also joining Widows, Deceived and Separated Women at free of charges only. Our children have been staying with us up to their life settlement that means they will stand with their own bases.

you feel you are also responsible to the society, please, if you come across such people in and around your surroundings, give a hope to them by providing our address and we take care of them with pleasure.

“Please don’t Drink Alcohol and other intoxicates Live a happily and make Peaceful Society”

Everyone should read and write his/her regional language. We don’t try to take any Loans it leads to bitter life. We can live a happily in Kutcha house without loans, and then granite floored building with Loans. Loans make damage peaceful life and leads us misbehavior and corrupt minding nature.

Address of our Free of cost orphanage home Aditya Nagar, Desapathrunipalem, Parawada, Near Steel Plant Quarters Sector-X, Visakhapatnam, Andhra Pradesh, India, and Asia. Cell no. 08886563252

For Orphan children we are providing good education, nutritious food, sports and games, cultural activities, meditation and yoga. We are very particular in teaching them good behavior, how to be responsible to the situations, moral and spiritual values and civic senses which in deed helps in providing a healthy citizen to the society in our Orphanage children home.

For deceived women or widows, we are providing nutritious food, shelter, healthy and spiritual environment, yoga and meditation. We even accept them as the Volunteers with a service motto as we all know “SERVICE TO LIFE IS SERVICE TO GOD”

Do you know depending upon parents and teachers’ behaviors children learn good or bad activities? For example we choose one regional language in particular state, different areas living people speak different stylish the same regional language because it’s their environment effect. So when parents/teachers create good environments to their children doing good things like social, civic, moral, spiritual, cultural, social response, kind, humanity etc… Then children growing such way if not they will grimy.

Now a day’s one in all are thinking about earn billions of billions of rupees whatever job they are doing and give it to their children on heredity properties. Suppose they will give children billions of billions rupees and there will be no moral values, civic senesce, social responsibilities, humanity, social behavior, kindness, social moving with others and also no pure air, water, earth and sky. Can they enjoy in that society? and live happily such wrinkle and blight society, we will give them not only money on heredity but also we learn or grow them good behaviors like cultural, spiritual, social, moral, civics, kind, help, social responsibility etc.. . Money is requiring for live but life is not money. Money may not make life happy but service must be making live happily that should be known one in all.

 

Our properties just like water level in the well if we use water purposefully the decreased water level in the well filled later. If we don’t use water the level of water remains the same suppose we add more water into the well it looks raise in the water level in movement but after sometime it comes to the original level. If we use water unnecessarily and dry it then we have no water when we want to drink even though our well water will be raised later. So we take a little amount of water and use it towards real needy people. We eat for living and not live for eating man/woman should working until last his/her breathe.

Friends we may not giving as light as the sun but we are giving as light as lamp and try to drive way darkness in the society as able as we can then darkness drive way from the society then we will live peacefully and happily in such society . I hope we make such world! We assure you of our ethical zeal of service to the tender generation born to serve our nation as differently able citizens because “Ability knows no Handicap”.

NEED YOUR SUPPORT

• could you please shake your hands in the humanitarian task and noble cause of raising funds in Aid of the real orphans needy?

• Your support empowers the society with the resources to share responsibility in one of the some common activity with this society as mentioned below:

 

• Orphan Children Home (50 Boys / Girls)

• Residential Primary School (child Labor /street children)

• Orphan Care Home for HIV infected children

• Mobile Medical Units (3 centers)

• Income Generating Programme (Widows)

Name of the Organization: Amma Nanna Charitable Trust (ACT)

Name of Bank: State Bank of India

SB Account No: 30030634007

IFS code: SBIN0002716

Micro Code: 530002009

Branch: Visakhapatnam

Note: Please visit before give your donations to Orphanages/Voluntary Organizations/Charitable Trust

Please don’t donate anything to Orphanages/Volunteer organizations without your personal visit

Joining in our Orphanage at Free of Cost

We are joining more orphan children who have no parent’s age group between 3 to 12 years and also joining Widows and Separated/Deceived Women who have good character and willing to serve to orphan children as volunteer with their children at free of charges only. Our children have been staying with us up to their life settlement that means they will stand with their own bases.

 

Please don’t donate anything to orphanages/NGO/Charitable Trusts/Children homes/old age home/volunteer organizations without your personal visit. Most of organizations are making business in the name of charity. So be careful for donate to any

We are not accepting any thing to our orphanage without personal visit before he/she wants donate.

Amma Nanna Charitable Trust (ACT) was started in providing services for noble cause that includes orphanage for children who have no parent’s and also Widows/Separated /Deceived Women at free of cost only. It is a NGO providing non-profit voluntary social services organization orphanage at free charges homes, that includes promoting education to children and counseling for alcohol and other intoxicates. view to serve society, a non-profit and charitable trust, Volunteer NGO’s Services with the name “AMMA NANNA CHARITABLE TRUST (ACT)"established in year 2005 and acquired its registration (as per the Trust Act of A.P., India.) and Reg. 119/2005. And also License by Department for Women, Children, Disabled and Senior Citizen & CID-Police Department and License No. 0330/1/2011, under the leadership as Founder & Secretary Sri Gurubelli. Koteswara Rao M.sc, M.Phil, PGDCPA. And as Chairperson and Managing Trustee Smt Gurubelli Venkata Lakshmi alias Suguna M.A(Socialogy) We are so happy to expedite the meaning of “AMMA NANNA” as "MOTHER FATHER" and the exigency of naming this trust had been arisen in reminiscence of the beloved late parents ( Smt & sri Gurubelli. Ammayamma Ramamurthy) of Sri Gurubelli. Koteswara Rao, founder & secretary of this ministries following on their sympathetic favor, commitment and support launched for the neglected people who were drastically lack of food, clothes and other family problems. We are running this NGO Social Service Volunteer Organization with our own funds without any disparity in caste and creed in INDIA Asia and Boards.

