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Exploitant : Cars Lacroix
Réseau : Valoise
Ligne : 95-20
Lieu : Route de Cormeilles (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/vehicule/25155
After reading about the exploits of Major Robert Henry Cain I just knew that we had to create a piece featuring him. They don't come much more swashbuckling than the good Major. He is the only Manx recipient (to date) of the Victoria Cross, the highest award for gallantry in the face of the enemy, which was awarded for his brave actions during the Battle of Arnhem. I'm sure the history books can describe it much better than me but suffice it to say he loved to take out German armour with whatever weaponry was at hand and at the Battle of Arnhem alone personally destroyed six tanks and an unspecified number of self propelled field guns. As the wording for his VC states:
"On 20th September (1944) a Tiger tank approached the area held by his company and Major Cain went out alone to deal with it armed with a PIAT (anti-tank weapon). Taking up a position he held his fire until the tank was only 20 yards away when he opened up. The tank immediately halted and turned its guns on him, shooting away a corner of the house near where this officer was lying. Although wounded by machine gun bullets and falling masonry, Major Cain continued firing until he had scored several direct hits, immobilised the tank and supervised the bringing up of a 75 mm. howitzer which completely destroyed it. Only then would he consent to have his wounds dressed.
In the next morning this officer drove off three more tanks by the fearless use of his PIAT, on each occasion leaving cover and taking up position in open ground with complete disregard for his personal safety.
During the following days, Major Cain was everywhere where danger threatened, moving amongst his men and encouraging them by his fearless example to hold out. He refused rest and medical attention in spite of the fact that his hearing had been seriously impaired because of a perforated eardrum and he was suffering from multiple wounds.
On 25 September the enemy made a concerted attack on Major Cain's position, using self-propelled guns, flame throwers and infantry. By this time the last PIAT had been put out of action and Major Cain was armed with only a light 2" mortar. However, by a skilful use of this weapon and his daring leadership of the few men still under his command, he completely demoralized the enemy who, after an engagement lasting more than three hours, withdrew in disorder."
Before the remains of his division withdrew and crossed the Rhine he took the time to shave then waited til all his men were across before he himself crossed on an old boat. Now, if that's not a classic British stiff upper lip then I don't know what is. To top it all off he was the only man to receive the VC at Arnhem who lived to tell the tale. To list more of his adventures would take far too long and I would suggest you check out his wikipedia page for more information and unlikely tales of derring-do. Now I just need to find something suitable to do with our little tribute...
Cheers
id-iom
PARADISE LOST: HUMAN EXPLOITATION IN MADAGASCAR: See my photo essay in the latest edition of LIFE FORCE, an online photo magazine.
Véhicule : BOLLORÉ BlueBus 6 M
Identification : _ (ED-833-XL)
Exploitant : BlueBus
Dépôt : n.c.
Véhicule en provenance du BUSWORLD EUROPE Brussels 2019.
Réseau : n.a.
Ligne : Convoyage
Service : Keolis Nouvelles Énergies Tour
Destination : Cars de Bordeaux > Palais des Congrès
12/11/2019 10:28
Parking Palais des Congrès de Bordeaux
Avenue Jean Gabriel Domergue ; F-33 BORDEAUX
From the book "Peter and Wendy" by J. M. Barrie. London: Hodder & Stoughton, (1911). First edition. This is the first book that tells the story of Peter Pan, Wendy and their exploits in Neverland along with the now familiar cast of characters that includes Captain Hook, Tinker Bell, the Lost Boys and Tiger Lily.
Time...an entity we [humans] argue about.
Time...an entity we [humans] complain about.
Time...an entity we [humans] exploit.
& Time...an entity we [humans] run short of.
How can a unit of measure such as Time dictate and authenticate the mere fabric of society? Like a constant strike of a drum or a mammal's heartbeat, the tick and tock of a clock represent the constant state of motion as we simply move about our "business" through time and space.
The conception of time appears to be real as the ultimate interpretation of "change" itself; we [humans] widely experience and interact with time from that of a snail's pace to a New York Minute. Perhaps the greatest [of all the] mysteries, "Time" waits for no one or thing.
What do you think? How can be [humans] buy sand sell "Time"? Is "Time" truly the most precious commodity there is?
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. On the last day of November 2020.
Exposure Time: 1/6 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Adaptor: 1:1 Extension Tube
Water exploitation-waste
Example of water wastage and exploitation from the aquifers in the Viacha and El Alto regions of Bolivia. 27 April 2016
Photo Credit: Louise Potterton / IAEA
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
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.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Exploitant : RATP
Réseau : Navette Substitution SNCF Île-de-France
Ligne : Navette Transilien H
Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)
Lien TC Infos : tc-infos.fr/id/3929
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. 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.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
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.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
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.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
There are still questions about what this record really is. Alternate Santana's first LP ? French session band commissioned to redone this LP from start to finish ?
Anyway, the sound is rawer than on Santana's first.
The Exploited are one of the U.K.'s most politically outspoken thrash bands. Based in Edinburgh, the band is led by vocalist Wattie Buchan, whose supporting cast has changed several times since the group's inception around the end of the '70s. The band has garnered a sizable hardcore audience in the U.K. for its anti-authoritarian stance and criticism of the government, particularly in the Reagan/Thatcher era, but their following is not quite as large in the U.S. and has declined somewhat in Britain over the years
Exploitant : Transdev TVO
Réseau : Bus en Seine
Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/27741
French postcard for Les Mystères de New York, a European re-edition of the three Pearl White serials The Exploits of Elaine, The New Exploits of Elaine and The Romance of Elaine, based on Pierre Decourcelle, and produced in 1914-15 for Pathé Exchange for its film version and for William Hearst for its press version.
Pearl White (1889 - 1938) was dubbed 'Queen of the Serials", and noted for doing her own stunts, in silent film serials such as The Perils of Pauline (1914) and The Exploits of Elaine (1914-15). Many episodes ended with a literal cliffhanger. In Europe, The Exploits of Elaine were re-edited with two subsequent serials into Les Mystères de New York. Until the end of the First World War White remained globally a popular action heroine.
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. 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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La ligne de La Rochelle à Rochefort, d'une longueur de 29 km, longe la côte dans sa plus grande partie et permet de voir les îles du pertuis d'Antioche. Elle fut ouverte à l'exploitation le 29 décembre 1873.
Glastonbury is a town and civil parish in Somerset, England, situated at a dry point on the low-lying Somerset Levels, 23 miles (37 km) south of Bristol. The town had a population of 8,932 in the 2011 census. Glastonbury is less than 1 mile (2 km) across the River Brue from Street, which is now larger than Glastonbury.
Evidence from timber trackways such as the Sweet Track show that the town has been inhabited since Neolithic times. Glastonbury Lake Village was an Iron Age village, close to the old course of the River Brue and Sharpham Park approximately 2 miles (3 km) west of Glastonbury, that dates back to the Bronze Age. Centwine was the first Saxon patron of Glastonbury Abbey, which dominated the town for the next 700 years. One of the most important abbeys in England, it was the site of Edmund Ironside's coronation as King of England in 1016. Many of the oldest surviving buildings in the town, including the Tribunal, George Hotel and Pilgrims' Inn and the Somerset Rural Life Museum, which is based at the site of a 14th-century abbey manor barn, often referred to as a tithe barn, are associated with the abbey. The Church of St John the Baptist dates from the 15th century.
The town became a centre for commerce, which led to the construction of the market cross, Glastonbury Canal and the Glastonbury and Street railway station, the largest station on the original Somerset and Dorset Joint Railway. The Brue Valley Living Landscape is a conservation project managed by the Somerset Wildlife Trust and nearby is the Ham Wall National Nature Reserve.
Glastonbury has been described as having a New Age community, and possibly being where New Age beliefs originated at the turn of the twentieth century. It is notable for myths and legends often related to Glastonbury Tor, concerning Joseph of Arimathea, the Holy Grail and King Arthur. Joseph is said to have arrived in Glastonbury and stuck his staff into the ground, when it flowered miraculously into the Glastonbury Thorn. The presence of a landscape zodiac around the town has been suggested but no evidence has been discovered. The Glastonbury Festival, held in the nearby village of Pilton, takes its name from the town.
