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Véhicule : IVECO BUS UrbanWay 12 €6
Identification : 2051 (EE-548-FF)
Exploitant : Keolis Chambéry
Dépôt : Chevaliers Tireurs
Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)
Ligne : Chrono A
Voiture : n.c.
Destination : INSEEC
Véhicule : IRISBUS IVECO Citelis 18 €4
Identification : 4006 (EL-958-XJ)
Exploitant : Keolis Chambéry
Dépôt : Chevaliers Tireurs
Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)
Ligne : Chrono A
Voiture : n.c.
Destination : INSEEC
Véhicule : HEULIEZ BUS GX 137 €6
Identification : 6041/147590 (DF-939-MV)
Exploitant : Keolis Drôme Ardèche
Dépôt : Chignin
Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)
Ligne : 2
Voiture : n.c.
Destination : CHAMBÉRY Cévennes
Merci à Lev. Anthony.
27/03/2019 11:25
Arrêt STAC "Université Jacob", Rue Jean Baptiste Richard ; Jacob-Bellecombette
Click "L" for larger version.
Holi festival ,India..
For more photos like this one.click MY SITE subirbasak.orgfree.com.....
p.s."Copyright © – Subir Basak.
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Les VBZ à la dérive!
Après la remise en service commercial des deux motrices historiques Mirage sans arriver à exploiter les lignes avec les convois prévus, une (nouvelle) rupture d'un cardan de transmission sur une motrice Cobra (Be 5/6 3001-3088) en date du 24 décembre 2018 (!) a nécessité trois mois plus tard (!) des mesures d'urgence en vigueur dès le 22 mars 2019 pour une durée indéterminée:
1) réduction de la vitesse maximale des Cobra à 42 km/h et 12 km/h sur les appareils de voie
2) pour limiter sectoriellement les retards attribution des Cobra aux lignes 2, 3, 4, 5, 6, 13 et 17.
Les autres lignes, y compris les lignes 10 et 12 du Glattalbahn, sont exploitées avec des convois Tram 2000 sans garantie d'accès surbaissé.
De plus, à partir du 1 janvier 2019 et avec une arrogance toute zürichoise, des mangers des VBZ ont imposé unilatéralement au TMZ l'immobilisation de pas moins de cinq motrices historiques sous le prétexte fallacieux de délai de révision. C'est faire bien peu de cas du sérieux du travail exécuté depuis plus de cinquante ans par les membres actifs du TMZ.
Si ces bureaucrates ne sont pas en mesure de comprendre la logique différence entre un simple contrôle technique et une inutile révision sur des véhicules en parfait état budgetée à un prix exorbitant ils n'ont certainement pas les compétences requises pour occuper leur poste et ils devraient être poussés vers la sortie par tous les moyens légaux disponibles!
Suite aux mesures décrites ci dessus, le Cobra Be 5/6 3070 en livrée VBG circule sur la ligne 3.
Des circulations par grappes de motrices sont observées sur les lignes exploitées par des Cobra dont la vitesse est limitée.
Le bâtiment derrière la motrice abrite un dépôt de trams.
19907
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Use without permission is illegal.
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If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Portuguese
Pupunha (Bactris gasipaes, Kunth) é o fruto da pupunheira, uma planta de porte magnífico da família Arecaceae (antiga Palmae), a qual pode crescer até 20 m e também é originária das florestas tropicais do continente americano. É muito conhecida e consumida pelas populações nativas da América Central até a Floresta Amazônica, sendo há séculos utilizada na sua alimentação.
Os frutos são freqüentemente consumidos depois de cozidos em água e sal ou na forma de farinha ou óleo comestíveis. Contudo eles também podem ser matéria prima para a fabricação de compotas e geléias.
Existe uma grande variedade de aves, que se alimentam da pupunheira silvestre, principalmente as araras, os papagaios e os periquitos (Psittacidae), os quais ocasionalmente podem ser espécies endêmicas com risco de extinção.
No Brasil, essa planta é uma solução viável para a industria palmiteira porque apresenta características agronômicas adequadas para a substituição com vantagens de outras palmeiras nativas como o açaí (Euterpe oleraceae) e a juçara (Euterpe edulis), que são exploradas de forma extrativista e predatória e por isso apresentam restrições legais e risco de extinção. O mercado interno brasileiro de palmito é cerca de cinco vezes maior do que o externo, que apresenta uma demanda crescente desse produto cada vez mais utilizado na culinária internacional. O cultivo da pupunha é economicamente importante também para a Costa Rica.
English
It is a palm which can typically grow to 20 m or taller, with pinnate leaves 3 m long on a 1 m long petiole. The fruit is a drupe with an edible pulp surrounding the single seed, 4–6 cm long and 3–5 cm broad. The rind (epicarp) of the wild palm's fruit can be red, yellow, or orange when the fruit is ripe depending on the variety of the palm.