Inmates are all district and states of India, like , 1 Town, 75 Feet Road, 4th Town Police Station 104 Area, Aanadha Ashramam, Abidnagar, Anatha Asram, Achampet , Achanta, Adarshnagar, Addanki, Addateegala, Addatheegala, Addakula, Addurodu, Adilabad, Adivivaram, Adoni , Air port, Aganampudi, Akividu,Akkayyapalem, Akkireddypalem, , Alair, Alamanda, Alampur, Alamuru, Allagadda, Allipuram, Allure, Alur, Amadalavalasa, Amalapuram, Amaravathi, Ambajeepeta,Amarchinta, Amaravathi, Amarevati, Anandapuram, Ananthagiri, Anaparthi, Annavaram, Anaparthy, Andhra Bhumi, Andhra University, Anantapur, Andole ,ANR Appikonda, Asifabad, Asifnagar, Asilmetta, Asheelmetta junction, Araku valley, Arasavalli, Arilova, , Armoor, Atchutapuram, Atmakur,, Attili, A U Campus, IN, Out Gate, Auto Nagar, Avanigadda, Badvel, Bala cheruvu, Balacheruvu Road, Balaji Nagar, Ballajura, Balkonda , Bangalore, Banswada, Bapujinagar, Bapatla,Baruva, Bayyavaram, Berhampur, Bhadrachalam, Bheemili, Bheemunipatnam, Bhimadolu, Bhimavaram, Bhogapuram, Bhongir, BHPV, Bhubaneswar, Bhupesh Nagar, Big Bazaar, Bazar, Birla, , Bimavaram, Boath, Bobbili, Bodhan, Bombay, Bowdara, Borra Caves, BRTS, B.S Layout Cheepurupalli, BSI Standard, Buddhavarapu Gardens, Budithi, Buggaram, Burgampahad, Butchirajupalem, Butchi Sundara Rao Street, Burujupeta, , Burugupudi, , Calcutta, CBM Compound, CBI, Chalakurthy, Challavanipeta, Chanakya Towers, Chandragiri, Chandrayangutta, Chapaluppada, Charminar , Chavulamadam, Chavulamadumu, Cheepurupalli, Chennai, Chennur, Cherial, Chevella , Chilakaluripet, Chilakapalem, China musidivada, chinnamusidivada, Chinnor, Chintalapudi, Chintapalli, krishna Chirala, Chittoor, Chodavaram, Chollangi village,Choppadandi, CMR center, Collectorate, Collectors Office Convent junction, corromendal, Coromandel gate, CDR Hospital, Cuddapah, Cumbum, Dabagarden, Dabagardens, Dagguvanipalem, Dasapalla Hills , Darsi, Dayalapuram, Dayal nagar, Delhi, Denduluru, Devarakonda, devipatnam, Dabhagaden, Dharmavaram, Dhavaleswaram, dhayal nagar, Dolphin, Dhondaparthi, Dhone , Dhorathota, , Diamond Park, Dibbalapalem, Dichpalli, Doctors Colony, Dommat,Dondaparthy, Dorakanagar, Dorathota, Dornakal , Duggirala, Duvvada, Dwaraka Nagar, Dwaraka Tirupati, Dwarapudi, , East Godavari, East Point Colony, Ecchapuram, Elamanchili, Eluru, ENDADA, Enadu, Eenadu, Etcherla, Etikoppaka, Femur, Fishing Harbour, Harbor Approach Road, Gadwal, Gajapathinagaram, Gajwel , Ganavaram Port, Gannavaram, Gangulavari, Gannavaram, Gara, Garividi, Ghanpur, Giddalur, Gumma Lakshmipuram, GL Puram, Gunnies Book, Record, Gnanapuram, Gandhigram, Gokavaram, Golkonda, Gollapalem,Gollavanipalem, Golukonda, Golugonda Gopalapatnam, Gooty, Gopalapuram, Gorantla, Gorllivanipalem, Green Park, Greater Visakhapatnam, , G.S.N. Gullipadu, Gudivada, Gudur, Guntur, Gurazala, Gurudwara, Hanamkonda, Hanuman Junction, Temple, Hanumanthavaka, Hall Mark, Hanumantuvaka, Harichandrapuram, Harischandrapuram, Harishchandrapur, HB colony, Head Post Office, Heccherla, Himayat Nagar, Hindupur, Hiramandalam, HPCL,hukumpeta, Huzurabad, Hyderabad, Ibrahimpatnam, Ichapuram, India, INDIA, Indurthi, Industrial estate, IT, IN, INL Kalinga, Isukathota, iskathota, Jadcherla,Jagadam, Jagadamba centre, Jagamba Theatre, Jail Road, Jaggampeta, Jagarajupeta, Jaggayyapalem, Jaggayyapet, Jaghadham Jagtial, Jalandhar, Jalumuru, Jammalamadugu, Jangaon, Jangareddygudem, Jodugullapalem, ,Jukkal, Kadapa, Kadiri, Kadiyam, Kaikalur, Kaikaluru, Kailashmetta, Kaka Nagar, Kakani Nagar, Kailasagiri, Kailasapuram, Kakinada, Kalaniketan, Kalanikhetan, Kalingapatnam, Kalinganagar, , Kalwakurthy, Kalyandurg, Kamalapur, Kamalapuram, Kamareddy, Kancharapalem, Kandukur, Kanigiri, Kankipadu, Kapuluppada, , Kapu uppada, Kapuluppada, Kantipudi, Kanithi Road, , Karimnagar, Karnal, Karnataka, Karnool, Karunol, Karwan, Kasibugga, Kasimkota, Kattipudi, Kavali, KGH, Khairatabad , Khammam, Khanapur, Kirlampudi, layout, K. Kotapadu, Kobbari Thota, Kodad, Kodangal , Kodumur, Koduru, Koduruand, Koilkuntla , Kolhapur, Kolkata, Kondepi, Koppaka, Korasavada, Kotabommali, Kotananduru, Kotavalasa, Kotaveedhi, , Kothagudem, Kothapet, Kotha Road, Kothavalasa, Kothuru, Kotipalli, Koturu, Kovur, Kovvur,Krishna College, Krantinagar, KRM Colony, Kuchinapudi, Kuppam, Kurupam