Glastonbury is a town and civil parish in Somerset, England, situated at a dry point on the low-lying Somerset Levels, 23 miles (37 km) south of Bristol. The town had a population of 8,932 in the 2011 census. Glastonbury is less than 1 mile (2 km) across the River Brue from Street, which is now larger than Glastonbury.
Evidence from timber trackways such as the Sweet Track show that the town has been inhabited since Neolithic times. Glastonbury Lake Village was an Iron Age village, close to the old course of the River Brue and Sharpham Park approximately 2 miles (3 km) west of Glastonbury, that dates back to the Bronze Age. Centwine was the first Saxon patron of Glastonbury Abbey, which dominated the town for the next 700 years. One of the most important abbeys in England, it was the site of Edmund Ironside's coronation as King of England in 1016. Many of the oldest surviving buildings in the town, including the Tribunal, George Hotel and Pilgrims' Inn and the Somerset Rural Life Museum, which is based at the site of a 14th-century abbey manor barn,[5] often referred to as a tithe barn, are associated with the abbey. The Church of St John the Baptist dates from the 15th century.
The town became a centre for commerce, which led to the construction of the market cross, Glastonbury Canal and the Glastonbury and Street railway station, the largest station on the original Somerset and Dorset Joint Railway. The Brue Valley Living Landscape is a conservation project managed by the Somerset Wildlife Trust and nearby is the Ham Wall National Nature Reserve.
Glastonbury has been described as having a New Age community, and possibly being where New Age beliefs originated at the turn of the twentieth century. It is notable for myths and legends often related to Glastonbury Tor, concerning Joseph of Arimathea, the Holy Grail and King Arthur. Joseph is said to have arrived in Glastonbury and stuck his staff into the ground, when it flowered miraculously into the Glastonbury Thorn. The presence of a landscape zodiac around the town has been suggested but no evidence has been discovered. The Glastonbury Festival, held in the nearby village of Pilton, takes its name from the town.
During the 7th millennium BC the sea level rose and flooded the valleys and low-lying ground surrounding Glastonbury so the Mesolithic people occupied seasonal camps on the higher ground, indicated by scatters of flints. The Neolithic people continued to exploit the reedswamps for their natural resources and started to construct wooden trackways. These included the Sweet Track, west of Glastonbury, which is one of the oldest engineered roads known and was the oldest timber trackway discovered in Northern Europe, until the 2009 discovery of a 6,000-year-old trackway in Belmarsh Prison. Tree-ring dating (dendrochronology) of the timbers has enabled very precise dating of the track, showing it was built in 3807 or 3806 BC. It has been claimed to be the oldest road in the world. The track was discovered in the course of peat digging in 1970, and is named after its discoverer, Ray Sweet. It extended across the marsh between what was then an island at Westhay, and a ridge of high ground at Shapwick, a distance close to 2,000 metres (1.2 mi). The track is one of a network of tracks that once crossed the Somerset Levels. Built in the 39th century BC, during the Neolithic period, the track consisted of crossed poles of ash, oak and lime (Tilia) which were driven into the waterlogged soil to support a walkway that mainly consisted of oak planks laid end-to-end. Since the discovery of the Sweet Track, it has been determined that it was built along the route of an even earlier track, the Post Track, dating from 3838 BC, and so 30 years older.
Glastonbury Lake Village was an Iron Age village, close to the old course of the River Brue, on the Somerset Levels near Godney, some 3 miles (5 km) north west of Glastonbury. It covers an area of 400 feet (120 m) north to south by 300 feet (90 m) east to west, and housed around 100 people in five to seven groups of houses, each for an extended family, with sheds and barns, made of hazel and willow covered with reeds, and surrounded either permanently or at certain times by a wooden palisade. The village was built in about 300 BC and occupied into the early Roman period (around AD 100) when it was abandoned, possibly due to a rise in the water level. It was built on a morass on an artificial foundation of timber filled with brushwood, bracken, rubble and clay.
Sharpham Park is a 300-acre (120-hectare) historic park, 2 miles (3 km) west of Glastonbury, which dates back to the Bronze Age.
Glæstyngabyrig. When the settlement is first recorded in the 7th and the early 8th century, it was called Glestingaburg. The burg element is Old English and could refer either to a fortified place such as a burh or, more likely, a monastic enclosure; however the Glestinga element is obscure, and may derive from a Celtic personal name or from Old English (either from a name or otherwise). It may derive from a person or kindred group named Glast. The name however is likely related to an Irish individual named Glas mac Caise 'Glas son of Cas'. Glas is an ancient Irish personal name meaning 'green, grey/green'. It is stated in the Life of St Patrick that he resurrected a swineherder by that name and he went to Glastonbury, to an area of the village known as 'Glastonbury of the Irish' and this could well be referring to the area of Beckery (Little Ireland) where it is believed an Irish Colony established itself in the 10th century and was thus nicknamed 'Little Ireland'. This area was known to the Irish as Glastimbir na n-Gaoidhil 'Glastonbury of the Gaels'. (The Archaeology and History of Glastonbury Abbey - Courteney Arthur Ralegh Radford). This is the earliest source for the name Glastonbury. The modern Irish form for Glastonbury is Glaistimbir.
Hugh Ross Williamson cites a tale about St. Collen, one of the earliest hermits to inhabit the Tor before the Abbey was built by St. Patrick, which has the Saint summoned by the King of the Fairies, Gwyn, to the summit of the Tor. Upon arrival there he beholds a hovering mansion inhabited by handsomely dressed courtiers and King Gwyn on a throne of gold; holy water disperses the apparition. This is from Druid mythology, in which the mansion is made of glass so as to receive the spirits of the dead, which were supposed to depart from the summit of the Tor. This was the chief reason why the chapel, and later the church, of St. Michael were built on the high hill; St. Michael being the chief patron against diabolic attacks which the monks believed the Fairy King to be numbered among. Accordingly, Williamson posits that the Tor was named after the glassy mansion of the dead.
William of Malmesbury in his De Antiquitate Glastonie Ecclesie gives the Old Celtic Ineswitrin (or Ynys Witrin) as its earliest name, and asserts that the founder of the town was the eponymous Glast, a descendant of Cunedda.
Centwine (676–685) was the first Saxon patron of Glastonbury Abbey. King Edmund Ironside was buried at the abbey. The Domesday Book indicates that in the hundred of Glastingberiensis, the Abbey was the Lord in 1066 prior to the arrival of William the Conqueror then tenant-in chief with Godwin as Lord of Glastingberi in 1086.
To the southwest of the town centre is Beckery, which was once a village in its own right but is now part of the suburbs. Around the 7th and 8th centuries it was occupied by a small monastic community associated with a cemetery. Archaeological excavations in 2016 uncovered 50 to 60 skeletons thought to be those of monks from Beckery Chapel during the 5th or early 6th century.
Sharpham Park was granted by King Eadwig to the then abbot Æthelwold in 957. In 1191 Sharpham Park was gifted by the soon-to-be King John I to the Abbots of Glastonbury, who remained in possession of the park and house until the dissolution of the monasteries in 1539. From 1539 to 1707 the park was owned by the Duke of Somerset, Sir Edward Seymour, brother of Queen Jane; the Thynne family of Longleat, and the family of Sir Henry Gould. Edward Dyer was born here in 1543. The house is now a private residence and Grade II* listed building. It was the birthplace of Sir Edward Dyer (died 1607) an Elizabethan poet and courtier, the writer Henry Fielding (1707–54), and the cleric William Gould.
In the 1070s St Margaret's Chapel was built on Magdelene Street, originally as a hospital and later as almshouses for the poor. The building dates from 1444. The roof of the hall is thought to have been removed after the Dissolution, and some of the building was demolished in the 1960s. It is Grade II* listed, and a scheduled monument. Hospital of St Mary Magdalene, Glastonbury in 2010 plans were announced to restore the building.
