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The Bell AH-1 Cobra (also called HueyCobra) owes its existence to the Vietnam War. While the proof of the air cavalry concept was being proven every day, the US Army was also losing huge amounts of helicopters to ground fire. Equipping the troop-carrying “slicks” with door guns helped, and arming the UH-1 Iroquois/Huey with weapons was another interim solution. Clearly, however, the solution lay with a dedicated attack helicopter that could defend the troop carriers.
Bell, the manufacturer of the UH-1, had been also experimenting with a concept of a heavily armed, turreted, and thin fuselaged helicopter. The US Army awarded a proof-of-concept contract to Bell, which replied in a heavily modified Model 47 called the Sioux Scout. It failed to win any orders, but Bell kept at it. This resulted in the Model 209, based on components of the UH-1 and the original conceptual design. With the Vietnam War intensifying, the Army issued a requirement for an interim solution, which the Model 209—built and tested in only eight months—won easily. The Army ordered 110 AH-1Gs in April 1966 and the type was in action in Vietnam a year later.
With the success of the AH-1 in Vietnam, the USMC requested a version as well, but with twin engines (for more safety over water) and bigger armament. This resulted in the AH-1J: besides twin engines, it also carried a 20mm gatling cannon in the turret. Though the AH-1J only saw brief action in the Vietnam War before American involvement ended, the Marines loved it. AH-1Js were also supplied to Iran before the Islamic Revolution of 1979, and these were used against Iraq in the Iran-Iraq War. Marine AH-1s, alongside upgraded Army AH-1S Cobras, have seen action in every American conflict since Vietnam, with considerable success. Though the US Army withdrew their Cobras by 1995 in favor of the AH-64 Apache, the Marines continually upgraded their Cobras, culminating in the current AH-1Z Viper, which is practically a new helicopter. While not as potent as the Apache or the Mi-24 Hind, the Cobra represents the first and classic attack helicopter.
Built as Bureau Number 157771, this AH-1J joined the Marines in 1971 and was assigned to HMA-269 ("Gunrunners") at MCAS New River, North Carolina. It would remain with the squadron until 1978, when it was transferred to the West Coast; 157771 would serve with several squadrons at MCAS Pendleton and Kaneohe Bay until 1980, when it was retired. Struck off charge in 1982, it was donated to the Prairie Aviation Museum at Bloomington, Illinois sometime in the late 1980s.
The colors are a bit off on 157771 as she's displayed today--the USMC's tactical camouflage as shown in the 1980s used a much darker gray--but temporary arctic colors were carried on Marine helicopters on occasion, so this may be what the museum was going for. It's in excellent condition. When I saw 157771 in June 2019, it was during the PAM's "Open Cockpit Day," so the cockpits were open on their collection.
A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
Wonder is what sets us apart from other life forms. No other species wonders about the meaning of existence or the complexity of the universe or themselves.
~ Herbert W. Boyer
Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of another painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon Bonaparte, by French artist Hippolyte Delaroche. The painting depicts Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800, in an attempt to surprise the Austrian army in Italy. The two main versions of this painting that exist are in the Louvre in Paris and the Walker Art Gallery in Liverpool, England. Queen Victoria also obtained a reduced version of it.
The work was inspired by Jacques-Louis David's series of five Napoleon Crossing the Alps paintings (1801–1805). David's works also show Napoleon's journey through the Great St. Bernard Pass, but there are significant stylistic differences between the two conceptions. Delaroche's Napoleon is cold and downcast, whereas David's wears a pristine uniform, and is idealized as a hero. Delaroche was commissioned to paint a realistic portrait; the style of which was emerging at the time.
While the painting largely represented—and was one of the pioneers of—an emerging style, the work was criticised by several authorities on the subject. The reasons for this varied from Delaroche's depiction of the scene to a general disapproval of Delaroche himself. Many of those who were in the latter state of mind felt that Delaroche was trying to match the genius of Napoleon in some way, and had failed miserably in doing so.