B. gasipaes is well known by the native population where it grows, and it has been used for centuries as food. The fruit is frequently stewed in salted water. However, it may be eaten raw, peeled and dressed with salt and honey, used to make compotes and jellies, or also used to make flour and edible oil.
Many species of birds feed on this wild palm, notably macaws, parrots and parakeets, all members of the family Psittacidae. Some of these are endemic species, which are in danger of extinction.
Because the huge importance of B. gasipaes for the native populations, there are numerous common names for this plant in several languages and many countries. For example, in English: peach-palm or pewa (Trinidad and Tobago), peyibay(e), and pejivalle; in Spanish: pejibaye (Costa Rica, Nicaragua), chontaduro or chantaduro, (Colombia, Ecuador), pijuayo (Peru), pijiguao (Venezuela), tembé (Bolivia), pixbae (pronounced pibá) (Panama), and in Portuguese: pupunheira, and pupunha (Brazil). In addition, there are several botanical synonyms, including Bactris ciliata (Ruiz & Pav.) Mart., B. insignis (Mart.) Baill., B. speciosa (Mart.) H. Karst., B. utilis (Oerst.) Benth. & Hook.f. ex Hemsl., Guilelma chontaduro Triana, G. ciliata (Ruiz & Pav.) H. Wendl., G. gasipaes (Kunth) L. H. Bailey, G. insignis Mart., G. speciosa Mart., G. utilis Oerst., and Martinezia ciliata Ruiz & Pav.
This plant may also be harvested for heart of palm, and has commercial advantages in being fast growing; the first harvest can be from 18 to 24 months after planting. In Brazil, it is a viable solution for the heart of palm cultivation industry because its agricultural characteristics are adequate for it to be beneficial to substitute it for other native palms such as species of Euterpe including Euterpe oleracea (known as açaí) and Euterpe edulis (known as juçara), that have been extensively exploited and are protected as endangered species. The Brazilian domestic market for heart of palm is about five times bigger than the external one; however, there is an increasing demand for this product internationally as it is increasingly used in international cookery. In addition, the cultivation of Bactris gasipaes is also economically important for Costa Rica.
Composition of 100 g of pulp
164 calories, 2.5 g of protein, 28 mg of calcium, 31 mg of phosphorus, 3.3 mg of iron, 1,500 mmg of vitamin A, 0.06 mg of vitamin B1 and 34 mg of vitamin C.
Wikipedia
Spitfire PR.XI PL983 (G-PRXI) is a rare survivor of this mark of Spitfire, with just two ‘Mark Elevens’ remaining in an airworthy condition. This variant was specially designed to perform high altitude, long distance photographic operations – indeed one of the type’s most famous exploits was taking the initial images following the ‘Dambusters’ raid to prove to what extent the dams had been breached. Armament was removed in place of extra fuel tanks to allow for a significantly increased range. As such, the only defences the ‘Eleven’ had to hand were height and speed. Whilst the PR.XI could avoid most enemy fire at operating height, it was by no means an easy job for the pilots who suffered from the extreme conditions in unpressurised cockpits.
PL983 first flew in October 1944 and saw active service from 1945 onwards, taking photographs across Europe as part of 4 Squadron before transferring to 2 Squadron in Germany following the end of hostilities. The continued introduction of jet aircraft to the RAF saw units gradually replacing their Spitfires which became surplus to requirements and were often scrapped. However this airframe survived and was gifted to the American Air Attaché at the time, Livingstone Satterthwaite, for use as his personal transport. The aircraft still wore its ‘PR Blue’ colour scheme but the roundels were overpainted and the military identity PL983 was removed in place of an American civil registration. Consequently, famous Air Transport Auxiliary pilot Lettice Curtis was invited to fly PL983 in a number of civilian air races. In 1948, Lettice flew the Spitfire in the Lympne International Air Races and broke the National 100km close-circuit record, recording an average speed of 313.07mph.
The aircraft was returned to the Vickers Armstrong factory in late 1950 and was then donated to the Shuttleworth Collection at Old Warden, Bedfordshire. PL983 remained there for the next 25 years - mainly on static display outside - until it was moved to Duxford where a restoration back to flying condition began. Before completion, Shuttleworth sold the aeroplane at auction where it was purchased by French collector and pilot, Roland Frassinet. The Spitfire flew again from East Midlands Airport in 1984 where Trent Aero had completed the rebuild. Three years later the aircraft was acquired by warbird collector Doug Arnold, and soon had a leading role in the TV series ‘Piece of Cake’ where it depicted an early-mark Spitfire deployed to France towards the start of WWII. Upon Arnold’s death in 1992, G-PRXI – as the airframe was known by now – entered storage until re-emerging in 1999 with a new owner, Justin Fleming.