During the Middle Ages the town largely depended on the abbey but was also a centre for the wool trade until the 18th century. A Saxon-era canal connected the abbey to the River Brue. Richard Whiting, the last Abbot of Glastonbury, was executed with two of his monks on 15 November 1539 during the dissolution of the monasteries.
During the Second Cornish Uprising of 1497 Perkin Warbeck surrendered when he heard that Giles, Lord Daubeney's troops, loyal to Henry VII, were camped at Glastonbury.
In 1693 Glastenbury, Connecticut was founded and named after the English town from which some of the settlers had emigrated. It is rumored to have originally been called "Glistening Town" until the mid-19th century, when the name was changed to match the spelling of Glastonbury, England, but in fact, residents of the Connecticut town believe this to be a myth, based on the Glastonbury Historical Society's records. A representation of the Glastonbury thorn is incorporated onto the town seal.
The Somerset town's charter of incorporation was received in 1705. Growth in the trade and economy largely depended on the drainage of the surrounding moors. The opening of the Glastonbury Canal produced an upturn in trade, and encouraged local building. The parish was part of the hundred of Glaston Twelve Hides, until the 1730s when it became a borough in its own right.
By the middle of the 19th century the Glastonbury Canal drainage problems and competition from the new railways caused a decline in trade, and the town's economy became depressed. The canal was closed on 1 July 1854, and the lock and aqueducts on the upper section were dismantled. The railway opened on 17 August 1854. The lower sections of the canal were given to the Commissioners for Sewers, for use as a drainage ditch. The final section was retained to provide a wharf for the railway company, which was used until 1936, when it passed to the Commissioners of Sewers and was filled in. The Central Somerset Railway merged with the Dorset Central Railway to become the Somerset and Dorset Railway. The main line to Glastonbury closed in 1966.
In the Northover district industrial production of sheepskins, woollen slippers and, later, boots and shoes, developed in conjunction with the growth of C&J Clark in Street. Clarks still has its headquarters in Street, but shoes are no longer manufactured there. Instead, in 1993, redundant factory buildings were converted to form Clarks Village, the first purpose-built factory outlet in the United Kingdom.
During the 19th and 20th centuries tourism developed based on the rise of antiquarianism, the association with the abbey and mysticism of the town. This was aided by accessibility via the rail and road network, which has continued to support the town's economy and led to a steady rise in resident population since 1801.
Glastonbury received national media coverage in 1999 when cannabis plants were found in the town's floral displays.
Glastonbury is notable for myths and legends concerning Joseph of Arimathea, the Holy Grail and King Arthur as recorded by ancient historians William of Malmesbury, Venerable Bede, Gerald of Wales and Geoffrey of Monmouth. Many long-standing and cherished legends were examined in a four-year study by archaeologists, led by Professor Roberta Gilchrist, at the University of Reading, who, amongst other findings, speculated that the connection with King Arthur and his Queen, Guinevere, was created deliberately by the monks in 1184 to meet a financial crisis caused by a devastating fire. Other myths examined include the visit by Jesus, the building of the oldest church in England, and the flowering of the walking stick. Roberta Gilchrist stated, "We didn't claim to disprove the legendary associations, nor would we wish to". The site of King Arthur's supposed grave contained material dating from between the 11th and 15th centuries. Gilchrist said, "That doesn't dispel the Arthurian legend, it just means the pit [20th century archaeologist Ralegh Radford] excavated he rather over-claimed." The study made new archaeological finds; its leader found Glastonbury to be a remarkable archaeological site. The new results were reported on the Glastonbury Abbey Web site, and were to be incorporated into the Abbey's guidebook; however, the leader of the study, who became a trustee of Glastonbury, said "We are not in the business of destroying people's beliefs ... A thousand years of beliefs and legends are part of the intangible history of this remarkable place". Gilchrist went on to say, "archaeology can help us to understand how legends evolve and what people in the past believed". She noted that the project has actually uncovered the first definitive proof of occupation at the Glastonbury Abbey site during the fifth century—when Arthur allegedly lived.
The legend that Joseph of Arimathea retrieved certain holy relics was introduced by the French poet Robert de Boron in his 13th-century version of the grail story, thought to have been a trilogy though only fragments of the later books survive today. The work became the inspiration for the later Vulgate Cycle of Arthurian tales.
De Boron's account relates how Joseph captured Jesus's blood in a cup (the "Holy Grail") which was subsequently brought to Britain. The Vulgate Cycle reworked Boron's original tale. Joseph of Arimathea was no longer the chief character in the Grail origin: Joseph's son, Josephus, took over his role of the Grail keeper. The earliest versions of the grail romance, however, do not call the grail "holy" or mention anything about blood, Joseph or Glastonbury.
In 1191, monks at the abbey claimed to have found the graves of Arthur and Guinevere to the south of the Lady Chapel of the Abbey Church, which was visited by a number of contemporary historians including Giraldus Cambrensis. The remains were later moved and were lost during the Reformation. Many scholars suspect that this discovery was a pious forgery to substantiate the antiquity of Glastonbury's foundation, and increase its renown.
An early Welsh poem links Arthur to the Tor in an account of a confrontation between Arthur and Melwas, who had kidnapped Queen Guinevere.
Joseph is said to have arrived in Glastonbury by boat over the flooded Somerset Levels. On disembarking he stuck his staff into the ground and it flowered miraculously into the Glastonbury Thorn (also called Holy Thorn). This is said to explain a hybrid Crataegus monogyna (hawthorn) tree that only grows within a few miles of Glastonbury, and which flowers twice annually, once in spring and again around Christmas time (depending on the weather). Each year a sprig of thorn is cut, by the local Anglican vicar and the eldest child from St John's School, and sent to the Queen.
The original Holy Thorn was a centre of pilgrimage in the Middle Ages but was chopped down during the English Civil War. A replacement thorn was planted in the 20th century on Wearyall hill (originally in 1951 to mark the Festival of Britain, but the thorn had to be replanted the following year as the first attempt did not take). The Wearyall Hill Holy Thorn was vandalised in 2010 and all its branches were chopped off. It initially showed signs of recovery but now (2014) appears to be dead. A new sapling has been planted nearby. Many other examples of the thorn grow throughout Glastonbury including those in the grounds of Glastonbury Abbey, St Johns Church and Chalice Well.
Today, Glastonbury Abbey presents itself as "traditionally the oldest above-ground Christian church in the world," which according to the legend was built at Joseph's behest to house the Holy Grail, 65 or so years after the death of Jesus. The legend also says that as a child, Jesus had visited Glastonbury along with Joseph. The legend probably was encouraged during the medieval period when religious relics and pilgrimages were profitable business for abbeys. William Blake mentioned the legend in a poem that became a popular hymn, "Jerusalem".
In 1934 artist Katherine Maltwood suggested a landscape zodiac, a map of the stars on a gigantic scale, formed by features in the landscape such as roads, streams and field boundaries, could be found situated around Glastonbury. She held that the "temple" was created by Sumerians about 2700 BC. The idea of a prehistoric landscape zodiac fell into disrepute when two independent studies examined the Glastonbury Zodiac, one by Ian Burrow in 1975 and the other by Tom Williamson and Liz Bellamy in 1983. These both used standard methods of landscape historical research. Both studies concluded that the evidence contradicted the idea of an ancient zodiac. The eye of Capricorn identified by Maltwood was a haystack. The western wing of the Aquarius phoenix was a road laid in 1782 to run around Glastonbury, and older maps dating back to the 1620s show the road had no predecessors. The Cancer boat (not a crab as in conventional western astrology) consists of a network of 18th-century drainage ditches and paths. There are some Neolithic paths preserved in the peat of the bog formerly comprising most of the area, but none of the known paths match the lines of the zodiac features. There is no support for this theory, or for the existence of the "temple" in any form, from conventional archaeologists. Glastonbury is also said to be the centre of several ley lines.
The town council is made up of 16 members, and is based at Glastonbury Town Hall, Magdalene Street. The town hall was built in 1814 and has a two-storey late Georgian ashlar front. It is a Grade II* listed building.