My stars are blurred, pool of dreams fogged...twisted and twirled...
a toss, a silent toss..
and the ripples rise..
don't you see, time has been wasted on dreams broken by a pebble..a single pebble.
you've revealed your game without even knowing it.
Deutsche Bahn AG (DB AG, DBAG or DB) is the German national railway company, a private joint-stock company (AG) with its headquarters in Berlin. It came into existence in 1994 as the successor to the former state railways of Germany, the Deutsche Bundesbahn of West Germany and the Deutsche Reichsbahn of East Germany. It also gained ownership of former railway assets in West Berlin held by the VdeR. Its name means "German Railway" in German.
DB is organized as a business group and has over 1000 subsidiaries, of which 287 are in Germany. It describes itself as the second-largest transport company in the world, after Deutsche Post AG, and is the largest railway operator and infrastructure owner in Europe. It carries about two billion passengers each year.
DBAG has taken over the abbreviation and logo DB from the West German state railway Deutsche Bundesbahn, although it has modernised the logo. Erik Spiekermann designed the new corporate font DB type.
Originally, DBAG had its headquarters in Frankfurt am Main but moved to Potsdamer Platz in central Berlin in 1996, where it occupies a 26-story office tower designed by Helmut Jahn at the eastern end of the Sony Centre and named Bahn Tower. As the lease was to expire in 2010, DB had announced plans to relocate to Berlin Hauptbahnhof, and in 2007 a proposal for a new headquarters by 3XN Architects won an architectural competition which also included Foster + Partners, Dominique Perrault and Auer + Weber. However, these plans have been put on hold, and the Bahn Tower leased for at least three more years
The Sony Centre is a Sony-sponsored building complex located at the Potsdamer Platz in Berlin, Germany. It opened in 2000.
The site was originally a bustling city centre in the early 20th century. Most of the buildings were destroyed or damaged during World War II. From 1961 on, most of the area became part of the No Man's Land of the Berlin Wall, resulting in the destruction of the remaining buildings. After the fall of the Berlin Wall on 9 November 1989, the square became the focus of attention again, as a large (some 60 hectares), attractive location which had suddenly become available in the centre of a major European capital city. As part of a redevelopment effort for the area, the centre was constructed. The centre was designed by Helmut Jahn and construction was completed in 2000 at a total cost of €750M. In February 2008 Sony sold Berlin's Sony Centre for less than €600M to a group of German and US investment funds, including investment bank Morgan Stanley, Corpus Sireo and an affiliate of The John Buck Company.
Sony Centre contains a mix of shops, restaurants, a conference centre, hotel rooms, luxurious rented suites and condominiums, offices, art and film museums, cinemas, an IMAX theatre, a small version of LEGOLAND, and a "Sony Style" store. Free Wi-Fi connections are available for all visitors. During major sport event like the 2006 FIFA World Cup, the centre also had a large television screen on which the games were broadcast to viewers sitting in the large open area in the middle.
The Sony Centre is located near the Berlin Potsdamer Platz railway station for easy walking accessibility. A large shopping centre is nearby, as are many hotels, the Deutsche Bahn central offices, and an office building featuring the fastest lift in Europe
Another mascara combo pack for marketplace.
When I released all my makeups at Kozmetika, I forgot to make a fatpack poster for the marketplace. Duh me >.<
The Taj Mahal is located on the right bank of the Yamuna River in a vast Mughal garden that encompasses nearly 17 hectares, in the Agra District in Uttar Pradesh. It was built by Mughal Emperor Shah Jahan in memory of his wife Mumtaz Mahal with construction starting in 1632 AD and completed in 1648 AD, with the mosque, the guest house and the main gateway on the south, the outer courtyard and its cloisters were added subsequently and completed in 1653 AD. The existence of several historical and Quaranic inscriptions in Arabic script have facilitated setting the chronology of Taj Mahal. For its construction, masons, stone-cutters, inlayers, carvers, painters, calligraphers, dome builders and other artisans were requisitioned from the whole of the empire and also from the Central Asia and Iran. Ustad-Ahmad Lahori was the main architect of the Taj Mahal.