The Aircraft Restoration Company acquired the airframe some years later and commissioned a full rebuild. At this point it regained the PR.XI ’wrap-around’ Perspex windscreen – removed some years earlier - and the aircraft’s factory original Rolls-Royce Merlin 70 engine was tracked down, overhauled and re-fitted. PL983 flew again in 2018, adorned in the authentic ‘PR blue’ livery which was so effective at camouflaging the aircraft at height. A small addition was Lettice Curtis’s distinctive signature, reproduced in white paint next to the cockpit as a tribute to her and all other ATA pilots active throughout the era. During the restoration PL983 picked up the nickname ‘Eleven’ amongst the team, this over time was affectionately shortened to ‘L’. ‘L’ because it also happened to be the first letter of ‘Lettice Curtis’ and because it’s pronounced ‘el’, as in the first syllable of Eleven. Since then the nickname has stuck and you will rarely hear us refer to this wonderful machine as anything else.
In 2020, G-PRXI was nearing the end of some maintenance work and required a test flight. We decided to schedule John Romain’s test flight to coincide with the ‘Clap for Carers’ initiative which was ongoing amidst the COVID-19 pandemic. He flew the aircraft around local villages in an effort to raise morale during a difficult time for many. Following positive feedback, this was repeated again – this time with the words ‘THANK U NHS’ painted in large white lettering underneath the wings. With word of the ‘NHS Spitfire’ spreading and the NHS themselves now in direct contact to voice their support of the idea, the fuselage began to be adorned with the names of those nominated by their loved ones in return for a donation. The tail feathers of the ‘NHS Spitfire’ were soon a sea of names and the project raised over £130,000 for the ‘NHS Charities Together’. As restrictions eased, John flew this now iconic symbol of hope over some 255 hospitals across England, Scotland, Wales and Northern Ireland to spread the aircraft’s message of thanks to those it represented. Having carried cameras rather than weapons during active service, this non-combat variant of the Spitfire was the perfect machine for the NHS project and we would like to say a heartfelt thank you to everyone who help make it possible.
So… if you are ever passing by Duxford Airfield at dusk, always keep your eyes peeled for a dash of PR blue dancing among the golden evening clouds.
2023 Season Scheme Update:
With the NHS Spitfire project donation window having been closed for over a year and the final sum raised having been handed over to NHS Charities Together, the ‘THANK U NHS’ has now been removed from the underside of the Spitfire’s
wings. The thousands of names subtly hand written over the tail and rear fuselage section of the aircraft will remain on the aircraft for this season in order to give as many people as possible the chance to read them.
Valmorel est une station de sports d'hiver de la vallée de la Tarentaise, située sur les communes des Avanchers-Valmorel et de La Léchère, dans le département de la Savoie en région Auvergne-Rhône-Alpes.
La station est inaugurée en 1976. Son domaine est relié à la station mauriennaise de Saint-François-Longchamp et forme « Le Grand Domaine ».
Elle se situe à 1 320 mètres d'altitude, sur les territoires des communes des Avanchers-Valmorel, majoritairement, et de La Léchère, en Tarentaise, à 15 km de Moûtiers dans la vallée du Morel. Il y a une liaison directe avec la station de Saint-François-Longchamp en Maurienne, via le col de la Madeleine, ainsi qu'avec la station de Doucy-Combelouvière ; l'ensemble du domaine portant le nom commercial de Grand Domaine, exploité par le Domaine Skiable de Valmorel.
Il s'agit d'une station dite « de 4e génération », de taille moyenne, construite après les grandes réalisations des années 1960, et s'inscrivant dans une démarche d'un meilleur respect du cadre naturel. L'architecture s'inspire des chalets savoyards traditionnels : les maisons de 3 à 4 étages sont bâties en bois, avec des toits de lauze.
Initialement découvert en Sarre, le gisement houiller fut exploité côté français à partir de 1856 à Petite-Rosselle. La famille Wendel était alors à la tête d'un empire sidérurgique français.
La mine Wendel comportait 3 puits, créés de 1862 à 1935.
Interrompu par la Seconde Guerre mondiale, nationalisé en 1946, le carreau Wendel reprend ses travaux de modernisation et de creusement du puits Wendel 3 en 1947 pour s'achever en 1952, à 902 mètres de profondeur.
En 1960, le siège Wendel pouvait extraire jusqu'à 10 000 tonnes quotidiennes de charbon avec un effectif de 5 000 mineurs.
Il cesse son activité en 1986, mais une partie des infrastructures du site est encore utilisée jusqu'en 1989. Le puits Wendel 1 ferme en 1989, Wendel 2 en 1992 et Wendel 3 en 2001.
Aujourd'hui, le carreau Wendel est le plus important site d'extraction du charbon encore conservé en France. La quasi totalité des bâtiments et machines a été préservée.
Le site est ouvert au public. On peut y voir les machines d'extraction, les lavoirs, la sous-station électrique, les salles de douches et la lampisterie. On peut même descendre au fond d'un puits par un des ascenseurs qu'utilisaient les mineurs.