Market, Kurmanpalem, Kurmam, Kummaripalem, Kurmannapalem , Kurnool, Kusalapuram, Lakkireddipalli, Lalitha Nagar, Lankhilapallem, Lakshminagar, Lankelapalem, Lankilapallem, LB Colony, Leela Mahal, Luxettipet, Macherla, Machilipatnam, Madakasira, Madanpalle, Madapamu, Maddilapalem, Madduru, Madivala, Madhira, Madhavadhara, Madhurawada, Madhya Pradesh, Madugula Reddi, Maharanipeta, Mahbubabad , Mahabubnagar, Mahbubnagar, Maharajgunj , Makthal, Malkapuram, Malakpet, Malleswaram, Mandapeta, Mandavaripeta, , Mangalagiri, Manthani, Marikavalasa Maredumilli, Markapur, Marripalem, Martur , Maruteru, Medak, Medchal, Medivada, Metpalli, Meghadripeta, Meghadri gadda, Meghadrigadda, Midilapuri, Mindi, Mindhi, Miryalguda, MMTC Colony, Mud Hole, Mudhole, Mudinepalli, Mulug, Mumbai, Mulagada, Mummidivaram, Muppidi Colony, Mungode, Murali Nagar, Musheerabad, Nagari , Nagarkurnool , MVP colony, Myadaram, Mydukur, Mylavaram, NAD junction, Nagaram, Naguru, Naiduthota Nakkapalem, Nakkapalli, Nakkavanipalem, Nakrekal, Nalgonda, Nallamada, Nandigama, Nandyal, Narasannapeta, Narasaraopet, Narasimha, Narayankhed , Narasapur, narsapur, Narsampet, Narsipatnam, Narisipatnam, Natavalasa, Nathavaram, Nathayyapalem, Naval Dock, Yard Neelamma Vepaqchettu, Naval Dock Yard Neelamma Vepachettu, Nellimarla, Nellore, Nerella, new Gajuwaka, Nidadavole,nidadhavole, Nidadhavolu, Nidumolu ,Nimmada, Nirmal, Nivagam, Nizamabad, N.R. I NSTL, NTPC, NTPC-Parawada, Nuzvid, Odessa, Old post office, Ongole, Orissa, Paderu, Palacole, Palair, Palakonda, Palakollu, Palamaner, Palasa, Pallavaram, Panchadarla, Panyam, Parawada, Parchur, Parkal, Pargi, Parlakimidi, Parvathipuram, Patapatnam, Pata Polavaram, Pathapatnam, Pattikonda , Payakaraopeta, Pedakurapadu, Peda Peddapalli, Peddipalem, Peddapuram, Pendurthi, pendurthy, Penugonda, Penukonda Pillala Ashramam, Piler, Pithapuram, PM Palem, PNT Colony, Pandurangapuram, Polaki, Polavaram, Ponduru, Ponnur, Poondi, Poorna Market, Porur, Prakasam, Prathipadu, Priya, Proddat, Proddatur, Pudimadaka, Pulivendula, Pundi, Pune, Punganur, purna, Purushothapuram, Purusotapuram, puspatera, Puttur , Pydibheemavaram, Rail Way New Colony, Rajahmundry, Rajam, Rajampet, Raj, Raja Nagar, rajavommangi, Rajolu, Ramachandrapuram, Ramagundam, Rama Nagar, Ramnagar, Ramannapet, Rama Talkies Center, ramatheertham, Ramtherdham, Neusan Bhag,Ramatheertham, ramavaram, Ramayampet, Rambilli, Ramnagar, Rampachodavaram, Rangapuram, Ranastalam, Rangareddy, Ravulapalem, Rayachoty, Rayadurg, Raya Durg, Rayavaram, , Razole, Reddipalli, RegupaduRepalle, Rapur, Regupalem, Revidi, Revit, RK Beach, Rotherham, Rushikonda,rusu konda, Rushukonda, Sabbavaram, Sagar Nagar, Sakhsi, Salur, Sampara , Sanath Nagar, Sangareddy, Santhanuthalapadu , Sarasota, Saraswati Park, Saravakota, Sarvepalli, Sathivada, Sathupalli, Sattenapalli Sastry Road, Satyam centre, Satyavedu, Secunderabad, seetampeta, Seethammadhara, Seethampeta, Shadnagar, Shayampet, Sholur, Shopping Mall, Siddhantam, Siddipet, Simhachalam, Sindhiya, Singanamala, Sircilla , Sirpur, Siripuram, S. Kota, Soluru, Sompeta, Sriharipuram, Srikakulam, Sri Kalahasti, Sri Kalahsti, Srikurmam, Srimukalingam, Srimukhalingam, Srungavarapukota, Steel Plant Quarters Sector, Sujathanagar, Sulurpet, Suryabagh, Surya Bhag, Suryapet, Tadepalligudem, Tadepellegudem, tadepalli gudum, Tadikonda, Tadipatri, Tagarapuvalasa, , Tallapalem, Talarevu, Tallarevu, Tamil nadu, Tandur, Tanuku , Tekkali, Tenali, Thamballapalle, Thatichetlapalem, Therlam, Thotapalli, Tilaru, Tikkavanipalem, Timaru, Tirumala, Tirupati, Tiruvuru, Tuni, Tungaturthi, UDA Park, Udda Udayagiri, Ukkumpeta, Ukkunagaram, Undi, Unguturu, Universal records, Uravakonda, Ushodaya Colony, Uttarahalli, Uttarapalli, Vada cheepurupalli, Vadacheepurapalli, Vaddadi, Vanukuru, Vartha, varthaa, Vayalpad, Vellanki, Vemur, Venkatagiri , Venkojipalem, Velampeta, Vepada, Vepagunta, Vepanjeri , Vijayawada, Vikarabad, Vinukonda, Visakhapatnam, Visakha Valley, Vitanthula ashramam, Vizag, Vizianagaram, Vrudhula ashramam Vuyyuru, Waltair, Wanaparthy, Warangal, Wardhannapet, West Godavari World Record, Yalamanchili, Yakutpura, Yeleswaram, Yellandu, Yellareddy, Yellavaram, Yemmiganur, Yendada, Y junction, Zahirabad, Zoo Park center, and other state of India.