For local government purposes, since 1 April 2023, Glastonbury comes under the unitary authority of Somerset Council. Prior to this, it was part of the non-metropolitan district of Mendip, which was formed on 1 April 1974 under the Local Government Act 1972, having previously been part of Glastonbury Municipal Borough.
The town's retained fire station is operated by Devon and Somerset Fire and Rescue Service. Police and ambulance services are provided by Avon and Somerset Constabulary and the South Western Ambulance Service. There are two doctors' surgeries in Glastonbury, and a National Health Service community hospital operated by Somerset Primary Care Trust which opened in 2005.
There are 4 electoral wards within Glastonbury having in total the same population as is mentioned above.
Glastonbury falls within the Wells constituency, represented in the House of Commons of the Parliament of the United Kingdom. It elects one Member of Parliament (MP) by the first past the post system of election. The Member of Parliament is Conservative, James Heappey, who replaced Tessa Munt of the Liberal Democrats in the 2015 general election.
Glastonbury is twinned with the Greek island of Patmos, and Lalibela, Ethiopia.
The walk up the Tor to the distinctive tower at the summit (the partially restored remains of an old church) is rewarded by vistas of the mid-Somerset area, including the Levels which are drained marshland. From there, on a dry point, 158 metres (518 ft) above sea level, it is easy to appreciate how Glastonbury was once an island and, in the winter, the surrounding moors are often flooded, giving that appearance once more. It is an agricultural region typically with open fields of permanent grass, surrounded by ditches with willow trees. Access to the moors and Levels is by "droves", i.e., green lanes. The Levels and inland moors can be 6 metres (20 ft) below peak tides and have large areas of peat. The low-lying areas are underlain by much older Triassic age formations of Upper Lias sand that protrude to form what would once have been islands and include Glastonbury Tor. The lowland landscape was formed only during the last 10,000 years, following the end of the last ice age.
The low-lying damp ground can produce a visual effect known as a Fata Morgana. This optical phenomenon occurs because rays of light are strongly bent when they pass through air layers of different temperatures in a steep thermal inversion where an atmospheric duct has formed. The Italian name Fata Morgana is derived from the name of Morgan le Fay, who was alternatively known as Morgane, Morgain, Morgana and other variants. Morgan le Fay was described as a powerful sorceress and antagonist of King Arthur and Queen Guinevere in the Arthurian legend.
Glastonbury is less than 1 mile (2 km) across the River Brue from the village of Street. At the time of King Arthur the Brue formed a lake just south of the hilly ground on which Glastonbury stands. This lake is one of the locations suggested by Arthurian legend as the home of the Lady of the Lake. Pomparles Bridge stood at the western end of this lake, guarding Glastonbury from the south, and it is suggested that it was here that Sir Bedivere threw Excalibur into the waters after King Arthur fell at the Battle of Camlann. The old bridge was replaced by a reinforced concrete arch bridge in 1911.
Until the 13th century, the direct route to the sea at Highbridge was prevented by gravel banks and peat near Westhay. The course of the river partially encircled Glastonbury from the south, around the western side (through Beckery), and then north through the Panborough-Bleadney gap in the Wedmore-Wookey Hills, to join the River Axe just north of Bleadney. This route made it difficult for the officials of Glastonbury Abbey to transport produce from their outlying estates to the abbey, and when the valley of the River Axe was in flood it backed up to flood Glastonbury itself. Some time between 1230 and 1250 a new channel was constructed westwards into Meare Pool north of Meare, and further westwards to Mark Moor. The Brue Valley Living Landscape is a conservation project based on the Somerset Levels and Moors and managed by the Somerset Wildlife Trust. The project commenced in January 2009 and aims to restore, recreate and reconnect habitat, ensuring that wildlife is enhanced and capable of sustaining itself in the face of climate change, while guaranteeing farmers and other landowners can continue to use their land profitably. It is one of an increasing number of landscape-scale conservation projects in the UK.
The Ham Wall National Nature Reserve, 4 kilometres (2.5 mi) west of Glastonbury, is managed by the Royal Society for the Protection of Birds. This new wetland habitat has been established from out peat diggings and now consists of areas of reedbed, wet scrub, open water and peripheral grassland and woodland. Bird species living on the site include the bearded tit and the Eurasian bittern.
The Whitelake River rises between two low limestone ridges to the north of Glastonbury, part of the southern edge of the Mendip Hills. The confluence of the two small streams that make the Whitelake River is on Worthy Farm, the site of the Glastonbury Festival, between the small villages of Pilton and Pylle.
Along with the rest of South West England, Glastonbury has a temperate climate which is generally wetter and milder than the rest of the country. The annual mean temperature is approximately 10 °C (50.0 °F). Seasonal temperature variation is less extreme than most of the United Kingdom because of the adjacent sea temperatures. The summer months of July and August are the warmest with mean daily maxima of approximately 21 °C (69.8 °F). In winter mean minimum temperatures of 1 or 2 °C (33.8 or 35.6 °F) are common. In the summer the Azores high pressure affects the south-west of England, however convective cloud sometimes forms inland, reducing the number of hours of sunshine. Annual sunshine rates are slightly less than the regional average of 1,600 hours. In December 1998 there were 20 days without sun recorded at Yeovilton. Most of the rainfall in the south-west is caused by Atlantic depressions or by convection. Most of the rainfall in autumn and winter is caused by the Atlantic depressions, which is when they are most active. In summer, a large proportion of the rainfall is caused by sun heating the ground leading to convection and to showers and thunderstorms. Average rainfall is around 700 mm (28 in). About 8–15 days of snowfall is typical. November to March have the highest mean wind speeds, and June to August have the lightest winds. The predominant wind direction is from the south-west.
Glastonbury is a centre for religious tourism and pilgrimage. As with many towns of similar size, the centre is not as thriving as it once was but Glastonbury supports a large number of alternative shops.
The outskirts of the town contain a DIY shop, a former sheepskin and slipper factory site, once owned by Morlands, which is slowly being redeveloped. The 31-acre (13 ha) site of the old Morlands factory was scheduled for demolition and redevelopment into a new light industrial park, although there have been some protests that the buildings should be reused rather than being demolished. As part of the redevelopment of the site a project has been established by the Glastonbury Community Development Trust to provide support for local unemployed people applying for employment, starting in self-employment and accessing work-related training.
According to the Glastonbury Conservation Area Appraisal of July 2010, there are approximately 170 listed buildings or structures in the town's designated conservation area, of which eight are listed grade I, six are listed grade II* and the remainder are listed grade II.
The Tribunal was a medieval merchant's house, used as the Abbey courthouse and, during the Monmouth Rebellion trials, by Judge Jeffreys. It now serves as a museum containing possessions and works of art from the Glastonbury Lake Village which were preserved in almost perfect condition in the peat after the village was abandoned. The museum is run by the Glastonbury Antiquarian Society. The building also houses the tourist information centre.
The octagonal Market Cross was built in 1846 by Benjamin Ferrey.
The George Hotel and Pilgrims' Inn was built in the late 15th century to accommodate visitors to Glastonbury Abbey, which is open to visitors. It has been designated as a Grade I listed building. The front of the 3-storey building is divided into 3 tiers of panels with traceried heads. Above the right of centre entrance are 3 carved panels with arms of the Abbey and Edward IV.
The Somerset Rural Life Museum is a museum of the social and agricultural history of Somerset, housed in buildings surrounding a 14th-century barn once belonging to Glastonbury Abbey. It was used for the storage of arable produce, particularly wheat and rye, from the abbey's home farm of approximately 524 acres (2.12 km2). Threshing and winnowing would also have been carried out in the barn, which was built from local shelly limestone with thick timbers supporting the stone tiling of the roof. It has been designated by English Heritage as a grade I listed building, and is a scheduled monument.