The Taj Mahal is considered to be the greatest architectural achievement in the whole range of Indo-Islamic architecture. Its recognised architectonic beauty has a rhythmic combination of solids and voids, concave and convex and light shadow; such as arches and domes further increases the aesthetic aspect. The colour combination of lush green scape reddish pathway and blue sky over it show cases the monument in ever changing tints and moods. The relief work in marble and inlay with precious and semi precious stones make it a monument apart.
The uniqueness of Taj Mahal lies in some truly remarkable innovations carried out by the horticulture planners and architects of Shah Jahan. One such genius planning is the placing of tomb at one end of the quadripartite garden rather than in the exact centre, which added rich depth and perspective to the distant view of the monument. It is also, one of the best examples of raised tomb variety. The tomb is further raised on a square platform with the four sides of the octagonal base of the minarets extended beyond the square at the corners. The top of the platform is reached through a lateral flight of steps provided in the centre of the southern side. The ground plan of the Taj Mahal is in perfect balance of composition, the octagonal tomb chamber in the centre, encompassed by the portal halls and the four corner rooms. The plan is repeated on the upper floor. The exterior of the tomb is square in plan, with chamfered corners. The large double storied domed chamber, which houses the cenotaphs of Mumtaz Mahal and Shah Jahan, is a perfect octagon in plan. The exquisite octagonal marble lattice screen encircling both cenotaphs is a piece of superb workmanship. It is highly polished and richly decorated with inlay work. The borders of the frames are inlaid with precious stones representing flowers executed with wonderful perfection. The hues and the shades of the stones used to make the leaves and the flowers appear almost real. The cenotaph of Mumtaz Mahal is in perfect centre of the tomb chamber, placed on a rectangular platform decorated with inlaid flower plant motifs. The cenotaph of Shah Jahan is greater than Mumtaz Mahal and installed more than thirty years later by the side of the latter on its west. The upper cenotaphs are only illusory and the real graves are in the lower tomb chamber (crypt), a practice adopted in the imperial Mughal tombs.
The four free-standing minarets at the corners of the platform added a hitherto unknown dimension to the Mughal architecture. The four minarets provide not only a kind of spatial reference to the monument but also give a three dimensional effect to the edifice.
The most impressive in the Taj Mahal complex next to the tomb, is the main gate which stands majestically in the centre of the southern wall of the forecourt. The gate is flanked on the north front by double arcade galleries. The garden in front of the galleries is subdivided into four quarters by two main walk-ways and each quarters in turn subdivided by the narrower cross-axial walkways, on the Timurid-Persian scheme of the walled in garden. The enclosure walls on the east and west have a pavilion at the centre.
The Taj Mahal is a perfect symmetrical planned building, with an emphasis of bilateral symmetry along a central axis on which the main features are placed. The building material used is brick-in-lime mortar veneered with red sandstone and marble and inlay work of precious/semi precious stones. The mosque and the guest house in the Taj Mahal complex are built of red sandstone in contrast to the marble tomb in the centre. Both the buildings have a large platform over the terrace at their front. Both the mosque and the guest house are the identical structures. They have an oblong massive prayer hall consist of three vaulted bays arranged in a row with central dominant portal. The frame of the portal arches and the spandrels are veneered in white marble. The spandrels are filled with flowery arabesques of stone intarsia and the arches bordered with rope molding.
METAPHYSICAL REALISATION
257. Mere existence is not something that has been realised. He who finds himself in life loses himself in death.
258. The realisation of Myself means the creation of Myself - to become the cause and causer, that is the dominator, of my own being.
259. The ultimate goal is salvation, but there is still a goal, an absolute goal, beyond this ultimate goal: the awakening. A goal is just in this sense a goal: a goal is a goal for this absolute goal exists - since without an absolute goal there could not be relative goals either.
