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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,
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The continued existence of Auschwitz is an accident of history. Other Nazi murder camps, such as those at Treblinka, Belzec, or Sobibór, were deliberately dynamited by the SS before the war was over in order to conceal the incriminating evidence. They intended to do likewise at Auschwitz-Birkenau, but because of the speed of the advance of the Soviet army, the job was never finished. Much of the physical fabric of Auschwitz thus survived the war - not only the ruins of the gas chambers and the crematoria, but also the barracks, the watch-towers, the barbed-wire fences, the railway line that led nowhere except to the gas chambers.
A relook at the passed images.
We tend to see more of an image, not in the instance we depressed that shutter, but persistent meditation on the meaning of life, of existence and being. Inherent in the image is the message of birth, being and death. When meditating on the image, the meaning of an image reveals itself, in slow certainty, not in a flash, but it could come in a flash, a leap from normalcy, across the gap of invisible terrain.
Nights are always quiet, silence; days are a whole loaf of materialistic demands and bodily desires, that is the lure of the urban live. The night clears away those disturbances; we gain focus when darkness obliterated sight, reducing all existence to its essential. Only commanding a calm sense of ignorance, through sheer responsibility to the quest, silence could be found in daylight, with selfishness and irresponsibility required to overcome that momentous monster, social culture, a ‘they’ invisibly cajoling conformity, a slew of slogans of accepted goodness. Morality is borne from them, a form of coercion, to conform, to become, for the good of predictability and governance. Would we need morality when living in solitude and remoteness? Do we need morality when you are you. Or I am me. Would you think there is a need for morality in the social being of the ants and bees? Would you think that morality exists, or it is a mortal invention? And why all mortals think there is one, morality, and is it truth? What is creativity? Create, implies, new, leaping from the here and now to another landscape, non-conforming, difference, other than. And when creativity and morality collided, an immense nebular came into being, and when the nebular subsided, you rejoiced, like the nebular it too would subside.
With such monstrosity, with colorized lenses we could derive meaning and insight from behind each image we had taken. Exert values such as ‘to kill is to sin’ and we well up emotion of pity and a sense of injustice, from our righteous souls. ‘Wasp nibbling in mid-flight’ stirred the ocean of morality, jolted you. Imagine you were the spider. In that silence, death gripped you, you are as helpless as the spider, when face with the superior wasp, face with nature, face with fate, torn and tattered to the core, utterly helpless, if you are as omnipotent as god, you could right the wrong, but you, human, powerless, painful, is trapped, trapped within a body and an illusive heart. You need liberation. You need a way out of this unfairness. Why? Why some are borne to die a tragic death? All are borne to die. Why the privilege of one over the other? You see the pain and the painless. What if your death gives life and meaning to other souls? Indeed, a good deed in death, over a painless unworthy death, is preferred. Yet, it is still death. Death has to be worthy. Death has to be worthy. Death has to be worthy. It screamed in silence and determination. Death has to be worthy; life has to be worth living too. We latched on to its last defence, some are willing to die a worthy death, unwilling to believe otherwise, some see the futility of life, others see the futility of death, facing it squarely as the moment of returning to the source. All those thought are indeed a form of burden, death cannot be proven of its worthiness, all livings however they think and thought have to cease living at one moment or another when it come. Yes, nature’s fairness, the being of beings.
Calm down, take deep breath, long and slow.
Remove the veil of morality, remove questions, and return to the surface of the image. Draw towards the wasp, trace the wasp, from the eyes, amazing red, glittering, energy, radiant, vitality, the mouth, the thorax, the flapping wings, in unison, the legs, the constricted waist, the abdomen, the curve, the pointedness, the texture, the pattern, colour, the minuscule hairs. Complete beauty!!! Such wondrous miniature contains life, being and death. It is so small and yet so complete. Complete! Life in this being is.