Face à ce patrimoine heureusement parvenu jusqu'à nous, on ne peut qu'être ému et rendre hommage à ces hommes qui ont, parfois au prix de leur vie, permis de chauffer les foyers français pendant plusieurs décennies.
Je n'ai malheureusement pas pu tout visiter, faute de temps. Voici une sélection de photos prises à l'extérieur du site.
The USMF's elite pilots (those given the rank of Paladin) are a tough breed whose exploits are well known across the galaxy. Though qualified on a wide array of different craft (including ones not used by the USMF) most Paladins operate solo or in small groups; often great distances from allied bases or capital ships and thus have found great use in one-man fighter craft with FTL capability.
Miniaturizing FTL jump drives is a complex and costly process, but the benefits of a faster-than-light starfighter are numerous. For years, the USMF Paladins utilized the AX-20 "Katana" in this role. While a sturdy and fast ship, the Katana's production foundry was completely destroyed in the beginning stages of the Dimension Wars, and as such, it's service numbers dwindled further from the already small amount (in comparison to non-FTL fighters in the fleet).
Starcom Solution's answered the call for a "faster-than-light jack of all trades" by introducing the "Tekkan" (a name of Japanese origin inspired by its spiritual predecessor "Katana"). Starcom Solutions, living up to it's name, conquered the complex issue of small FTL jump drives with a unique solution; the drive systems were built at the capital ship shipyards on Saturn and then shipped to Neptune where quantum technology was used to shrink the units down to a smaller size.
Impressed by the originality of Starcom Solutions' engineering prowess, the USMF quickly requested a Tekkan for immediate trial runs. The first Tekkan produced (which was painted red with white markings as tribute to the Katana) passed its tests with flying colors (no pun intended) and was assigned to Paladin Kira Janus.
The Tekkan features twin heavy repeating lasers (much like those found on Hyperius Industries' "Scorpion"-class heavy fighter) and twin "Mjölnir"-type lightning cannons, which fire thunderous bolts of energy across great distances. These weapons pack quite the punch and require no ammunition, but require a great amount of charge time. If safety protocols are bypassed, the capacitor banks can overcharge and result in a devastating chain reaction.
"Several" US federal government agencies have been hit in a global cyberattack that exploits a vulnerability in widely used software.
The US Cybersecurity and Infrastructure Security Agency "is providing support to several federal agencies that have experienced intrusions affecting their MOVEit applications," Eric Goldstein, the agency's executive assistant director for cybersecurity, said in a statement on Thursday to CNN, referring to the software impacted. "We are working urgently to understand impacts and ensure timely remediation."
It was not immediately clear if the hackers responsible for breaching the federal agencies were a Russian-speaking ransomware group that has claimed credit for numerous other victims in the hacking campaign.
A CISA spokesperson had no comment when CNN asked who carried out the hack of federal agencies and how many have been affected.
But the news adds to a growing tally of victims of a sprawling hacking campaign that began two weeks ago and has hit major US universities and state governments. The hacking spree mounts pressure on federal officials who have pledged to put a dent in the scourge of ransomware attacks that have hobbled schools, hospitals and local governments across the US.
Johns Hopkins University in Baltimore and the university's renowned health system said in a statement this week that "sensitive personal and financial information," including health billing records may have been stolen in the hack.
Meanwhile, Georgia's state-wide university system -- which spans the 40,000-student University of Georgia along with over a dozen other state colleges and universities -- confirmed it was investigating the "scope and severity" of the hack.
A Russian-speaking hacking group known as CLOP last week claimed credit for some of the hacks, which have also affected employees of the BBC, British Airways, oil giant Shell, and state governments in Minnesota and Illinois, among others.
The Russian hackers were the first to exploit the vulnerability, but experts say other groups may now have access to software code needed to conduct attacks.
The ransomware group had given victims until Wednesday to contact them about paying a ransom, after which they began listing more alleged victims from the hack on their extortion site on the dark web. As of Thursday morning, the dark website did not list any US federal agencies.
The episode shows the widespread impact that a single software flaw can have if exploited by skilled criminals.
The hackers -- a well-known group whose favored malware emerged in 2019 -- in late May began exploiting a new flaw in a widely used file-transfer software known as MOVEit, appearing to target as many exposed organizations as they could. The opportunistic nature of the hack left a broad swath of organizations vulnerable to extortion.
Progress, the US firm that owns the MOVEit software, has also urged victims to update their software packages and has issued security advice.
© 2023 Cable News Network, Inc. A WarnerMedia Company. All Rights Reserved.
France, Région Auvergne-Rhône-Alpes, département de l'Ain, Massif du Jura, Région géographique du Bugey, Vallée du Valromey, Brénod
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Le Valromey est à la fois une région historique et une vallée de France, qui au sein du Bugey, participe à la transition entre Haut-Bugey et Bas-Bugey ; elle est drainée par le Séran.