260. There is no such cosmic level relative to which there is no higher cosmic level. And there is no such cosmic level relative to which there is no lower cosmic level: wandering in the cosmos can be endless - and this is exactly why metaphysical realisaton is not a further piling up of levels, but an absolute breaking through of dimensions.
261. Realisation takes place on the very route on which becoming took place - only the other way round.
262. Only that can come true which has never ceased to exist.
263. One should not experience something that is somewhere - be it close or far - I have to experience myself, that which is here - only without any personal or cosmic boundaries.
264. The Goal, which is in the infinite, is forever present.
265. To be infinitely Myself: this is the Goal.
266. Realisation is the realisation of myself as the Absolute.
267. Man’s real task is to transmute himself from individuum isolatum into Individuum Absolutum.
268. The goal is to get from identification to the autonomous identifier. This is the goal - the goal which determines the way, determines the starting point and in this the goal and the starting point turn out to be one.
269. If I turn myself totally to myself no power remains beyond me. The dethronement of the »other« operating above me means that I deprive myself as not recognised myself of sovereignty and put myself as recognised myself into power. For the recognition of myself is the same as the realisation of myself and the realisation of myself is the same as being free and sovereign.
270. Yoga is realisation - absolute Self-realisation; such a self-realisation that takes man out of the human world, out of the world of existence and along a path that he has opened up in himself, leading him to the Centre of being, which is beyond being.
271. To awake is the same as to awake to Myself. For though in every moment I am Myself, yet not absolutely. If I turn myself through myself totally to myself: that is awakening.
272. Realisation is the realisation of object and subject. If, however, this unity is realised in the object, it means the destruction of the individual. In the course of realisation unity should be realised in the subject.
273. In realisation I should reduce myself towards actions from objects and towards the subject from actions. In the opposite direction one can never find the essence - unless I recognise myself in beings. For in objects as objects it is impossible to find the essence; in objects, however, as subjects which are realised through actions, it is possible.
274. Total realisation is the unity of the centre and the periphery.
275. Absolution is not a private achievement. Awakening is the awakening of being.
276. With the awakening of man the whole world awakens.
[As in the case of common dreaming where with the awakening of the dreamer his whole dream world, reintegrated into the dreamer himself, awakens.]
277. When I reconstruct myself, I reconstruct the world.
278. He who becomes a buddha, realises the totality of being.
279. Yoga is a way through which I gain power to do being.
280. Absolute Self-realisation is the absolute realisation of being, in which it comes to light that I, atemporally, am the creator, sustainer and transmuter of being.
281. Nirvana is nothing other than the deflammatio of the »other«.
282. Nirvana is neither in a concrete nor in a figurative sense a place, which waits for one to arrive. It is, in fact, not possible to enter nirvana as we enter a room. It is realised by and with my entering it. Anyway, it is not different in our most ordinary everyday life...
283. Man has a cosmic task, but his ultimate goal lies beyond the cosmos. This ultimate, absolute goal which is beyond the cosmos is nowhere else but here - nonetheless, between my hic et nunc personality that is in the cosmos, and my hic et nunc personality that is beyond the cosmos, there is everything: heaven, hell and purgatory, the worlds, the chaos and the cosmos.
284. Metaphysical realisation, ultimately, is open to anyone, but it does not mean at all that everybody is fit for it. For only those are fit for metaphysical realisation who represent the ascending and upward aspect of the unique, Universal Man.
[i.e. - as it is stated in the 120th aphorism - every single man is the versional incarnation of the Universal Man.]
285. Principally, metaphysical realisation is open to every man, since almost directly behind and above the person stands the Subject; practically, though, only the elite of the spiritual elite have a chance for realisation, for the totality of existence, the whole cosmos lie between person and Subject.
286. Incapability for realisation, first and foremost, can forever be attributed to a lack of pistis.
287. The terror of annihilation is only a second-grade primary terror; the first-grade primary terror is the terror of awakening.