Guntur District Macherla , Veldurthi , Narasaraopeta, Rentacrintala , Bollapalle , Rompicherla , Gurazala , Nakarikallu , Ipur Dachepalle, Muppalla , Savalyapuram , Machavaram , Phirangipuram , Vinukonda , Bellamkonda , Medikonduru , Nuzendla , Achampeta , Guntur , Chilakaluripet , Krosuru , Pedakakani , Pedanandipadu , Amaravathi , Duggirala , Kakumanu, Thullur , Kollipara , Ponnur , Thadepalle , Kollur , Amruthalur , Mangalagiri , Vemuru , Cherukupalle , Tadikonda , Tenali , Bhattiprolu , Pedakurapadu , Tsundur , Repalle , ,Sattenapalle , Chebrole , Nagaram , Rajupalem , Vatticherukuru , Nizampatnam , Piduguralla , Prathipadu , Pittalavanipalem , Karempudi , Edlapadu , Karlapalem , Durgi , Nadendla , Bapatla. Narasaraopet, Rentachintala, Bollapalli, Nekarikallu, Jaipur, Thadepalli, Cherukupalli Chebrolu, Georgia

Krishna District Vijayawada A.Konduru, Agiripalli, Avanigadda, Bantumilli, Bapulapadu, Challapalli, Chandralapadu, Chatrai, Gampalogudem, Gannavaram, G. Konduru, Ghantasala, Guduru, Gudivada, Gudlavalleru, Ibrahimpatnam, Jaggayyapeta, Kaikalur, Kalidindi , Kanchikacherla , Kankipadu, Koduru , Kruthivennu, Mailavaram , Machilipatam, Mandavalli , Movva , Mopidevi , Mudinepalle , Musunuru , Nagayalanka , Nandigama , Nandivada, Nuzvid , Pamidimukkala , Pedana, Pamarru, Pedaparupudi , Penuganchiprolu , Penamaluru , Reddigudem , Tiruvuru , Thotlavalluru , Unguturu, Vatsavai, Vissannapeta, Vuyyuru, Veerullapadu , Chandarlapadu, Gampalagudem, benz circle, ring road, Machilipatnam, gunadala matha , kondapalli , gollapalli , Telaprolu.

Srikakulam District Veeraghattam , Bhamini , Vangara , Kothuru , Regidiamadala Valasa , Hiramandalam , Rajam , Sarubujjili , Ganguvari Singadam , Amadalavalasa , Laveru , Srikakulam , Ranastalam , Gara , Hetcherla , Polaki , Ponduru , Narasannapeta , Santhakaviti , Jalumuru , Burja , Saravakota, Palakonda , Pathapatnam , Seethampeta , Meliaputti, Kotabommali , Santha Bommali , Nandigam , Vajrapu Kothuru , Palasa , Mandasa , Sompeta , Kanchili , Kaviti , Tekkali, Ichchapuram , Regidi amadalaValasa ,Santhabommali.

Vizianagaram District Komarada , Ramabhadrapuram , Gummalakshmipuram , Badangi , Kurupam , Therlam , Jiyyammavalasa , Merakamudidam , Garugubilli , Dattirajeru , Parvathipuram , Mentada , Makkuva , Gajapathinagaram , Seethanagaram , Bondapalle , Balajipeta , Gurla , Bobbili , Garividi , Salur , Cheepurupalle , Pachipenta , Nellimarla , Bhoghapuram , Denkada , Vizianagaram , Gantyada , Srungavarapukota , Vepada , Lakkavarapukota , Jami , Kothavalasa, Pusapatirega, Colorado, Thermal Bondapalli.

Visakhapatnam District Munchingiputtu, Nathavaram , Pedagantyada , Pedabayalu , Narsipatnam , Paravada , Hukumpetau , Rolugunta , Anakapalli , Dumbriguda , Ravikamatham , Munagapaka , Arakuvalley , Butchayyapeta , Kasimkota , Ananthagiri , Chodavaram , Makavarapalem, Devarapalle , K Kotapadu, Kotauratla , Cheedikada , Sabbavaram , Payakaraopeta , Madugula , Pendurthi , Nakkapalli , Paderu , Anandapuram , S. Rayavaram , Gangaraju Madugula , Padmanabham , Yelamanchili , Chintapalle , Bheemunipatnam , Rambilli , Gudemkothaveedhi , Visakhapatnam , Atchutapuram, Koyyuru , Visakhapatnam urban, rural, Golugonda , Gajuwaka . Munching Puttu, Devarapalli , Gudem Kotha Veedhi.