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Toponymie
Une étymologie fausse prétend que Valromey signifie « vallée romaine » en ancien français, mais cette étymologie est sans doute victime des apparences. En effet, l'ancien français n'y était que peu parlé avant l'annexion en 1601, la langue vernaculaire était en effet le francoprovençal, langue dans laquelle cette vallée se nomme Verromey. Des attestations plus anciennes apparaissent dans les textes sous les noms de Verrumensi en 1110, Veromensi en 1142 et Verrometum en 1169. Ces évolutions de la dénomination dérivent sans doute de Venetonimagus ou plus anciennement de Vernemetonimagos.
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Objectif entièrement manuel Laowa 12mm f/2.8 Zero-Distorsion
Exploitant : Cars Hourtoule
Réseau : SQY Terre d'Innovations
Ligne : 9
Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)
Lien TC Infos : tc-infos.fr/id/35058
Exploitant : Keolis Dijon Mobilités
Réseau : Divia
Ligne : L7
Lieu : Chevigny (Chevigny-Saint-Sauveur, F-21)
Lien TC Infos : tc-infos.fr/vehicule/35251
Véhicule : IVECO BUS Crossway Pop (13m.) CNG
Identification : _ (FD-990-DX)
Exploitant : SPL TRANS LANDES
Véhicule de démonstration IVECO BUS France. Véhicule en expérimentation pendant 1 mois. Véhicule présenté à Autocar Expo 2018, et en expérimentation à la Citram Aquitaine à l'été 2019.
Dépôt : Saint-Vincent-de-Paul
Merci au Responsable de la SPL TRANS LANDES qui a permis cette visite.
11/05/2019 15:42
Dépôt SPL TRANS LANDES, Route de Carrère ; Saint-Vincent-de-Paul
L'exploitation de sept filons d'ardoises pendant trois siècles a formé des falaises abruptes parallèles de roches inexploitables (à trop forte teneur en quartz) de 50 à 150 mètres de profondeur.
D'une qualité remarquable avec seulement 2 % de porosité, ces ardoises de Corrèze ont notamment été choisies pour la rénovation de l'abbaye du Mont-Saint-Michel.
Je cherchais un moyen d'exploiter le thème, tout en continuant à faire mes sorties dans le Parc. C'est donc un compromis. Pour ce qui est des autres photos de la sortie, voir mon flickr...
Véhicule : HEULIEZ BUS GX 427 EEV
Identification : 1075 (BM-086-VK)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Dépôt de Lescure
Réseau : TBM (Bordeaux Métropole)
Ligne : Lianes 10
Voiture : 1017
Destination : BOULIAC Centre Commercial - par Gare St-Jean
À partir du 4 Novembre 2019, Bordeaux Métropole a modifié les itinéraires de plusieurs lignes, de manière à "compléter la [...] Corol 31 et soulager certaines sections du Tram aux heures les plus chargées". Ont été concernées la Lianes 10, la Lianes 16, et la Principale 24.
Dernière semaine de circulation sur l'itinéraire entre "BORDEAUX - Stalingrad" et "BOULIAC - Centre Commercial" pour la Lianes 10, qui se verra modifiée pour rejoindre "BORDEAUX - Jardin Botanique" par l'Avenue Thiers.
30/10/2019 17:09
Quai Deschamps ; F-33 BORDEAUX
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Exploitant : Keolis Aude
Réseau : Citibus
Ligne : Navette Côte Indigo
Lieu : Acacias (Saint-Pierre-la-Mer, F-11)
Lien TC Infos : tc-infos.fr/vehicule/70838
L'exploitation de sept filons d'ardoises pendant trois siècles a formé des falaises abruptes parallèles de roches inexploitables (à trop forte teneur en quartz) de 50 à 150 mètres de profondeur.
D'une qualité remarquable avec seulement 2 % de porosité, ces ardoises de Corrèze ont notamment été choisies pour la rénovation de l'abbaye du Mont-Saint-Michel.
The Santa Marija Tower
Santa Marija Tower lies in Comino island, Malta. The fort was slow in arriving though, some 200 years late in fact. Back in the middle ages, in 1418, the Gozitans had petitioned their ruler, then the Viceroy of Sicily, to have Comino defended. King Alfonso V of Aragon gave the permission for this tower to be built and money was raised by the local government, the University, through the taxation on imported wine. Unfortunately the money was used to fund Alfonso's military exploits and the tower remained unbuilt. In 1532, barely two years after the arrival of the Knights of St. John in Malta, a Florentine engineer, Piccino, was commissioned to prepare designs for a tower to be constructed on Comino. Piccino was however soon called to draw a bastion at Telghet Sceberras, in what is today Valletta, and the Comino Tower was once again shelved. In 1535 Piccino left Malta.