288. In the process of realisation even descent can have its own place, provided it is under control.
289. Realisation, and what is realised in realisation, is not a reward but a result.
290. Every being awakens - but not according to its own identification.
[Reference to the views called »happyendist« by Julius Evola, according to which everyone attains liberation in the end. Since he who not awakes not as a result of his autonomous endavours, but at the end of a world cycle -when everything returns to the Metaphysicum Absolutum -, this awakening, concerning his self-identity is equal to annihilation.]
(Excerpt from András László's SOLUM IPSUM)
earth/architecture/sky, grounded/interaction/ephemeral, horizontal/vertical/open. modalities of energy and consciousness. notes for a poem on the planes of existence.
via Instagram www.instagram.com/p/BQqs0PAh-kI/
What would become the largest airline in the world owes its existence to the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
When the 1996 Summer Olympics arrived in Atlanta, Delta repainted one of its 767s in a commemorative scheme, with the entire tail painted in Atlanta's Olympic logo. The small "Spirit of Delta" titles just below the passenger windows on the forward fuselage is N102DA's official name: Delta's first 767. it was bought with funds from Delta's employees. N102DA enjoyed a better retirement than most airliners: when withdrawn from service in 2006, it was repainted back to its original "widget" scheme and is on display at the Delta Airlines Heritage Museum in Atlanta, Georgia.
Old Dhaka is a place of 400 years of history of human civilization. There is a number of places where you can relate with the people and their old custom. Here Architecture is different, inspired from mughal. Here people are proud to hold their own traditions.
Note h chimneys in the foreground, they indicate the existence of wine cellars (cuevas or bodegas).
Medieval Bridge
The bridge of San Vicente de la Sonsierra is located west of the town, under the castle. Because of its excellent position, it defended the passage of the Ebro from the border of Navarre with Castile. It is possible that its existence goes back to 1172, when the town received the jurisdiction of Sancho el Sabio de Navarra, however, the oldest conserved can be traced back to the XIII century with Romanesque structure.
Built in ashlar masonry and masonry, it currently has nine arches, of different lights and shapes: the first three, which are the oldest, are pointed, the next three half-point, the seventh elliptic, the eighth carpanel and the ninth half-point .
Due to its structural problems, heavy traffic was suspended years ago and in 1997 a new bridge for the communication of San Vicente and Briones, downstream of the old one, was inaugurated. This new bridge, 320 m. long and 13 m. wide, it is composed of two bays of 90, two of 45 and another two of 25.
es-m-wikipedia-org.translate.goog/wiki/San_Vicente_de_la_...
A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
WIKIPEDIA
Dunolly.
This charming historic town in the Victorian goldfields belt owes it very existence to gold. The first pastoral land was taken here in 1845 by Archibald McDougall. When gold nuggets were discovered in the forest at nearby Moliagul in 1852 the current land owner at that time created a private town in 1854. McDougall in 1845 had named his property after Dunolly Castle in Scotland so although he had gone by then that was the name given to the new town. It spurted into life two years later when gold finds were made close to the town in 1856. Within a few months Dunolly had 15,000 diggers and inhabitants. Most left in 1858 but some gold mining continued for many years and the town has an air of faded elegance from these wealthy days. In the late 1850s/early 1860s many fine buildings were erected: a school hall (1857), a Court House (1862), an Anglican Church (1866), hospital (1860), the Railway Hotel under another name( 1858), The Bendigo Hotel and Cobb and Co Offices (1857) Methodist Church (1863),Town Hall (1862), Presbyterian Church (1864), etc. The railway from Melbourne and Maryborough reached the town in 1874 on its wat to St Arnaud. When the gold finds withered wheat became the main activity and the town had a flour mill erected in 1873 replaced by a newer one in 1893, more churches and more hotels and a Cobb and Co Office. In 1869 at Moliagul the largest gold nugget in the world for that time was discovered- The Welcome Stranger weighing 2,280 ounces. It was melted down for the gold but a replica is held in the Dunolly town museum. By 1875 the town of Dunolly had slipped back to around 1,500 permanent residents. The Chinese from the gold mining days had also gone by then but some are buried in the town cemetery. In World War Two (1943) a huge tin shed grain storage was built in Dunolly called a stick shed as thousands of gum poles held it together. Another one was built in Murtoa (heritage listed) which still exists but the Dunolly Stick Shed was demolished in 1987. Train services to Dunolly ceased in 1980.