The flapping of the wings in unison with the pull of the beaks, tearing the Cyclosa’s remaining cephalothorax away from its head, the Cyclosa in its death had offered itself up as nutrients to the wasp and its offspring. The cyclosa becomes the giver of live and sustenance so the wasp could live.
Facing death. a mangled piece, a head, an eye pops, the placid legs, red, torn, see it, go through every nuance of it. Fear and the urge to escape gripped us. Fix on it and see it as you would see the beauty of the wasp. In death we find liberation. Unite both within a single instance. Life, being and death. The being of the wasp is to feast on the spider. A completion, closure, calm and peaceful. Nature is. Is wonderful. Here we see a completion of nature’s work, again, in repetition -¬ birth, being and death.
Why is death liberating? Imagine you are the spider. Imagine that dying moment, as death grips you, it erases all that you had done, it erases your worthiness, it erases you. Fear, extreme fear, penetrates you deep, deep into your soul, and erases your soul, erases your being, to the point of total erasure. You scream. Scream out your soul. See it vanished. Your denial is futile. You feel that cold sweat and coldness shrivel up the spine.
In death, nothing else matter, desires, debt, hatred, anger, anxiety, joy, love and all emotions; all vanished. One is forgiven and one forgives. So imagine you are the spider, in that instance, liberated, one gave its life to another being, there is no foe, enemy, nor love, pure being, freeze in that moment, a singular moment. All is a pristine whiteness. Lost grips you, shaken, and arrive at a sense of immense liberation.
From that barren whiteness, a wasteland, life start a new, death nourishes beings and gives birth to another, more live flourish, another time, another day, another month, another year, in recurrence, in eternity. One sees its persistence and our futility of denial. It is an impossibility to phantom death, but we could phantom that death liberates. Life is a form of energy, transforming from one form into another.
The Cyclosa’s death, had also liberated those that could had been captured by the web that was spun by the Cyclosa. Now those smaller animals were given a chance to survive and mature; they have the wasp to thank. As one lay down their power, whether destructive or creative, it allows others to flourish and mature. Those that had risen would have to fall some days, the sage cautions, in high places, serve with humility and in low places, serve with pride. Did not Christ proclaimed he was your servant?
How do you feel about the following statement: "The very existence of reality shows about teen pregnancy, in and of itself, glamorizes teen pregnancy."
Agree: 134, 27%
Disagree: 103, 21%
Neither agree nor disagree: 187, 37%
Strongly agree: 55, 11%
Strongly disagree: 21, 4%
Total: 500
Andy Biersack of Black Veil Brides, live at the Best Buy Theater NYC 11.23.14
Check out the gallery on Music Existence: musicexistence.com/blog/2014/11/25/gallery-black-veil-bri...
As one of the simplest, but most ancient fibre arts in existence, craftsmen carved astonishing patterns into locally sourced teakwood blocks. The ethically sourced blocks are soaked in olive oil for ten days, dried in the Indian sun and can then be used with paints to create inspiring designs on fabric. Now a wide range of these unique Indian wooden printing blocks have been specially designed and made by Colouricious are available to buy online As one of the simplest, but most ancient fibre arts in existence, craftsmen carved astonishing patterns into locally sourced teakwood blocks. The ethically sourced blocks are soaked in olive oil for ten days, dried in the Indian sun and can then be used with paints to create inspiring designs on fabric. Now a wide range of these unique Indian wooden printing blocks have been specially designed and made by Colouricious are available to buy online at The Block Printing Shop www.colouricous.com
For the last year of their existence, Northern Coach Builders, is alleged to have poached a draughtsman from Eastern Coach Works and developed this all metal ECW pastiche of the highbridge body, normally fitted to the Bristol K.
Northern General had a batch of these fitted to Guy Arab 3 chassis, with the same predictable, under achieving Gardner 5LW engine.
One of these, probably on loan to Tynemouth, is seen arriving in Northumberland Square, North Shields. Going the other way is a 1957 Leyland PD2 Willowbrook. There was a batch of ten of these PD2's, one of the first manifestations, of a change in engineering policy from Guy to Leyland within the Northern General Group, following the retirement of Major Hayter, the erstwhile general manager. It was said that if you knew where to look all these Willowbrook bodies were different. But they all looked the same to me.