When in the 1601, Aragonese Grand Master Martino Garzes passed away, the newly-elected Grand Master, the Frenchman Alof de Wignacourt took possession at a time when a Turkish assault on Malta was imminent. In these years the population of Malta was 38,500, that of Gozo 2,700. The assault was eventually carried out in 1614.
It had to be Alof de Wignacourt, who in 1618 financed and built the Santa Maria tower in Comino to guard the Gozo-Malta channel and deter enemy shipping from finding shelter in the caves of Comino. The tower, armaments and provision for the Santa Maria Tower in Comino cost 18,628 scudi, the most expensive, the designs probably being drawn by Maltese architect Vittorop Cassar (1550-1607). The site chosen is at Ras l-Irqieqa, on the southwestern side of the island, at a height of 230 feet above sea level. Its walls are 18 feet thick, the tower being 65 feet above the ground.
The tower housed ten heavy guns, eight light guns and could take a compliment of 130 men, expected to oppose landing parties. There is a place where a number of horses could be sheltered if necessary. It had a compliment of thirty Maltese soldiers, whose task was to defend the place in case of attack.
The Santa Maria tower rests on a plinth that is 110 feet square and 25 feet high. Other defensive facets are the scarp musketry gallery at the base of the walls, the fausse braye and the glacis.It was only after the construction of the Santa Maria tower in 1618 that Comino was partly brought under cultivation, not with so much success.
Signallers on the roof kept in continuous communication with St. Agatha's Tower, It-Torri l-Ahmar, in Mellieha on Malta and Torre Garzes in Mgarr, on matters of a defensive nature, such as enemy movements and their own state of alertness. It was not uncommon of having Knights of the Order, including those who flirted with their vows of chastity and celibacy, imprisoned here, perhaps to contemplate better on their lifestyle. Some of the soldiers were decrepit and infirm, as was the case of Mikiel Zarb, an octogenarian Detachment Commander in 1749. Boisgelin, writing in 1804 states that the Comino Tower armament consisted of two iron 12-pounders, one bronze 10-pounder, one bronze 4-pounder and two bronze 3-pounders.
With the British arrival in 1799 to help assist the cause of the Maltese revolution against French Napoleonic rule on the islands, the British forces decided to use the Comino Tower as a prisoner of war camp for undesirables, including extortionists and other nefarious characters.
Comino was made out of bounds for all civilians, and sailors were ordered to give the island a wide berth, or face the consequence of a death by a firing squad and confiscation of the shipping vessel. With the might of the omnipresent British navy now based in Malta, preferred to the Minorcan harbour of Mahon, the fears of Ottoman incursions against the islands were no more.
The tower was manned by the armed forces in both the First and Second World War, until handed over to the Government of Malta. From the 1960s vandals crept in, denuding the Comino Tower of its furniture and fittings, leaving a fracas only degenerates could contort, behind them. Fires were lit inside, glass strewn all over the historic site as the authorities dozed and yawned. This pathetic situation persisted throughout the 1970s, although the Gozitan heritage organization Wirt Missierijietna [Our Forefather's Legacy], now defunct, campaigned and succeeded in having the wooden bridge removed, in order to arrest further voluntary damage. In 1982, the Comino Tower reverted to military life, this time under the Armed Forces of Malta, who used the place as an anti-smuggling deterrent. Electricity replaced oil lamps and the presence of soldiers helped, albeit, checked vandalism and theft, which had included the savaged flagstones.
In 2000, the Malta Maritime Authority reached an agreement with Din l-Art Helwa, a national heritage organization, to fund the entire restoration of the Santa Maria Tower. This shall be carried out in two main phases; the outside restoration, including the missing parapet and damaged walls and turrets and the internal part of the Comino Tower. Restoration works were completed by 2004.
www.ghajnsielem.com/places/comino.html
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***PLEASE DO NOT USE MY PICTURES WITHOUT MY PERMISSION***
© Andreas Constantinou
www.facebook.com/pages/Andreas-Constantinou-Photography/1...
Véhicule : BOLLORÉ BlueBus 12
Identification : _ (EX-185-MT)
Exploitant : Keolis Bordeaux Métropole
Premier bus électrique expérimenté sur une ligne régulière commerciale, du 27 Mai et 7 Juin 2019.
Réseau : TBM (Bordeaux Métropole)
Dépôt : Bastide Niel
Ligne : Lianes 15
Voiture : n.c.