The Chalice Well is a holy well at the foot of the Tor, covered by a wooden well-cover with wrought-iron decoration made in 1919. The natural spring has been in almost constant use for at least two thousand years. Water issues from the spring at a rate of 25,000 imperial gallons (110,000 L; 30,000 US gal) per day and has never failed, even during drought. Iron oxide deposits give the water a reddish hue, as dissolved ferrous oxide becomes oxygenated at the surface and is precipitated, providing chalybeate waters. As with the hot springs in nearby Bath, the water is believed to possess healing qualities. The well is about 9 feet (2.7 m) deep, with two underground chambers at its bottom. It is often portrayed as a symbol of the female aspect of deity, with the male symbolised by Glastonbury Tor (however, some consider Glastonbury Tor to be a 'hugh bounteous female figure'). As such, it is a popular destination for pilgrims in search of the divine feminine, including modern Pagans. The well is however popular with all faiths and in 2001 became a World Peace Garden.
Just a short distance from the Chalice Well site, across a road known as Well House Lane, can be found the "White Spring", where a temple has been created in the 21st century. Whilst the waters of the Chalice Well are touched red with iron, the water of the latter is white with calcite. Some people consider the red water of Chalice Well to have male properties, whilst the white water of White Spring has female qualities. Both springs rise from caverns underneath the Tor and it is claimed that both have healing in their flow.
The building now used as the White Spring Temple was originally a Victorian-built well house, erected by the local water board in 1872. Around that time, an outbreak of cholera in the area caused great concern and the natural caves were dug out, and a stone collection chamber was constructed to ensure the flow of a quality water supply. Study of the flow of water into the collection chamber has shown that the builders also tapped into other springs, besides the White Spring and judging from the high iron content of one of these springs, it appears that a small offshoot of Chalice Well finds its way under Well House Lane to emerge beside the White Spring. However, after building the reservoir, the water board soon discovered that the high calciferous content of the water caused pipes to block and by the end of the 19th century water was piped into Glastonbury from out of town. After lying derelict for many years, the water board sold off the well house, which is now maintained by a group of volunteers as a "water temple". On the outside of the building is a tap where visitors and locals can collect the water of the White Spring.
The Glastonbury Canal ran just over 14 miles (23 km) through two locks from Glastonbury to Highbridge where it entered the Bristol Channel in the early 19th century, but it became uneconomic with the arrival of the railway in the 1840s.
Glastonbury and Street railway station was the biggest station on the original Somerset & Dorset Joint Railway main line from Highbridge to Evercreech Junction until closed in 1966 under the Beeching axe. Opened in 1854 as Glastonbury, and renamed in 1886, it had three platforms, two for Evercreech to Highbridge services and one for the branch service to Wells. The station had a large goods yard controlled from a signal box. The site is now a timber yard for a local company. Replica level crossing gates have been placed at the entrance.
The nearest railway station is at Castle Cary but there is no direct bus route linking it to Glastonbury. There are convenient bus connections between Glastonbury and the railway stations at Bristol Temple Meads (over an hour travelling time) and at Taunton. It is also served by Berrys Coaches daily 'Superfast' service to and from London.
The main road in the town is the A39 which passes through Glastonbury from Wells connecting the town with Street and the M5 motorway. The other roads around the town are small and run across the levels generally following the drainage ditches. Local bus services are provided by Buses of Somerset (part of First), First West of England, Frome Bus & Libra Travel. The main routes are to Bristol via Wells, to Bridgwater, to Yeovil via Street and to Taunton.There is also a coach service to London Victoria provided by Berrys.
Television programmes and local news is provided by BBC West and ITV West Country from the Mendip TV transmitter.
Local radio stations are BBC Radio Somerset on 95.5 FM, Heart West on 102.6 FM, Greatest Hits Radio South West on 102.4 FM, Worthy FM on 87.7 FM which broadcast during The Glastonbury Festival and GWS Radio on 107.1 FM, a community radio station.
The town’s local newspapers are the Mid Somerset Series, Western Daily Press, Somerset County Gazette and Somerset Live.
There are several infant and primary schools in Glastonbury and the surrounding villages. Secondary education is provided by St Dunstan's School. In 2017, the school had 327 students between the ages of 11 and 16 years. It is named after St. Dunstan, an abbot of Glastonbury Abbey, who went on to become the Archbishop of Canterbury in 960 AD. The school was built in 1958 with major building work, at a cost of £1.2 million, in 1998, adding the science block and the sports hall. It was designated as a specialist Arts College in 2004, and the £800,000 spent at this time paid for the Performing Arts studio and facilities to support students with special educational needs. Tor School is a pupil referral unit based on Beckery New Road, which caters for 14-16-year-old students who have been excluded from mainstream education, or who have been referred for medical reasons.
Strode College in Street provides academic and vocational courses for those aged 16–18 and adult education. A tertiary institution and further education college, most of the courses it offers are A-levels or Business and Technology Education Councils (BTECs). The college also provides some university-level courses, and is part of The University of Plymouth Colleges network.
Glastonbury may have been a site of religious importance in pre-Christian times. The abbey was founded by Britons, and dates to at least the early 7th century, although later medieval Christian legend claimed that the abbey was founded by Joseph of Arimathea in the 1st century. This legend is intimately tied to Robert de Boron's version of the Holy Grail story and to Glastonbury's connection to King Arthur, which dates at least to the early 12th century. William of Malmesbury called this structure "the oldest church in England," and thenceforth it was known simply as the Old Church, inasmuch as it had existed for many years prior to the 7th century as a Celtic religious centre. In his "History of the English Church and People," written in the early eighth century, the Venerable Bede provides details regarding its construction to early missionaries. Glastonbury fell into Saxon hands after the Battle of Peonnum in 658. King Ine of Wessex enriched the endowment of the community of monks already established at Glastonbury. He is said to have directed that a stone church be built in 712. The Abbey Church was enlarged in the 10th century by the Abbot of Glastonbury, Saint Dunstan, the central figure in the 10th-century revival of English monastic life. He instituted the Benedictine Rule at Glastonbury and built new cloisters. Dunstan became Archbishop of Canterbury in 960. In 1184, a great fire at Glastonbury destroyed the monastic buildings. Reconstruction began almost immediately and the Lady Chapel, which includes the well, was consecrated in 1186.
The abbey had a violent end during the Dissolution and the buildings were progressively destroyed as their stones were removed for use in local building work. The remains of the Abbot's Kitchen (a grade I listed building.) and the Lady Chapel are particularly well-preserved set in 36 acres (150,000 m2) of parkland. It is approached by the Abbey Gatehouse which was built in the mid-14th century and completely restored in 1810.
There is also a strong Irish connection to Glastonbury as it is said to be along a route of pilgrimage from Ireland to Rome. It is supposed that St. Patrick and St. Brigid both came to the area and both Saints are documented by William of Malmesbury as having done so. There are Chapels named after them too - St. Patrick's Chapel, Glastonbury is within the Abbey grounds and St. Brigid's Chapel is at Beckery (Little Ireland).
The Church of St Benedict was rebuilt by Abbot Richard Beere in about 1520. This is now an Anglican church and is linked with the parishes of St John's Church in Glastonbury and St Mary's & All Saints Church in the village of Meare as a joint benefice.
Described as "one of the most ambitious parish churches in Somerset", the current Church of St John the Baptist dates from the 15th century and has been designated as a Grade I listed building. The church is laid out in a cruciform plan with an aisled nave and a clerestorey of seven bays. The west tower has elaborate buttressing, panelling and battlements and at 134½ feet (about 41 metres), is the second tallest parish church tower in Somerset. Recent excavations in the nave have revealed the foundations of a large central tower, possibly of Saxon origin, and a later Norman nave arcade on the same plan as the existing one. A central tower survived until the 15th century, but is believed to have collapsed, at which time the church was rebuilt. The interior of the church includes four 15th-century tomb-chests, some 15th-century stained glass in the chancel, medieval vestments, and a domestic cupboard of about 1500 which was once at Witham Charterhouse.
In the centuries that followed the Reformation, many religious denominations came to Glastonbury to establish chapels and meeting houses. For such a relatively small town, Glastonbury has a remarkably diverse history of Christian places of worship, further enriched by the fact that several of these movements saw break-away factions, typically setting up new meeting places as a result of doctrinal disagreements, leaving behind them a legacy which would require a highly specialized degree of study in order to chart their respective histories and places of practice. Amongst their number have been Puritans/Undetermined Protestants, Quakers, Independents, Baptists, Presbyterians, Congregationalists, Wesleyan and Primitive Methodists, Salvationists, Plymouth Brethren, Jehovah's Witnesses and Pentecostals.