Other automotive goodies on site are a mid fifties Morris Oxford or Cowley, a similar vintage Bedford CA van and a Mk 2 Ford Consul.
"I pray one prayer, I repeat it till my tongue stiffens.... may you not rest as long as I am living. You said I killed you--haunt me then. The murdered do haunt their murderers. I believe--I know that ghosts have wandered the earth. Be with me always--take any form--drive me mad. Only do not leave me in this abyss, where I cannot find you! Oh, God! It is unutterable! I cannot live without my life! I cannot live without my soul!”
Heathcliff of Emily Brontë's Wuthering Heights is one hero who's more a villain. He embodies the enigma of existence.
Strobe info: Oloong 1/64, 50mm, ISO 500 shot with an umbrella reflector placed on the left of the model.
ODC: heroes & villains
Slowly, but surely, I'm making a dent into my backlog. First up, is Figma 169 Super Sonico.
Super Sonico has lived a somewhat charmed existence. Like so many beloved characters, Super Sonico had humble beginnings, in this case a the mascot for beloved visual novel and eroge developer, Nitroplus., specifically for a music festival which they hold.
She became so popular that character goods and other media of her started popping up. I don't think she's slowed down since her inception back in 2006. This figure was released in 2013 for 3,810 Yen.
As part of the character goods movement, Super Sonico has actually had two different Figma, with this one being the earlier one - her second figure is one where she's decked out in a bikini.
Shocking, I know.
From my understanding, she's wearing her default outfit, the Tiger Parka, for which there has been this Figma and a Nendoroid. It's call the Tiger Parka because, well, it's tiger themed, including a tail. She's also got her trademark headphones and, apparently, her trademark guitar.
In addition to the above, this set includes three total face pieces (neutral, smiling, scared), a hooded heads culpt, some posing hands, and of course the traditional Figma stand. All in all, a pretty typical package for an entry level figure, and quite frankly, what else could you really include with this outfit?
I think despite being a 1.0 Figma, her proportions aren't as far off as with Saber. If I'm looking at her character art correctly, the overall body silhouette is pretty close, though the character art has her bust slightly larger and her shoulders perhaps a tad higher off the ground.
While Super Sonico has all the traditional Figma joints, she exists to look cute as opposed to doing any real crazy action poses. This is because her outfit, in one way or another, basically interferes with the movement of all her limbs and head, especially if you throw the hood into play. Even unhooded, her hair gets in the way of any real head turning abilities. Strangely, there's enough space and give in her shirt to allow for some Exorcist style waist spits, so if you're looking to display your Super Sonico that way, you have the tools. She should also be able to pull of a decent rock star jump.
Thank goodness the expression plates are very good and can help to convey emotion when body language cannot.
Paint quality is.. well, Figma. All painted surfaces are clean and crisp, with little to no masking issues or overspray observed. Decals are nicely printed and applied. The paint work on the guitar in particular is quite nice, with its high gloss finish, mimicking the finishing on an actual guitar.
Finally, there's build quality. The usual things are in good shape, namely joint condition, tolerances, QC, and parts finish, again both on the main figure and the guitar. I think that they could have designed the hood a bit better, as it is a somewhat of a paint to put and and take off, requiring not only the connection of tabs, but also, the insertion of a neck post as well. Fortunately, at least they made the fluffy part of the hood removable so changing the faces was relatively annoyance free.
So overall, as mentioned, a nice, cute Figma with obvious curve appeal. She's certainly not going to win any accolades or anything, but she does have good shelf appeal thanks to the overall character design, which is now iconic in the character goods world. As an added bonus, I guess if you're looking for a more displayable Super Sonico figure, this would be one of them.
That's about it for Super Sonico. On to the next figure!