East Godavari District Maredumilli , Pithapuram , Kapileswarapuram , Y Ramavaram , Kothapalle , Alamuru , Addateegala , Kakinada, Atreyapuram , Rajavommangi , Ravula Palem , Kotananduru , Samalkota , Pamarru , Tuni , Rangampeta , Kothapeta , Thondangi , Gandepalle , P Gannavaram , Gollaprolu , Rajanagaram , Ambajipeta , Sankhavaram , Rajahmundry, Ainavilli , Prathipadu , Mummidivaram , Yeleswaram , Kadiam , I.Polavaram , Gangavaram , Mandapeta , Katrenikona, Rampachodavaram , Anaparthy , Uppalaguptam , Devipatnam , Biccavolu , Amalapuram , Seethanagaram , Pedapudi , Allavaram , Korukonda , Karapa , Mamidikuduru , Gokavaram , Thallarevu , Razole , Jaggampeta , Kajuluru , Malikipuram , Kirlampudi , Ramachandrapuram , Sakhinetipalle, Peddapuram , Rayavaram , sankavaram, Samalkot, Kothapet , Gandepalli , Sakhinetipalli, samrlakota.

West Godavari District Jeelugumilli , Nidadavole , Undi , Buttayagudem , Tadepalligudem , Akiveedu , Polavaram , Unguturu , Kalla , Thallapudi , Bhimadole , Bheemavaram , Gopalapuram , Pedavegi , Palakoderu , Koyyalagudem , Pedapadu , Veeravasaram , Jangareddigudem , Eluru , Penumantra , T.Narasapuram , Denduluru , Penugonda , Chintalapudi , Nidamarru , Achanta , Lingapalem , Ganapavaram , Poduru , Kamavarapukota , Pentapadu , Palacole , Dwarakatirumala , Tanuku , Yelamanchili , Nallajerla , Undrajavaram , Narasapuram , Devarapalle , Peravali , Mogalthur Chagallu , Iragavaram , Kovvur , Attili . Tallapudi, Bhimavaram, Palakol, chebrolu Dwaraka Tirumala, Devarapalli.

Khammam District Cherla , Yellandu , Enkuru , Pinapaka , Singareni , Konijerla , Gundala , Bayyaram , Khammam Urban , Manuguru ,Garla , Khammam Rural , Aswapuram , Kamepalle , Thirumalayapalem , Dummugudem , Julurpad , Kusumanchi , Bhadrachalam , Chandrugonda , Nelakondapalle , Kunavaram , Mulakalapalle ,Mudigonda , Chintur , Aswaraopeta , Chinthakani , Vararamachandrapuram , Dammapeta , Wyra , Velairpad , Sathupalle , Bonakal , Kukunoor , Vemsoor , Madhira , Burgampadu , Penuballi , Yerrupalem, Palawancha, Wazeed , Kothagudem , Kalluru , Venkatapuram , Tekulapalle , Thallada . Cherla , Nakuru , Uganda , Kamepalli , Nelakondapalli ,Mulakalapalli Va Ramachandrapuram , Palvancha , Tekulapally.

Prakasam District Yerragondapalem , Martur , Veligandla , Pullalacheruvu , Parchur , Pedacherlopalle , Tripuranthakam , Karamchedu , Ponnaluru , Kurichedu , Chirala , Kondapi , Donakonda , Vetapalem , Santhanuthlapadu , Pedaaraveedu , Inkollu , Ongole , Dornala , Janakavaram, Panguluru , Naguluppalapadu , Ardhaveedu , Korisapadu , Chinaganjam , Markapur , Maddipadu , Kothapatnam , Tarlapadu , Chimakurthi , Tangutur , Konakanamitla , Marripudi , Zarugumilli , Podili , Kanigiri , Kandukur , Darsi , Hanumanthunipadu , Voletivaripalem , Mundlamuru , Bestavaripeta , Pamur , Thallur , Cumbum , Lingasamudram , Addanki , Racherla , Gudluru , Ballikuruva , Giddaluru , Ulavapadu , Santhamaguluru , Komarolu , Singarayakonda , Yeddanapudi , Chadrasekara, Puram . Peda Cherlopalli, Peddaraveedu, Tarlupadu, Chimakurthy, Jarugumilli, Ballikurava, Chandrasekara.

Sri Potti Sri Ramulu Nellore District Seetharamapuram, Kodavalur , Sydapuram , Varikuntapadu , Butchireddipalem , Dakkili , Kondapuram , Sangam , Venkatagiri , Jaladanki , Chejerla , Balayapalle , Kavali , Ananthasagaram , Ojili , Bogole , Kaluvoya , Chillakur , Kaligiri , Rapur , Kota , Vinjamur , Podlakur , Vakadu , Duttalur , Nellore , Chittamur , Udayagiri , Kovur , Naidupeta , Marripadu , Indukurpet , Pellakur , Atmakur , Thotapalligudur , Doravarisatram , Anumasamudrampeta , Muthukur , Sullurpeta , Dagadarthi , Venkatachalam , Tada , Allur , Manubolu , Vidavalur , Gudur Buchireddypalem, Balayapalli , Podalakur , Thotapalli Gudur ,Anamasamudrampeta , Allure .

Dr. Y.S.Rajasekhara Reddy Cuddapah District Muddanur, Vempalle , Kondapuram , Simhadripuram , Chaknayapet , Mylavaram , Lingala , Lakkireddipalle , Peddamudium , Pulivendla , Ramapuram , Raju Palem , Vemula , Veeraballe , Duvvur , Thandur , Rajampet , S Mydukur , Veerapunayunipalle , Nandalur , Brahmamgarimattam , Yerraguntla , Penagaluru , B Kodur , Kamalapuram , Chitvel , Kalasapadu , Vallur , Kodur , Porumamilla , Chennur , Obulavaripalle , Badvel , Atlur , Pullampeta , Gopavaram , Vontimitta , T.Sundupalle , Khajipet , Sidhout , Sambepalle , Chapad , Chinnamandem , Proddutur , Chintha Kommadinne , Rayachoti , Jammalamadugu , Pendlimarri , Galiveedu Vempalli , Chakrayapet , Pulivendula , Tandur , Veerapunayuni Palli , Penagalur , Obulavaripalli , Atlanta , Pullampet , T.Sundupalli , Kazipet, Sambepalli, Proddatur.