The United Reformed Church on the High Street was built in 1814 and altered in 1898. It stands on the site of the Ship Inn where meetings were held during the 18th century. It is Grade II listed.
Glastonbury Methodist Church on Lambrook Street was built in 1843 and has a galleried interior, typical of a non-conformist chapel of that period, but an unusual number of stained glass windows. Close by the front of the church is an ancient pond, which was later covered to form a brick-arched reservoir. This is mentioned in property deeds of 1821, and is still accessible, containing approximately 31,500 gallons of water.
The Methodist Church on Lambrook street was originally the Glastonbury Wesleyan Methodist Chapel. A Primitive Methodist Chapel was built on Northload Street in 1844, with an adjoining house added for a minister in 1869. This chapel was closed in 1968, since which time it has had a number of different uses, being described in 2007 as the Maitreya Monastery, prior to which it had been the Archangel Michael Soul Therapy Centre.
The Bove Town Gospel Hall has been a place of worship in the town since at least 1889, when it was listed as a mission of the Plymouth Brethren. Jehovah's Witnesses originally occupied a Kingdom Hall on Archer's Way from 1942. This transferred to Church Lane in 1964, and subsequently to its present site on Old Wells Road. The Gospel Hall was registered for the solemnizing of marriages in 1964
The Catholic Church of Our Lady St Mary of Glastonbury was built, on land near to the Abbey, in 1939. A statue based on a 14th-century metal seal was blessed in 1955 and crowned in 1965 restoring the Marian shrine that had been in the Abbey prior to the reformation. The Shrine is now the home of the Community of Our Lady of Glastonbury, a Catholic Benedictine Monastery founded in August 2019.
The Glastonbury Order of Druids was formed on Mayday 1988.
Sufism has been long established in Glastonbury. Zikrs are held weekly in private homes, and on the first Sunday of every month a zikr is held at St Margaret's Chapel in Magdalene Street. A Sufi charity shop was established in Glastonbury in 1999, and supports missionary work in Africa. This shop was opened after Sheikh Nazim came to Glastonbury to visit the Abbey. Here he declared, "This is the spiritual heart of England ... It is from here that the spiritual new age will begin and to here that Jesus will return".
The pagan Glastonbury Goddess Temple was founded in 2002 and registered as a place of worship the following year. It is self-described as the first temple of its kind to exist in Europe in over a thousand years.
In April 2012, it was reported by The Guardian newspaper that, according to the Pilgrim Reception Centre in the town, Glastonbury had around seventy different faith groups. Some of these groups attended a special ceremony to celebrate this diversity, held in the Chalice Well Gardens on 21 April of that year.
The 22nd Jagannatha Ratha-yatra Krishna Festival took place in Glastonbury on Sunday 4 October 2015. Devotees of the Krishna Consciousness movement travelled to the town from London, Bath, Bristol and elsewhere to join with locals in a procession and Kirtan.
Glastonbury also headquarters the British Orthodox Church which is independent Oriental Orthodox denomination since 2015
Glastonbury has a particular significance for members of the Baháʼí Faith in that Wellesley Tudor Pole, founder of the Chalice Well Trust, was one of the earliest and most prominent adherents of this faith in the United Kingdom.
The local football team is Glastonbury F.C. They joined the Western Football League in 1919 and have won the Western Football League title three times in their history. The club are now playing in the Somerset County Football League.
Glastonbury Cricket Club previously competed in the West of England Premier League, one of the ECB Premier Leagues, the highest level of recreational cricket in England and Wales. The club plays at the Tor Leisure Ground, which used to stage Somerset County Cricket Club first-class fixtures.
The town is on the route of the Samaritans Way South West.
In a 1904 novel by Charles Whistler entitled A Prince of Cornwall Glastonbury in the days of Ine of Wessex is portrayed. It is also a setting in the Warlord Chronicles, a trilogy of books about Arthurian Britain written by Bernard Cornwell. Modern fiction has also used Glastonbury as a setting including The Age of Misrule series of books by Mark Chadbourn in which the Watchmen appear, a group selected from Anglican priests in and around Glastonbury to safeguard knowledge of a gate to the Otherworld on top of Glastonbury Tor. John Cowper Powys's novel A Glastonbury Romance is set in Glastonbury and is concerned with the Grail. The historical mystery novel Grave Goods by Diana Norman (writing under the pen name Ariana Frankin) is set in Glastonbury just after the abbey fire and concerns the supposed graves of Arthur and Guinevere, as well as featuring other landmarks such as the Tor.
The Children's World charity grew out of the festival and is based in the town. It is known internationally (as Children's World International). It was set up by Arabella Churchill in 1981 to provide drama participation and creative play and to work creatively in educational settings, providing social and emotional benefits for all children, particularly those with special needs. Children's World International is the sister charity of Children's World and was started in 1999 to work with children in the Balkans, in conjunction with Balkan Sunflowers and Save the Children. They also run the Glastonbury Children's Festival each August.
The local Brass Band is Glastonbury Brass which is currently placed in the first section for the West of England area. The band was founded in 2017 when the old Yeovil Town Band relocated after running into financial difficulty following a "notice to quit" on its rehearsal facility in September 2016. The band is featured twice on the Haiku Salut album There Is No Elsewhere (2018) and can be heard on the tracks Cold To Crack The Stones and The More And Moreness. In February 2020, the band was involved in the launch of Johnny Mars's "Dare to Dream" project aimed at raising awareness of the effects mankind is having on the world.
Glastonbury is the final venue for the annual November West Country Carnival.
Glastonbury has been described as a New Age community where communities have grown up to include people with New Age beliefs.
The first Glastonbury Festivals were a series of cultural events held in summer, from 1914 to 1926. The festivals were founded by English socialist composer Rutland Boughton and his librettist Lawrence Buckley. Apart from the founding of a national theatre, they envisaged a summer school and music festival based on utopian principles. With strong Arthurian connections and historic and prehistoric associations, Glastonbury was chosen to host the festivals.
The more recent Glastonbury Festival of Performing Arts, founded in 1970, is now the largest open-air music and performing arts festival in the world. Although it is named after Glastonbury, it is actually held at Worthy Farm between the small villages of Pilton and Pylle, 6 miles (9.7 km) east of the town of Glastonbury. The festival is best known for its contemporary music, but also features dance, comedy, theatre, circus, cabaret and many other arts. For 2005, the enclosed area of the festival was over 900 acres (3.6 km2), had over 385 live performances and was attended by around 150,000 people. In 2007, over 700 acts played on over 80 stages and the capacity expanded by 20,000 to 177,000. The festival has spawned a range of other work including the 1972 film Glastonbury Fayre and album, 1996 film Glastonbury the Movie and the 2005 DVD Glastonbury Anthems.
Glastonbury has been the birthplace or home to many notable people. Peter King, 1st Baron King was the recorder of Glastonbury in 1705. Thomas Bramwell Welch the discoverer of the pasteurisation process to prevent the fermentation of grape juice was born in Glastonbury in 1825. The judge John Creighton represented Lunenburg County in the Nova Scotia House of Assembly from 1770 to 1775. The fossil collector Thomas Hawkins lived in the town during the 19th century.
The religious connections and mythology of the town have also attracted notable authors. The occultist and writer Dion Fortune (Violet Mary Firth) lived and is buried in Glastonbury. Her old house was home to the writer and historian Geoffrey Ashe, who was known for his works on local legends. Frederick Bligh Bond, archaeologist and writer. Eckhart Tolle, a German-born writer, public speaker, and spiritual teacher lived in Glastonbury during the 1980s. Eileen Caddy was at a sanctuary in Glastonbury when she first claimed to have heard the "voice of God" while meditating. Her subsequent instructions from the "voice" directed her to take on Sheena Govan as her spiritual teacher, and became a spiritual teacher and new age author, best known as one of the founders of the Findhorn Foundation community.