Life is not so easy. These people travel hundreds of Miles on the back of trucks and come to the city to sell their Cows. These cows are not like animals to them, rather these are like their own sons because they take so much care of them for months that their is a special bonding between them. When they arrive in the "Cow Huts" to sell their cows, they have to sleep, cook and eat in the same same place with their cows.
Eid Mubarak Everyone!
Did Obama apologize for the existence of America?
Did Obama's back-breaking bow and genuflexion to a foreign potentate reveal his subservience to Allah and Saudi Arabian King Abdulláh bin Abdulazīz Āl Sa‘ūd, the custodian of two Holy Mosques?
Although White House Press Secretary Robert Gibbs denied Barack bowed, it is clear that Obama bowed his head on bended knee before his king during the formal G20 reception at Buckingham Palace on April 1, 2009. Youtube Video
Ironically, Barack Obama bowed to King Abdulláh after a U.S. Embassy cable noted Obama looked forward to seeing the King and Abdulláh replied, "Thank God for bringing Obama to the presidency" which has created "great hope" in the Muslim world. "May God grant him strength and patience… May God protect him. I'm concerned about his personal safety. America and the world need such a president."
Was Barack protecting our vital oil interests or will Obama impose Sharia Law on America?
Youtube Video of Obama Moving To Criminalize Criticism of Islam.
Although American etiquette expert Gloria Starr may insist Obama was displaying a sign of respect, one does not bow to a foreign monarch because the gesture symbolizes recognition of monarch's power over his/her subjects according to Miss Manners.
No American is required to bow to royalty and no president should act like a subject and bow in submission to any foreign prince or potentate since his act appears to acquiesce to the authority of the king. The president of the United States is only subservient to free Americans and the Constitution of the American Republic. From Eisenhower bowing to Charles De Gaulle in 1959 and Richard Nixon bowing to Emperor Hirohito, who attacked the U.S. at Pearl Harbor, in 1971 to Barack Hussein Obama in 2009, it is extremely inappropriate for any American head of state to bow in submission to any foreign ruler.
Likewise, Bush's bizarre behavior is extremely inappropriate for a president of the Republic… Youtube Video of President Bush Kissing and Holding Hands with King Abdulláh at Bush's ranch in Crawford, Texas on April 25th, 2005.
To be fair, both Dubya Bush and Obama received gifts from King Abdulláh in violation of the Constitution…
"No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince or foreign State." - Article I Section 9 of the Constitution
Youtube Video of President Obama receiving the King's Bling, the King Abdul Aziz Order of Merit, from Saudi Arabian King Abdulláh on June 3rd, 2009, two months after bowing to his king. The Saudi Arabian King bestowed the same gift upon Dubya Bush on January 14th, 2008.
Considering the absence of religious freedom and violations of human rights, would American Leaders behave so strangely if the U.S. reliance on Saudi oil wasn't significant?
(more pictures or information you can receive by going to the end of page!)
House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
A transient, horrible fantastic dream,
Wherein is nothing yet all do see:
From which we're wakened by a friendly nudge
Of our bedfellow Death, and cry: 'Oh fudge!'
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
Hohhot, Inner Mongolia, China
Hohhot is a city of incredible diversity. The mesh of Islamic and traditional Chinese architecture can be seen on the opposing sides of this city street. Muslims, Buddhists, and minority groups blend seamlessly in this bustling city.
Submitted by: Lisa Dicker
This and other photos in this set were submitted by students of the University of Tennessee as part of the Study Abroad Photo Contest. See studyabroad.utk.edu/ for more details.