Chittoor District Peddamandyam , K V P Puram , Nagari , Thamballapalle , Narayanavanam , Karvetinagar , Mulakalacheruvu , Vadamalapeta , Srirangaraja Puram , Peddathippa Samudram , Tirupati Rural , Palasamudram , B.Kothakota , Kammapalle , Gangadhara Nellore , Kurabalakota , Chandragiri , Penumuru , Gurramkonda , Chinnagottigallu , Puthalapattu , Kalakada , Rompicherla , Irala , Kambhamvaripalle , Pileru , Thavanampalle , Yerravaripalem , Kalikiri ,Chittoor , Tirupati Urban , Vayalpad , Gudipala , Renigunta , Nimmanapalle , Yadamari , Yerpedu , Mandopalle , Bangarupalem , Srikalahasti , Ramasamudram , Palamaner , Thottambedu , Punganur , Gangavaram , Buchinaidu Khandriga , Chowdepalle , Pedda Panjani , Varadaiahpalem , Somala , Baireddi Palle , Satyavedu , Sodam , Venkatagiri Kota , Nagalapuram , Pulicherla , Ramakuppam , Pichatur , Pakala , Santhi Puram , Vijaya Puram , Veduru Kuppam , Gudi Palle , Nindra , Puttur , Kuppam K V B Puram , Sri Rangaraja Puram , Pedda Thippa , Kammapalli , Kambham Vari Palli , Piler , Madanapalle , Madanapalle, Bangarupalem , Srikalahasti , Kandireega , Peddapanjani , Somalia , Baireddipalle ,Sathyavedu , Sodom, Santhipuram , Vijayapuram , Vedurukuppam , Gudipalle , Nidra.

Ananthapur District D.Hirchal , Kunurpi , Gandlapenta , Bommanahal , Kalyandurg , Kadiri , Vidapanakal , Atmakur , Amadagur , Vajrakarur , Anantapur , Obuladevaracheruvu , Guntakal , Bukkarayasamudram , Nallamada , Gooty , Narpala , Gorantla , Peddavadugur , Putlur , Puttaparthi , Yadiki , Yellanur , Bukkapatnam , Tadpatri , Tadimarri , Kothacheruvu , Peddapappur , Bathalapalle , Penu Konda , Singanamala , Raptadu , Roddam , Pamidi , Kanaganapalle , Somandepalle , Garladinne , Kambadur , Chilamathur , Kudair , Ramagiri , Lepakshi , Uravakonda , Chenne Kothapalle , Hindupur , Beluguppa , Dharmavaram , Parigi , Kanekal , Mudigubba , Madakasira , Rayadurg , Talupula , Gudibanda , Gummagatta , Nambulipulikunta , Amarapuram , Brahmasamudram , Tanakal , Agali , Settur , Nallacheruvu , Rolla D.Hirehal, Kundurpi , Bommanahalli , Bathalapalli , Penukonda , Kanaganapalli , Sattur.

Kurnool District Kowthalam , Kodumur , Rudravaram , Kosigi , Gonegandla , Allagadda , Mantralayam , Yemmiganur , Chagalamarri , Nandavaram , Pedda Kadalur , Uyyalawada , C.Belagal , Adoni , Dornipadu , Gudur , Holagunda , Gospadu , Kurnool , Alur , Koilkuntla , Nandi Kotkur , Aspari , Banaganapalle , Pagidyala , Devanakonda , Sanjamala , Kothapalle , Krishnagiri , Kolimigundla , Atmakur , Veldurthi , Owk , Srisailam , Bethamcherla , Peapally , Velgode , Panyam , Dhone , Pamulapadu , Gadivemula , Tuggali , Jupadu Bungalow , Bandi Atmakur , Pattikanda , Midthur , Nandyal , Maddikera East , Orvakal , Mahanandi , Chippagiri , Kallur , Sirvel , Halaharvi . Nandikotkur, Banaganapalli, Dhoni, Jupadu Bunglow, Silver.

Mahabubnagar District Kodangal , Jadcherla , Amrabad , Bomraspeta , Bhoothpur , Balmoor , Kosgi , Mahbubnagar , Lingal , Doulatabad , Addakal , Peddakothapalle , Damaragidda , Devarkadara , Kodair , Maddur , Dhanwada , Gopalpeta , Koilkonda , Narayanpet , Wanaparthy , Hanwada , Utkoor , Pangal , Nawabpet , Maganoor , Pebbair , Balanagar , Makthal , Gadwal , Kondurg , Narva , Dharur , Farooqnagar , Chinna Chinta Kunta , Maldakal , Kothur , Atmakur , Ghattu , Keshampeta , Kothakota , Aiza , Talakondapalle , Peddamandadi , Waddepalle , Amangal , Ghanpur , Itikyal , Madgul , Bijinapalle , Manopadu , Vangoor , Nagar Kurnool , Alampur , Veldanda , Tadoor , Veepangandla , Kalwakurthy , Telkapalle , Kollapur , Midjil , Uppununthala , Thimmajipeta , Achampeta . Daulatabad, Tandoor, Telkapally, Kolhapur, Thimmajipet.

Rangareddy District Marpalle ,Hayathnagar , Gandeed , Mominpet , Saroornagar , Kulkacharla , Nawabpet , Rajendranagar , Pargi , Shankarpalle , Moinabad , Pudur , Malkajgiri , Chevella , Shabad , Serilingampalle , Vikarabad , Shamshabad , Quthbullapur , Dharur , Maheswaram , Medchal , Bantaram , Ibrahimpatam , Shamirpet ,Peddemul , Manchal , Balanagar , Tandur , Yacharam , Keesara , Basheerabad , Kandukur , Ghatkesar , Yelal , Uppal , Doma . Shankarpalli, puduraya, Serilingampally, Maheshwaram, Yell.