Popular entertainment and literature is also represented amongst the population. English composer Rutland Boughton moved from Birmingham to Glastonbury in 1911 and established the country's first national annual summer school of music. Gary Stringer, lead singer of rock band Reef, was a local along with other members of the band. The juggler Haggis McLeod and his late wife, Arabella Churchill, one of the founders of the Glastonbury Festival, lived in the town. The conductor Charles Hazlewood lives locally and hosts the "Play the Field" music festival on his farm nearby. Bill Bunbury moved on from Glastonbury to become a writer, radio broadcaster, and producer for the Australian Broadcasting Corporation.
Athletes and sports players from Glastonbury include cricketers Cyril Baily in 1880, George Burrough in 1907, and Eustace Bisgood in 1878. The footballer Peter Spiring was born in Glastonbury in 1950. Formula 1 driver Lando Norris grew up in Glastonbury.
Twin towns
France Bretenoux, France
Greece Patmos, Greece
Ethiopia Lalibela, Ethiopia
Freedom of the Town
Michael Eavis: 3 May 2022. The founder of the world-famous Glastonbury Festival has been made a Freeman of Glastonbury. Born in 1935, the celebrated dairy farmer held his first Glastonbury Festival at Worthy Farm, Pilton in 1970. 52 years later, Mr. Eavis has been listed by Time magazine as one of the top 100 most influential people in the world.
The Key of Avalon
This award was created in 2022 by the Glastonbury Town Council. The first recipient was Prem Rawat, international peace advocate and author, who spoke at the Glastonbury Festival in 1971.
Somerset is a ceremonial county in South West England. It is bordered by the Bristol Channel, Gloucestershire, and Bristol to the north, Wiltshire to the east and the north-east, Dorset to the south-east, and Devon to the south-west. The largest settlement is the city of Bath, and the county town is Taunton.
Somerset is a predominantly rural county, especially to the south and west, with an area of 4,171 km2 (1,610 sq mi) and a population of 965,424. After Bath (101,557), the largest settlements are Weston-super-Mare (82,418), Taunton (60,479), and Yeovil (49,698). Wells (12,000) is a city, the second-smallest by population in England. For local government purposes the county comprises three unitary authority areas: Bath and North East Somerset, North Somerset, and Somerset.
The centre of Somerset is dominated by the Levels, a coastal plain and wetland, and the north-east and west of the county are hilly. The north-east contains part of the Cotswolds AONB, all of the Mendip Hills AONB, and a small part of Cranborne Chase and West Wiltshire Downs AONB; the west contains the Quantock Hills AONB, a majority of Exmoor National Park, and part of the Blackdown Hills AONB. The main rivers in the county are the Avon, which flows through Bath and then Bristol, and the Axe, Brue, and Parrett, which drain the Levels.
There is evidence of Paleolithic human occupation in Somerset, and the area was subsequently settled by the Celts, Romans and Anglo-Saxons. The county played a significant part in Alfred the Great's rise to power, and later the English Civil War and the Monmouth Rebellion. In the later medieval period its wealth allowed its monasteries and parish churches to be rebuilt in grand style; Glastonbury Abbey was particularly important, and claimed to house the tomb of King Arthur and Guinevere. The city of Bath is famous for its Georgian architecture, and is a UNESCO World Heritage Site. The county is also the location of Glastonbury Festival, one of the UK's major music festivals.
Somerset is a historic county in the south west of England. There is evidence of human occupation since prehistoric times with hand axes and flint points from the Palaeolithic and Mesolithic eras, and a range of burial mounds, hill forts and other artefacts dating from the Neolithic, Bronze and Iron Ages. The oldest dated human road work in Great Britain is the Sweet Track, constructed across the Somerset Levels with wooden planks in the 39th century BCE.
Following the Roman Empire's invasion of southern Britain, the mining of lead and silver in the Mendip Hills provided a basis for local industry and commerce. Bath became the site of a major Roman fort and city, the remains of which can still be seen. During the Early Medieval period Somerset was the scene of battles between the Anglo-Saxons and first the Britons and later the Danes. In this period it was ruled first by various kings of Wessex, and later by kings of England. Following the defeat of the Anglo-Saxon monarchy by the Normans in 1066, castles were built in Somerset.
Expansion of the population and settlements in the county continued during the Tudor and more recent periods. Agriculture and coal mining expanded until the 18th century, although other industries declined during the industrial revolution. In modern times the population has grown, particularly in the seaside towns, notably Weston-super-Mare. Agriculture continues to be a major business, if no longer a major employer because of mechanisation. Light industries are based in towns such as Bridgwater and Yeovil. The towns of Taunton and Shepton Mallet manufacture cider, although the acreage of apple orchards is less than it once was.
The Palaeolithic and Mesolithic periods saw hunter-gatherers move into the region of Somerset. There is evidence from flint artefacts in a quarry at Westbury that an ancestor of modern man, possibly Homo heidelbergensis, was present in the area from around 500,000 years ago. There is still some doubt about whether the artefacts are of human origin but they have been dated within Oxygen Isotope Stage 13 (524,000 – 478,000 BP). Other experts suggest that "many of the bone-rich Middle Pleistocene deposits belong to a single but climatically variable interglacial that succeeded the Cromerian, perhaps about 500,000 years ago. Detailed analysis of the origin and modification of the flint artefacts leads to the conclusion that the assemblage was probably a product of geomorphological processes rather than human work, but a single cut-marked bone suggests a human presence." Animal bones and artefacts unearthed in the 1980s at Westbury-sub-Mendip, in Somerset, have shown evidence of early human activity approximately 700,000 years ago.
Homo sapiens sapiens, or modern man, came to Somerset during the Early Upper Palaeolithic. There is evidence of occupation of four Mendip caves 35,000 to 30,000 years ago. During the Last Glacial Maximum, about 25,000 to 15,000 years ago, it is probable that Somerset was deserted as the area experienced tundra conditions. Evidence was found in Gough's Cave of deposits of human bone dating from around 12,500 years ago. The bones were defleshed and probably ritually buried though perhaps related to cannibalism being practised in the area at the time or making skull cups or storage containers. Somerset was one of the first areas of future England settled following the end of Younger Dryas phase of the last ice age c. 8000 BC. Cheddar Man is the name given to the remains of a human male found in Gough's Cave in Cheddar Gorge. He is Britain's oldest complete human skeleton. The remains date from about 7150 BC, and it appears that he died a violent death. Somerset is thought to have been occupied by Mesolithic hunter-gatherers from about 6000 BCE; Mesolithic artefacts have been found in more than 70 locations. Mendip caves were used as burial places, with between 50 and 100 skeletons being found in Aveline's Hole. In the Neolithic era, from about 3500 BCE, there is evidence of farming.
At the end of the last ice age the Bristol Channel was dry land, but later the sea level rose, particularly between 1220 and 900 BC and between 800 and 470 BCE, resulting in major coastal changes. The Somerset Levels became flooded, but the dry points such as Glastonbury and Brent Knoll have a long history of settlement, and are known to have been occupied by Mesolithic hunters. The county has prehistoric burial mounds (such as Stoney Littleton Long Barrow), stone rows (such as the circles at Stanton Drew and Priddy) and settlement sites. Evidence of Mesolithic occupation has come both from the upland areas, such as in Mendip caves, and from the low land areas such as the Somerset Levels. Dry points in the latter such as Glastonbury Tor and Brent Knoll, have a long history of settlement with wooden trackways between them. There were also "lake villages" in the marsh such as those at Glastonbury Lake Village and Meare. One of the oldest dated human road work in Britain is the Sweet Track, constructed across the Somerset Levels with wooden planks in the 39th century BC, partially on the route of the even earlier Post Track.
There is evidence of Exmoor's human occupation from Mesolithic times onwards. In the Neolithic period people started to manage animals and grow crops on farms cleared from the woodland, rather than act purely as hunter gatherers. It is also likely that extraction and smelting of mineral ores to make tools, weapons, containers and ornaments in bronze and then iron started in the late Neolithic and into the Bronze and Iron Ages.