Destination : Centre Commercial BORDEAUX LAC
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), ALSTOM (Aptis), HEULIEZ BUS (GX 337 Elec probablement), IRIZAR (i2e probablement), MERCEDES-BENZ (eCitaro), MAN (Lion's City 12 E), et YUTONG (E 12 LF). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
06/06/2019 16:00
Avenue des Pyrénées ; Villenave d'Ornon
Exploitant : CAB Solution
Réseau : Navette Substitution SNCF Île-de-France
Ligne : Navette Transilien J
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/36803
Véhicule : IRISBUS Agora L GNV
Identification : 2288 (DD-111-XD)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE SPÉCIALE TOP14
Voiture : 1802
Destination : Mise en Ligne
À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place des Navettes Spéciales. La première est la Navette habituelle entre Brandenburg Tram B et le Stade, exploitée par Keolis Bordeaux Métropole en bus articulés. La seconde est une Navette spéciale pour l'occasion entre le Parking P8 Blanquefort et le Stade, exploitée par Keolis Gironde en bus standard.
09/06/2019 16:05
Avenue de la Jallere ; F-33 BORDEAUX
Pallaqueras, female gold miners, search for gold on a load of waste rock from the gold mines in La Rinconada, Peru, 4 August 2012. During the last decade, the rising price of the gold has attracted thousands of people to La Rinconada in the Peruvian Andes. At 5300 metres above sea level, nearly 50.000 people work in the gold mines and live in the nearby colonies without running water, sewage system or heating service. Although the work in the mines is very dangerous (falling rocks, poisonous gases and a shifting glacier), the majority of miners have no contract and operate under the cachorreo system - working 30 days without payment and taking the gold they supposedly find the 31st day as the only salary. In spite of a demaged environment, caused by mercury contamination from the mining and the lack of garbage disposal, people continue to flock to the region hoping to find their fortune. © Jan Sochor Photography
⚪️🔴 TCL 🔴⚪️
Lyon
Réseau 🎫 : TCL
Exploitant 📋 : Keolis Lyon
Véhicule 🚐 : Heuliez Bus Gx 337 Linium Électrique ⚡️
Numéro de Parc ️ : 3️⃣9️⃣0️⃣7️⃣
Ligne 🚦 : C16 en direction de Surville Route de Vienne
Photo : 27/11/2021 à l’arrêt Institut d’Art Contemporain, le véhicule effectue son retournement suite aux manifestations. La ligne était limitée a Charmettes.
Appareil : Canon EOS 250 D
Hashtag #️⃣: #heuliez #heuliezbus #heuliezgx #heuliezgx337 #gxLinium #linium #heuliezlinium #gx337 #gx #heuliez337 #gxelec #gx337elec #heuliezelec #newGX #styral #tcl #lyon #bus #trolleybus #busspotter #busspotting #busfan #busphotograph #busphotography #likebus #bustransport #ilovetcl#transportencommun #publictransport #tcdefrance #keolis #ilovetcl
In Hindu society, fire walking is an important ritual, practiced by certain sections of Hindu society and considered as a physical and spiritual exploit; the ceremonial involves walking over a bed of coals, an act of self purification performed by men and women of all ages; the ritual is known as thimithi and dedicated to ‘Draupadi Amman of Mahabharata’ – an important female deity associated with Shakti cult in Tamil Culture and also to numerous other village deities found in South India, which are directly or indirectly related to Shakti cult; for some devotees it is part of a vow in which they promise to walk on fire in exchange for a wish granted by Amman, believing that if they are blessed by Amman then they will come out unscathed; I even saw some people carrying their children on their shoulders as part of the rite; Men can walk on fire because coal from wood has less thermal capacities, which means that less heat is transferred to the feet while crossing on fire; the period of contact between burning coals and feet is for a very short moment, but even with those scientific explanations, you need a lot of courage to enter the inferno as temperature rises all around; after the walk on fire, the family comes to the devotee and bless him
© Eric Lafforgue
Hi everyone todays painting is (The Exploited Worker) there is so much that can be said about this evil practice that I will just say this way of living for many must come to a end,or will people continue to turn a blind eye all in the name of many times for profit? take care steve.
Inscription on postcard translates to something like "Solemnity [near] monument to Nevelskoy" written in pre-Revolution orthograthy. Gennady Ivanovich Nevelskoy was russian admiral and explorer of Far East. (This information was provided by flickr member Hans KC)
Unveiled in 1897, the monument to Nevelskoy became the first monument in Vladivostok. The cornerstone was laid in 1891 by Cesarevich Nikolai who was to be the last imperial ruler of Russia. The townspeople had been donating since 1889 when the idea of commemorating the memory of G. Nevelskoy was first put into words. Admiral Nevelskoy (1813-1876), Russian explorer of the Far East proved that Sakhalin was an island--not a peninsula as it had been thought of before--and that the Amur was navigable in all its parts--the mouth of the Amur had been believed to be lost in quick sands. Nevelskoy also founded Nikolayevsk-on-Amur in 1850.