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
This manor has been in existence for 50+ years. Facing both the Junction Road and Grampian Road, it has at least 3 purpose-built garages on the Junction Road side; there is also an an aviary on the roof of these garages. The driveway leading to Grampian Road is narrow but the iron gate is magnificiant.
A man in his 50s was seen standing on the semi-circular balcony, enjoying his life in the afternoon - probably he is the second generation owner.
The building was sold and demolished, steel H-piling was constructed as foundations for re-development but the lot has been idled for years speculating for the rocketing land value.
Using pioneering new technologies in Superfoods and nutrition, CFTRI has developed amazing new products which are on show at CFTRI stall at Pragati Maidan:
· Chia and Quinoa based Chocolates and Laddoos;
· Omega-3 enriched ice-cream;
· Multigrain banana bar
· Fruit juice based carbonated drinks.
New Delhi, 24th November, 2016: CSIR-Central Food Technological Research Institute (CFTRI), the premier national institute for food technology is exhibiting a range of new agri-products now grown in India, called Superfoods that bring health and nutrition best practices to everyday eating and living to the common man. The exhibits by CFTRI at the Trade Fair at Pragati Maidan in New Delhi both impress and surprise with the range and scope of their utility and potency.
The Indian population is presently going through a nutrition transition and there is an increase in incidence of diabetes, impaired heart health and obesity while there is still rampant malnutrition in the nation.
Keeping in mind an effective solution needed to address these concerns, CSIR-CFTRI is working on bringing Superfoods to the Indian population. CFTRI works on various facets of food technology, food processing, advanced nutrition, Superfoods and allied sciences. Superfoods are foods which have superior nutrition profiles which upon regular consumption can help improve health and wellness of the consumer.
CFTRI has developed the agro-technology for growing Superfoods viz. Chia and Quinoa in Indian conditions. Chia is the richest source of omega-3 fats from a vegetarian source and Quinoa has excellent protein quality and low glycemic load carbohydrates. Comprehensively, Chia and Quinoa have potential to improve population health and both blend seamlessly into traditional food preparations.
CSIR-CFTRI also infuses the spirit of entrepreneurship in their students. One of the doctoral students after completing her academic program started her own technology provider start-up company, Oleome Biosolutions Pvt Ltd. In a global first, CSIR-CFTRI in collaboration with Oleome, has developed a 100% vegetarian, Omega-3-enriched Ice cream called “Nutriice” using Chia oil.
CSIR-CFTRI is also in the process of the final phase of testing of diacylglycerol (DAG) oil, a unique cooking oil that has “Anti-Obesity” functionalities. One can consume it as part of daily regular diet and while the oil is available as energy but does not get stored as fat in our bodies. The final phase of human clinical trial is presently under progress.
CFTRI has also designed and developed snacks with advanced nutrition designs to support the nutrition needs of growing children. These have been implemented in the aganwadi levels to complement the existing government mid-day meal and will be scaled up soon. The products, such as Nutri Chikki with spirulina, rice beverage mix, high protein rusk, energy food, nutri sprinkle, seasame paste and fortified mango bars have been well received by the children and the anganwadis alike. Multi-grain Banana bar is a new addition to in this product portfolio.
Another exciting area of multidisciplinary research being done at CSIR-CFTRI is on nanotechnology, food technology and nutrition. Nanomaterials are known for their characteristic properties and CSIR-CFTRI is working on the use of nanoparticles for various applications. One of our interesting developments is the design and development of food packaging material with nanoparticles with antimicrobial and antioxidant properties to improve shelf-life of processed foods.
CSIR-CFTRI is also working on “Smart Foods” to answer specific needs of the consumer. These promising and specifically designed innovations are being developed for better sleep, better skin health, improved digestion, better cognitive performance and better stress management. The high science is brought into a simple food product, like a cereal bar which helps one to be more attentive over the day, or a unique dosa mix that helps in working out better at the gym with lower perceived exhaustion and even a special soup to help sleep better at night!