Nalgonda District Bommalaramaram , Chityala , Thripuraram , M Turkapalle , Narketpalle , Miryalaguda , Rajapet , Kattangoor , Garide Palle , Yadagirigutta , Nakrekal , Chilkur , Alair , Kethepalle , Kodad , Gundala , Suryapet , Mellachervu , Thirumalagiri , Chivvemla , Huzurnagar , Thunga Thurthi , Mothey , Mattampalle , Nuthankal , Nadigudem , Nered Cherla , Atmakur (S) , Munagala , Dameracherla , Jaji Reddi Gudem , Penpahad , Anumula , Saligouraram , Vemulapalle , Peddavura , Mothkur , Thipparthi , Pedda Adiserlapalle , Atmakur (M) , Nalgonda , Gurrampode , Valigonda , Munugode , Nampalle , Bhuvanagiri , Narayanapur , Chintha Palle , Bibinagar , Marri Guda , Devarakonda , Pochampalle , Chandur , Gundla Palle , Choutuppal , Kangal , Chandam Pet , Ramannapeta , Nidamanur . Tripuraram , M Turkapally , Narketpally , Kethepally , Uganda , Mellacheruvu , Tirumalagiri , Chivemla ,Thoonga , Mattampally, Need Cherla , Damaracherla , Shaligouraram , Vemulapalli ,Peddavura , Narayanpur , Chintapalli , Marriguda , Pochampally , Gundlapalli ,Chandampet , Ramannapet.

Medak District Manoor , Siddipet , Kohir , Kangti , Chinna Kodur , Munpalle , Kalher , Nanganur , Pulkal , Narayankhed , Kondapak , Sadasivpet , Regode , Jagdevpur , Kondapur ,Shankarampet (A) , Gajwel , Sangareddy , Alladurg , Doultabad , Patancheru , Tekmal , Chegunta , Ramachandrapuram , Papannapet , Yeldurthy , Jinnaram , Kulcharam , Kowdipalle , Hathnoora , Medak , Andole , Narsapur , Shankarampet (R) , Raikode , Shivampet , Ramayampet , Nyalkal , Tupran , Dubbak , Jharasangam , Wargal , Mirdoddi , Zahirabad , Mulug . Manoor, Munipalle, Nanganallur, Daulatabad, Veldurthy, Kowdipally, Toopran, to Oprah

Warangal District Cheriyal , Thorrur , Duggondi , Maddur , Nellikudur , Geesugonda , Narmetta , Narsimhulapet , Atmakur , Bachannapeta , Maripeda , Shayampet , Jangaon , Dornakal , Parkal , Lingala Ghanpur , Kuravi , Regonda , Raghunatha Palle , Mahabubabad , Mogullapalle , Ghanpur(Stn) , Kesamudram , Chityal , Dharmasagar , Nekkonda , Bhupalpalle , Hasanparthy , Gudur , Ghanapur , Hanamkonda , Kothagudem , Mulug , Wardhannapet , Khanapur , Venkatapur , Zaffergadh , Govindaraopet , Palakurthi , Chennaraopet , Tadvai , Devaruppula , Parvathagiri , Eturnagaram , Kodakandla , Sangam , Mangapet , Raiparthy , Nallabelly , Warangal Cherial, Cheryl, Bachannapet, Kuruvi, Mogullapally, Bhupalpally, Ghanpur.

Karimnagar District Ibrahimpatnam , Jagtial , Vemulawada , Mallapur , Medipalle , Konaraopeta , Raikal , Koratla , Yella Reddi Peta , Sarangapur , Metpalle , Gambhiraopet , Dharmapuri , Kathlapur , Mustabad , Velgatoor , Chandurthi , Sirsilla , Ramagundam , Kodimial , Ellanthakunta , Kamanpur , Gangadhara , Bejjanki , Manthani , Mallial , Thimmapur , Kataram , Pegadapalle , Kesavapatnam , Mahadevpur , Choppadandi , Huzurabad , Mutharam , Mahadevpur , Sultanabad , Kamalapur , Malharrao , Odela , Elkathurthi , Mutharam Manthani , Jammikunta , Saidapur , Srirampur , Veenavanka , Chigurumamidi , Peddapalle , Manakondur , Koheda , Julapalle , Karimnagar , Husnabad , Dharmaram , Ramadugu , Bheemadevarpalle , Gollapalle , Boinpalle Medipally , Konaraopet , Korutla , Yellareddy Peta , Sarangpur , ,Metpally , Kathalapur , Pegadapally , Elkathurthy , Shrirampur , Peddapalli , Julapalli , , Bheemadevarapally, Bowenpally.

Nizamabad District Ranjal , Yeda Palle , Sadasivanagar , Navipet , Bodhan , Gandhari , Nandipet , Kotgiri , Banswada , Armur , Madnur , Pitlam , Balkonda , Jukkal , Nizamsagar , Mortad , Bichkunda , Yellareddy , Kammar , Palle , Birkoor , Naga Reddipet , Bheemgal , Varni , Lingampet , Velpur , Dichpalle , Tadwai , Jakranpalle , Dhar Palle , Kamareddy , Makloor , Sirkonda , Bhiknur , Nizamabad , Machareddy , Domakonda . Sadashivanagar, Kotagiri, Armour, Pelle, Naga Reddit, Dichpally, Jakranpally, Sirikonda

Adilabad District Talamadugu , Lohesra , Tiryani , Tamsi , Dilawarpur , Asifabad , Adilabad , Nirmal , Wankdi , Jainad , Laxmanchanda , Kagaz Nagar , Bela , Mamda , Rebbana , Narnoor , Khanpur , Tandur , Inderavelly , Kaddampeddur , Bellampalle , Gudihatnur , Utnur , Nennal , Ichoda , Jainoor , Bheemini , Bazarhathnoor , Kerameri , Sirpur (T) , Boath , Sirpur (U) , Kouthala , Neradigonda , Jannaram , Bejjur , Sarangapur , Dandepalle , Dahegaon , Kuntala , Luxettipet , Vemanpalle , Kubeer , Mancherial , Kotapalle , Bhainsa , Mandamarri , Chennur , Tanur , Kasipet , Jaipur , Mudhole Lohara, Tampa , Kagaznagar , Bella , Kaddam Peddur , Gudihathnoor , Bheemili, boathouse , Sarangpur , Vempalli , Kazipet.