Simple in form and modest in embellishment, the Nevelskoy Monument began to symbolize the collective exploration exploits and pioneering spirit of sailors, soldiers, cossacks and first explorers. Designed by the navy engineer A.Antipov, the monument consists of twelve gray granite slabs topped with the globe circled along the diameter and crowned with a two-headed eagle, a symbol of Russian csars' autocracy. In the niche facing the Golden Horn Inlet stands the Nevelskoy bust perfectly executed by a renouned Russian sculptor R.Bach (1859 - 1933). Inconspicuous presence of Nevelskoy highlights the expressiveness of the whole. In the rest three niches there are the bronze plaques bearing the names of Nevelskoy's collaborators who participated in 1849 - 1853 expeditions.
The story of the Nevelskoy Monument is typical of post-revolutionary Russia: in 1923 the five-pointed star came to replace the two-headed eagle, the remains of revolutionaries were reburied in front of the monument. Since then the small public garden surrounding it has been named the Victims of the Revolution Public Garden. In 1958 two years before the centenary of Vladivostok, N.Kukel'-Krayevsky, the grandson of Nevelskoy, addressed the local government to restore the monument. By 1960 the Nevelskoy Monument had been restored.
Vladivostok literally 'ruler of the east' is a city and the administrative centre of the Far Eastern Federal District and Primorsky Krai, Russia, located around the Golden Horn Bay, not far from Russia's borders with China and North Korea. The population of the city as of 2018 was 604,901, up from 592,034 recorded in the 2010 Russian census. Harbin in China is about 515 kilometres (320 mi) away, while Sapporo in Japan is about 775 kilometres (482 mi) east across the Sea of Japan. The city is the home port of the Russian Pacific Fleet and is the largest Russian port on the Pacific coast.
Beringen, province of Limburg.
In 1906 the Beringen-Koersel concession was granted (4950 ha). A year later, the SA Charbonnages de Beeringen was founded. Production started in 1922. Coal was mined on floors -727, -789 and -850 meters. In 1948, 6796 miners worked in Beringen. In 1954 the concession was increased to 5271 ha. Two years later, Beringen achieved an annual production of 886000 tons. From 1959 onwards, part of the Ham-Kwaadmechelen concession was also exploited (no coal mine ever came into production here). During the following years, Beringen remained one of the most important Belgian coal mines. On October 28, 1989, the mine was closed as the penultimate mine in the Netherlands. Total production was just over 79 million tonnes.
The majority of the buildings have been preserved and are part of the Mining Museum. There are guided tours of the buildings that still exist. Under the name B-mine, shops, homes, swimming pools, restaurants, etc. appeared. on the mining sites. The slag heaps have also been preserved and have a recreational function.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2683 (BN-777-LS)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 160 NAVETTE RELAIS TRAM B
Voiture : 16014
Destination : BORDEAUX Musée d'Aquitaine
Du Lundi 27 Juillet au Jeudi 6 Août 2020, la ligne de Tram B a été interrompue en plusieurs phases pour les travaux estivaux, consistant en une maintenance et une réfection du système d'Alimentation Par le Sol (APS).
Du 27/07 au 31/07 d'abord, entre les stations "Quinconces" et "Saint-Nicolas" en journée, et prolongée jusqu'aux antennes de PESSAC en soirée et jusqu'à fin de service. Les 3 et 4 Août ensuite, entre les stations "Quinconces" et "Musée d'Aquitaine" (pas de Bus de Substitution). Les 5 et 6 Août pour finir, entre les stations "Berges de la Garonne" et "Musée d'Aquitaine".
Sur les première et troisième phases, des Bus de Substitution ont été mis en place en relais du tram, avec des bus articulés.
06/08/2020 12:53
Rue Blanqui ; F-33 BORDEAUX
Véhicule : VOLVO 8700
Identification : _ (5268 TD 33)
Exploitant : Autocars Gérardin
Dépôt : n.c.
Réseau : TER Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : 33 Substitution
Service : 405630
Destination : BERGERAC
Du Mercredi 2 Janvier 2019 au Dimanche 29 Septembre 2019, la ligne 26/33 (Bordeaux - Bergerac - Sarlat) du réseau TER Nouvelle-Aquitaine était interrompue, en raison d'une réfection complète des voies ferrées entre Libourne et Bergerac, dans un état vétuste et posant des problèmes de sécurité. Des cars ont donc étaient mis en place en substitution aux trains sur certaines portions.
24/09/2019 17:48
Place des Martyrs de la Résistance ; Libourne
pretending to take a picture of Kitty just to get the guy
and no, I did not get a model release from him :)
Exploitant : RATP
Réseau : RATP
Ligne : 528
Lieu : Porte de Clichy (Paris 17ème, F-75)
Lien TC Infos :https://tc-infos.fr/id/32302
Ligne 1 du réseau ID BUS en provenance de Sabirs-Vieux Château et à destination de Anciennes Usines à Port-Joinville.
Réseau exploité par la Régie des transports urbains de l'Ile d'Yeu.
Rue d'Avignon (Vaucluse - Juin 2019)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 11
Lieu : Chêne Vert (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5646