Speaking on the sidelines of the CSIR-CFTRI exhibition at Pragati Maidn, Prof. Ram Rajasekharan, Director, CFTRI said “Our mandate is to find innovative solutions to India agricultural and nutritional challenges. Our aim is to develop products to make Indian agriculture productive, efficient and at a consumer level gradually replace drugs with foods that will promote better health and wellness. We strive to deliver our best in improving food security and nutrition security, also developing a stronger, smarter and healthier India”.
About CSIR-CFTRI:
CSIR − Central Food Technological Research Institute (CFTRI), Mysore (A constituent laboratory of Council of Scientific and Industrial Research, New Delhi) came into existence during 1950 with the great vision of its founders, and a network of inspiring as well as dedicated scientists who had a fascination to pursue in-depth research and development in the areas of food science and technology.
CSIR-CFTRI is today a large and diversified laboratory headed by Prof. Ram Rajasekharan, Director, CSIR-CFTRI. Presently the institute has a great team of scientists, technologists, engineers, technicians, skilled workers, and support staff. There are seventeen research and development departments, including laboratories focusing on lipid science, molecular nutrition, food engineering, food biotechnology, microbiology, biochemistry, food safety etc.
The institute has designed over 300 products, processes, and equipment types. It holds several patents and has a large number of high impact peer reviewed journal articles to its credit. India is the world's second largest food grain, fruit and vegetable producer, and the institute is engaged in research and development in the production and handling of grains, pulses, oilseeds, spices, fruits, vegetables, meat, fish, and poultry.
The institute develops technologies to increase efficiency and reduce postharvest losses, add convenience, increase export, find new sources of food products, integrate human resources in food industries and develops solutions to improve the health and wellness of the population.
CFTRI has a vast portfolio of over 300 products, processes and equipment designs, and close to 4000 licensees have availed themselves of these technologies for commercial exploitation. The achievements have been of considerable industrial value, social importance and national relevance, and coupled with the institute's wide-ranging facilities and services, have created an extensive impact on the Indian food industry and Indian society at large.
"Snow and pine tree" expresses a sense of evanescent intensity, of the still quiet of a snow blanketed scene broken by the hawk's sudden awareness and the quiver of snow showering off of the pine.
Shot at Salkumar'23 this photo shows the existence and survival of life with trees and plants and how those two are related.
USS OLYMPIA
Resting aside Becuna, a WWII sub.
This is a wonderful and majestic piece of history
now docked in Philadelphia to be experienced if you can.
However, it's future existence and location
is very much in question so
please take advantage and get to see it.
Here are a few interesting links/references to review
www.phillyseaport.org/ships_olympia.shtml
en.wikipedia.org/wiki/USS_Olympia_(C-6)
www.theolympian.com/2011/01/27/1521428/sink-the-uss-olymp...
www.google.com/#q=uss+olympia&hl=en&rlz=1W1ADRA_e...
It is the oldest steel hulled warship afloat today.
It is the oldest half sail/ half steam ship remaining.
It is the first naval vessel to use refrigeration, a big step.
It was the flagship at the famous battle of Manila Bay
commanded by Commodore George Dewey.
Name: USS Olympia
Namesake: Olympia, Washington
Ordered: 7 September 1888
Builder: Union Iron Works
San Francisco, California
Laid down: 17 June 1891
Launched: 5 November 1892
Sponsored by: Miss Ann B. Dickie
Commissioned: 5 February 1895
Decommissioned: 9 December 1922
Reclassified: CA-15, 17 July 1921
CL-15, 8 August 1921
IX-40, 30 June 1931
Fate: Museum Ship. Future disposition is uncertain.