Hyderabad, Secendrabad kukatpally , tank bund , hussain sagar , birla mandir ,himayat nagar , begumpet, shamshabad, charminar, golconda , banjara hills ,stadhampton , khairabadi , yousufguda, patancheru,Musheerabad , Ameerpet ,Khairatabad , Bandlaguda, Amberpet , Secunderabad, Charminar , Asifnagar , Himayathnagar ,Tirumalagiri , Golconda , Saidabad , Maredalle,shaikpet ,nampally ,bahadurpura , Maryland .cyderabad, jubili hills, kazipally, bollaram, bachupally, swarnapuri, miyapur, kompally,thumkunta, hakimpet, ramachandra puram, vishwambhar enclave, bala nagar, serilingampally, sri ram nagar, gachibowli, madhapur, secretarial, tolichowki, gandipet, raghuram nagar, bharat nagar, budvel, rajendra nagar, bakaram, kothwalguda, ahmadpur, kavadiguda, asthma, jeedimetla, balaji nagar, alwal, yapral, dammaiguda, sainikpuri, kapra, sakthi nagar, asrao nagar, moulali, bowenpally, ramanthapur, pizza, saroor nagar, falaknuma, vansathi puram, hanuman nagar, brindavan colony, nadergul, indira reddy, rallaguda, gollapally, new hafeezpet, trimulgherry, safilguda, yellareddyguda, musheerabad, taj residency, hill font, apollo hospital, afzalgunj, tadbund, bahadurgarh, sri raghavendra, aradhana, marredpally, zaheerabad, film nagar, mehdipatnam, imperial, esi, kanchanbagh, yeddumailaram, manikonda, chandrayangutta, janwada, chilkur, bakaram, sacoor nagar, deshmukhi, doolapally, amberpet, dilsukhnagar, karwan, gosha mahal, bahadurpura,

Bombay Dilli, Dehli, Kolkata, Kalikata, Kalkutta, Bengaloru, engaluru, Bangalur, Madras, Chennapattanam, Ahmadâbâd, Ahmadabad, Amdabad, Ahmedabad , Haidarabad, Haidarabad, Haiderabad, Hyderabad, Haider-Abad Poona, Pune, Kanpur, Kanpur, Cawnpore, Khanpur, sorat, Surat, Jeypore, Lakhnau Lucknow, Nagpur, Thana, Calcutta, Delhi, Chennai, Bangalore, Pune, Surat, Jaipur, Vadodara, Indore, Patna, Madurai, Bhopal, Ludhiana, Coimbatore, Varanasi, Visakhapatnam, Agra, Mumbai.

Andhra Pradesh, Arunachal Pradeshm Itangar, Itanagar, Assam, Dispur, Bihar, Chhattisgarh, Raipur, Goa, Panaji, Gujaratm Gandhinagar, Haryana, Chandigarhm Himachal Pradesh, Shimla, Jammu and Kashmir, Srinagar, Jharkhand, Ranchi, Karnataka, Kerala, Thiruvananthapuram, Trivandrum, Madhya Pradesh, Maharashtra, Manipur, Imphal, Meghalaya, Shillong, Mizoram, Aizawi, Nagaland, Kohima, Orissa, Bhubaneswar, Bhubaneshwar, Punjab, Rajasthan, Jaipur, Sikkim, Gangtok, Tamil Nadu, Tripura, Agartala, Uttaranchal, West Bengal, Kolkata, Dehradun, Uttar Pradesh, Dada and Nagar Haveli, Silvassa, Andaman and Nicobar Islands, Port Blair, Daman and Diu, Lakshadeep, Kavaratti, Yanam, Pondicherry. Asia, USA, America, Washington, Belgium, New York, United States of America, United Kingdom, Columbia, Bangkok, Australia, Switzerland, Mexico, France, Sweden, Canada, Germany, Netherlands, Italy, Poland, Denmark, France, London, New Zealand, Spain. Indonesia, Brazil, Nigeria, Russia, Philippines, Ethiopia, Vietnam, Egypt, Turkey, Iran, Thailand, Burma, South Africa, Algeria,

   

Here are all my fountain pens with fine nibs. I tried to do it from fattest line to thinnest. In order it goes:

 

Lamy Vista (Safari) steel fine nib

Pelikan M215 steel fine nib

Ohto fine steel one size nib

Cross ATX steel fine nib

Parker Sonnet seel fine nib

Parker Vector steel fine nib

Parker 75 14k gold fine nib

Aurora Ipsilon steel fine nib

Waterman Harmonie steel fine nib

Platinum Preppy steel blue fine nib

Pilot Vanishing Point Déceimo 18k gold fine nib

 

This is written on run of the mill college ruled filler paper.

 

I've cleaned out a lot of my pens, and I'm trying to keep most clean unless I'm using them. Right now, I have the Pilot Decimo, Platinum Preppy, Aurora Ipsilon, Parker Vector, Pelikan M215, and Lamy Vista inked. The rest are earning some well deserved rest.