General characteristics
Displacement: 5,586 tons
Length: 344 ft 1 in (104.88 m)
Beam: 53 ft 0.625 in (16.17028 m)
Draft: 21 ft 6 in (6.55 m)
Propulsion: vertical triple-expansion steam engine
2 × screw propellers
Speed: 20 kn (23 mph; 37 km/h)
Range: 13,000 nmi (15,000 mi; 24,000 km)
Complement: 33 officers and 395 enlisted men
Armament: 4 × 8 in (200 mm)/35 cal Mark 4 guns (2x2),
10 × 5 in (130 mm)/40 cal guns (later replaced with 5 in (130 mm)/51 cal guns) (10x1),
14 × 6-pounders (57 mm (2.2 in)) (14x1),
6 × 1-pounders (37 mm (1.5 in)) (6x1),
4 × Gatling guns (4x1),
6 × 18 in (460 mm) above-surface torpedo tubes, firing Whitehead Mark 1 torpedoes
Armor: Deck: 4.75 in (121 mm) on slopes; 2 in (51 mm) flat
Lila Gumbaj Ki Masjid (Mosque) in Champaner, Gujarat state, western India is one of the 114 monuments listed by the Baroda Heritage Trust that are part of the Champaner-Pavagadh Archaeological Park, a UNESCO World Heritage Site.
“This existence of ours is as transient as autumn clouds. To watch the birth and death of beings is like looking at the movements of a dance. A lifetime is a flash of lightning in the sky. Rushing by, like a torrent down a steep mountain.” - Buddha
Okunoin, Kiyomizu 1-chome, Higashiyama Ward, Kyoto, Kyoto Prefecture 605-0862, Japan
Gilded wooden cherub from the former organ case of the church, long since removed. The cherub eventually found its way to an antique shop in Belgium from where it was repatriated to the cathedral.
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
In the seventeenth century we discovered that a drop of water is alive, in the eighteenth century that all of nature is alive in its discrete particles, in the nineteenth century that these particles are all dancing a constant dance, and the twentieth century discovered that nothing at all is dead, that the material of existence is so many little solar systems of light mush, or as Einstein said, "… every clod of earth, every feather, every speck of dust is a prodigious reservoir of entrapped energy."
Now we have a new vision for a world totally alive. A product for our times. A revolution of spirit that would seem a miracle to previous ages.
Read on.
This is chiefly the landscape of an imaginative cast.
It is a great story.
This is just the beginning.
The proposition: e fango il mondo – ours is an intelligent way of looking, a music of thought. All had to be reorganized, redone, reset in their ways, made over. It's a new world we have invented. We have the spirit of time and matter. And so, by nobody's leave, we went on a journey, to see creation. But space and time were still the same thing, unsorted. So we began to create the world, so that we would all fit together somehow, some way. Our steps became time, our steps measured off space. You can see the road we took in the rainbow.
It is our sign.
Now that time has begun, we are teaching the history of the word
and the inmost things that have been forgotten. Teaching the structure and meaning of the word so that the system and the harmonies will finally be understood.
A greatcoat will be needed. The days will be raw.
The Evolution, like all things in time, is metamorphic. It has a history, as yet unwritten, and it has a geography, as yet unseen.
Geography is the wife of history, as space is the wife of time.
It lives in history, ageing, or proving immune to the bite of time.
The Evolution is like the drunk man who has lost his watch, and must get drunk again to find it. It is as intimate as speech and custom, and to trace its ways we need to re-educate our eyes.
The Evolution emphasises lightness and grace, colour and clarity, knowledge and truths.
What will be needed is an understanding of the meaning of the symbols, the signs.
The Evolution is an animal, alive and with a will of it's own.
It is invariably less or more than it's sum.
In just a few years, it will take its place in a complex of meaning that only now can be guessed at. At the heart of the complex will be Evolutionists
Once The Evolution is realized, it belongs to the world, and its greatest destiny is its usefulness to the tribe. It is worthwhile adding that the power of The Evolution to teach not only sensibilities and the subtle movements of the spirit but knowledge, real lasting felt knowledge, once locked into and released, will replace practically any university in the world.
First things first, then.
The primal importance of The Evolution is what it can add to the individual mind.
The Evolution is the voice of an Evolutionist at its birth, the voice of a people in its ultimate fulfilment as a successful and useful work of art.
The Characters: shall be known in time. They are shepherds, forages. Masters of horns and flowers, of printing and dancing, of the cello and cartography, of crystals and snakes, of polyhedral tensegrities and Cartesian speech, of history and embroidery. They are masters of friendship and love, of hyperbolic ambition, and family. They display allegiances and stubborn propensities. They assume the colour of their new surroundings, like chameleons; they perversely develop echoes. They are off. They have seen the signs. One dot starts all. Connect the dots with lines and you have a thing. A thing is an example of a plan. A thing has come into space, it enters the world. All they can make is what they have thought. And now it is written, as fine as any eye could ever see. It is written in every seed, which contains the plan of all things, it is written in the okra, in the spiders eye, in the stars.
Now they have it forever.
They are space itself, and only needed to move themselves outward, to swell themselves out, like light from the sun, like wind from the mountains, like thunder.
The Setting: London, the shadowed walls. Everyone on the streets, men, women, children, soldiers.
The Method: We play God, and havoc. Pranks on full career. The plan of all creation. We come down to an unfinished world way before we are welcome and see the world twist in a spiral as we grow. This is our journey.
We, not they, will be landlord of the world.
They are all blind in relation to thoughts.
See as the world twists on the bole while our branches spiral up, casting out the seeds of all other things. What grows, spins. We spin the word, which is nothing but the word move. The world will tremble, vibrate, shifting from one foot to the other, it will shake, it will dance our dance and we will talk with our feet, leaving our tracks in the plan of the signs we draw every evening at the edge of the city.
The signs we make will be the signs we live by that day.
You will not be afraid.
There are shepherds who will take you. There they wear the masks and bloody shirts and make the drums speak. The dancers come from afar.
They have been waiting many days. They enter the bounds wearing the masks of creation and their hearts are light, their hearts are gay.
They cry with joy.
The calendars are right, the great calendar of the sun, the great star.
It is a funeral and a rebirth
The families of drums begin to beat at dawn.
This is all the work of the great redeemers.
They are the beginning of sacrifice.
Cities are their shrouds.
Our work is to organize the world half made and crazy. Our work is in the shine of things, in light.
Now time is out of kilter, askew, but turning again to zero.
You will have been hearing the drums a long time before you see the new tribe in their bloody shirts leaping in the first light.
Jim Root of Slipknot. IZOD Center, NJ. 12.06.14
Feature gallery on Music Existence: musicexistence.com/blog/2014/12/09/gallery-slipknot-at-th...
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,
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
•200,000 years: Pre-historic and Proto-historic existence of early mankind
•2600 - 1900 BCE: Harappa Culture
•1500 - 1000 BCE: Rigvedic Aryan Civilization
•599 BCE: Jainism
•567 - 487 or c. 400 BCE: Buddha
•550 BCE - 600 CE: Buddhism remained prevalent
•550 - 515 BCE: Persian Invasion to west of Indus River
•326 BCE: Alexander’s Invasion
•322 - 298 BCE: Chandra Gupta Maurya Period
•273 - 232 BCE: Ashoka’s Period
•125 - 160 BCE: Rise of the Sakas (Scythians, known as the ancestors of Jats)
•2 BCE: Beginning of Rule of the Sakas.
•45 - 180 CE: Rule of the Kushanas
•320 - 550 CE: Gupta Empire
•500 CE: Hunnic Invasion
•510 - 650 CE: Vardhana Era
•647 - 1192 CE: Rajput Period
•713 - 1300 CE: Muslim Invaders (Arabs, then Turks) like Mohammed Ghori and Mahmud Ghazni
•8th Century CE: Arabs capture Sind and Multan
•1450 - 1700 CE: Mughal Rulers
•1469 - 1539 CE: Guru Nanak Dev (1st Sikh Guru)
•1539 - 1675 CE: Period of 8 Sikh Gurus from Guru Angad Dev to Guru Tegh Bahadur
•1675 - 1708 CE: Guru Gobind Singh (10th Sikh Guru)
•1708 - 1715 CE: Conquests of Banda Bahadur
•1716 - 1759 CE: Sikh struggle against Moghul Governors
•1739 CE: Invasion of Nadir Shah
•1748 -1769 CE: Ahmed Shah Abdali’s nine invasions
•1762 CE: 2nd Holocaust (Ghalughara) from Ahmed Shah’s 6th invasion
•1764 - 1799 CE: Rule of the Sikh Misls
•1799 - 1839 CE: Rule by Maharaja Ranjit Singh
•Maharaja Ranjit Singh (b.1780, Coronated April 12, 1801, d.1839)
•Kharak Singh (b.1801, d.1840), Eldest son of Ranjit Singh.
•Nau Nihal Singh (b.1821, d.1840), Grandson of Ranjit Singh.
•Sher Singh (b.1807, d.1843), Son of Ranjit Singh.
•Duleep Singh (b.1838, Coronated 1843, d.1893), Youngest son of Ranjit Singh.
•1849 CE: Annexation of Punjab - The British Empire annexed Punjab in c.1845-49 AD; after two Anglo Sikh Wars
•1849 - 1947 CE: British Rule
•1947 CE: Partition of India and thus Punjab into 2 parts. The Eastern part became the Indian Punjab and the Western part the Pakistan Punjab
•1966 CE: Punjab in India divided into 3 parts on linguistic basis - Haryana, Himachal Pradesh and Punjabi Suba (the present Punjab)
•1984 CE: Operation Blue Star and its aftermath
History of Karnataka
1 Kadambas and Gangas
2 Badami Chalukyas
3 Rashtrakutas
4 Western Chalukyas
5 Hoysalas
6 Vijayanagara Empire
7 Bahmani Sultanate
8 Bijapur Sultanate
9 Kingdom of Mysore
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
Mocap animations by Susan Sloane.
ARTIST STATEMENT
"One of my research interests focuses on the use of Motion Capture (Mocap) in the creation of computer animated portraits.
"I'm interested in the notion that Mocap is a document of existence in the same way that a photograph or a piece of video footage is. It is not one moment captured in time but a document of movement and identity removed from a specific time and place.
"Within these works I attempt to capture a sense of stillness and perhaps the mundane using motion captured sequences as the basis for the portraiture."
Collaborative documentary in situ of the salon exhibition, the study gallery of modern art, poole (04-08 nov)
Zora of Co-Existence gives a little off the shoulder tease at the Buskers Festival in downtown Windsor on Ouellette Avenue. For the request from MiRea's Realm that wanted to see Zora's face.
:o)
If you like this shot, you should check out what my friends post in MiRea's Realm
And if you have time, check out our website!!!
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
North Farnham Church in Virginia's Northern Neck has had a long and rough existence. It is a colonial-era church, built about 1737, and the exterior walls remain as examples of -- in the words of one source -- "colonial masonry at its finest"; the interior and the roof have had to be recreated, because of the noted rough existence. Like other colonial churches, which had been part of the Church of England, disestablishment after the American Revolution left the church vacant for some time. It was damaged by in a skirmish during the War of 1812, and during the American Civil War it was used by Union troops as a stable. Restored after the Civil War, the church was gutted by fire in 1887, and finally restored again in the 1920s (I've found dates of 1921, 1922, and 1924). It remains an active Episcopal Church, also like many of Virginia's colonial-era churches. The Flemish bond brickwork of the church's exterior looks amazingly good (below), but some of the ravages of time can be seen in the close-up of bricks in the water table of the lower portion of the walls (next photo). North Farnham Church was added to the National Register of Historic Places in 1973. According to Virginia Historic Landmarks (3rd ed., p. 396), in its early years, the congregation included members of two prominent Virginia families, the Carters and the Tayloes, residents of two other nearby historic properties, Sabine Hall and Mount Airy, respectively.