The caves of the Mendip Hills were settled during the Neolithic period and contain extensive archaeological sites such as those at Cheddar Gorge. There are numerous Iron Age Hill Forts, which were later reused in the Dark Ages, such as Cadbury Castle, Worlebury Camp and Ham Hill. The age of the henge monument at Stanton Drew stone circles is unknown, but is believed to be from the Neolithic period. There is evidence of mining on the Mendip Hills back into the late Bronze Age when there were technological changes in metal working indicated by the use of lead. There are numerous "hill forts", such as Small Down Knoll, Solsbury Hill, Dolebury Warren and Burledge Hill, which seem to have had domestic purposes, not just a defensive role. They generally seem to have been occupied intermittently from the Bronze Age onward, some, such as Cadbury Camp at South Cadbury, being refurbished during different eras. Battlegore Burial Chamber is a Bronze Age burial chamber at Williton which is composed of three round barrows and possibly a long, chambered barrow.
The Iron Age tribes of later Somerset were the Dobunni in north Somerset, Durotriges in south Somerset and Dumnonii in west Somerset. The first and second produced coins, the finds of which allows their tribal areas to be suggested, but the latter did not. All three had a Celtic culture and language. However, Ptolemy stated that Bath was in the territory of the Belgae, but this may be a mistake. The Celtic gods were worshipped at the temple of Sulis at Bath and possibly the temple on Brean Down. Iron Age sites on the Quantock Hills, include major hill forts at Dowsborough and Ruborough, as well as smaller earthwork enclosures, such as Trendle Ring, Elworthy Barrows and Plainsfield Camp.
Somerset was part of the Roman Empire from 47 AD to about 409 AD. However, the end was not abrupt and elements of Romanitas lingered on for perhaps a century.
Somerset was invaded from the south-east by the Second Legion Augusta, under the future emperor Vespasian. The hillforts of the Durotriges at Ham Hill and Cadbury Castle were captured. Ham Hill probably had a temporary Roman occupation. The massacre at Cadbury Castle seems to have been associated with the later Boudiccan Revolt of 60–61 AD. The county remained part of the Roman Empire until around 409 AD.
The Roman invasion, and possibly the preceding period of involvement in the internal affairs of the south of England, was inspired in part by the potential of the Mendip Hills. A great deal of the attraction of the lead mines may have been the potential for the extraction of silver.
Forts were set up at Bath and Ilchester. The lead and silver mines at Charterhouse in the Mendip Hills were run by the military. The Romans established a defensive boundary along the new military road known the Fosse Way (from the Latin fossa meaning ditch). The Fosse Way ran through Bath, Shepton Mallet, Ilchester and south-west towards Axminster. The road from Dorchester ran through Yeovil to meet the Fosse Way at Ilchester. Small towns and trading ports were set up, such as Camerton and Combwich. The larger towns decayed in the latter part of the period, though the smaller ones appear to have decayed less. In the latter part of the period, Ilchester seems to have been a "civitas" capital and Bath may also have been one. Particularly to the east of the River Parrett, villas were constructed. However, only a few Roman sites have been found to the west of the river. The villas have produced important mosaics and artifacts. Cemeteries have been found outside the Roman towns of Somerset and by Roman temples such as that at Lamyatt. Romano-British farming settlements, such as those at Catsgore and Sigwells, have been found in Somerset. There was salt production on the Somerset Levels near Highbridge and quarrying took place near Bath, where the Roman Baths gave their name to Bath.
Excavations carried out before the flooding of Chew Valley Lake also uncovered Roman remains, indicating agricultural and industrial activity from the second half of the 1st century until the 3rd century AD. The finds included a moderately large villa at Chew Park, where wooden writing tablets (the first in the UK) with ink writing were found. There is also evidence from the Pagans Hill Roman Temple at Chew Stoke. In October 2001 the West Bagborough Hoard of 4th century Roman silver was discovered in West Bagborough. The 681 coins included two denarii from the early 2nd century and 8 Miliarense and 671 Siliqua all dating to the period AD 337 – 367. The majority were struck in the reigns of emperors Constantius II and Julian and derive from a range of mints including Arles and Lyons in France, Trier in Germany and Rome.
In April 2010, the Frome Hoard, one of the largest-ever hoards of Roman coins discovered in Britain, was found by a metal detectorist. The hoard of 52,500 coins dated from the 3rd century AD and was found buried in a field near Frome, in a jar 14 inches (36 cm) below the surface. The coins were excavated by archaeologists from the Portable Antiquities Scheme.
This is the period from about 409 AD to the start of Saxon political control, which was mainly in the late 7th century, though they are said to have captured the Bath area in 577 AD. Initially the Britons of Somerset seem to have continued much as under the Romans but without the imperial taxation and markets. There was then a period of civil war in Britain though it is not known how this affected Somerset. The Western Wandsdyke may have been constructed in this period but archaeological data shows that it was probably built during the 5th or 6th century. This area became the border between the Romano-British Celts and the West Saxons following the Battle of Deorham in 577 AD. The ditch is on the north side, so presumably it was used by the Celts as a defence against Saxons encroaching from the upper Thames Valley. According to the Anglo-Saxon Chronicle, the Saxon Cenwalh achieved a breakthrough against the British Celtic tribes, with victories at Bradford-on-Avon (in the Avon Gap in the Wansdyke) in 65
Woodpeckers are part of the bird family Picidae, which also includes the piculets, wrynecks and sapsuckers. Members of this family are found worldwide, except for Australia, New Guinea, New Zealand, Madagascar and the extreme polar regions. Most species live in forests or woodland habitats, although a few species are known that live in treeless areas, such as rocky hillsides and deserts, and the Gila woodpecker specialises in exploiting cacti.
Members of this family are chiefly known for their characteristic behaviour. They mostly forage for insect prey on the trunks and branches of trees, and often communicate by drumming with their beaks, producing a reverberatory sound that can be heard at some distance. Some species vary their diet with fruits, birds' eggs, small animals, tree sap, human scraps, and carrion. They usually nest and roost in holes that they excavate in tree trunks, and their abandoned holes are of importance to other cavity-nesting birds. They sometimes come into conflict with humans when they make holes in buildings or feed on fruit crops, but perform a useful service by their removal of insect pests on trees.
The Picidae are one of nine living families in the order Piciformes, the others being barbets (comprising three families), toucans, toucan-barbets, and honeyguides, which (along with woodpeckers) comprise the clade Pici, and the jacamars and puffbirds in the clade Galbuli. DNA sequencing has confirmed the sister relationships of these two groups. The family Picidae includes about 240 species arranged in 35 genera. Almost 20 species are threatened with extinction due to loss of habitat or habitat fragmentation, with one, the Bermuda flicker, being extinct and a further two possibly being so.
General characteristics
Woodpeckers include the tiny piculets, the smallest of which appears to be the bar-breasted piculet at 7.5 cm (3.0 in) in length and a weight of 8.9 g (0.31 oz). Some of the largest woodpeckers can be more than 50 cm (20 in) in length. The largest surviving species is the great slaty woodpecker, which weighs 430 g (15 oz) on average and up to 563 g (19.9 oz), and measures 45 to 55 cm (18 to 22 in), but the extinct imperial woodpecker, at 55 to 61 cm (22 to 24 in), and ivory-billed woodpecker, around 48 to 53 cm (19 to 21 in) and 516 g (18.2 oz), were probably both larger.
The plumage of woodpeckers varies from drab to conspicuous. The colours of many species are based on olive and brown and some are pied, suggesting a need for camouflage; others are boldly patterned in black, white, and red, and many have a crest or tufted feathers on their crowns. Woodpeckers tend to be sexually dimorphic, but differences between the sexes are generally small; exceptions to this are Williamson's sapsucker and the orange-backed woodpecker, which differ markedly. The plumage is moulted fully once a year apart from the wrynecks, which have an additional partial moult before breeding.
Woodpeckers, piculets, and wrynecks all possess characteristic zygodactyl feet, consisting of four toes, the first (hallux) and the fourth facing backward and the second and third facing forward. This foot arrangement is good for grasping the limbs and trunks of trees. Members of this family can walk vertically up tree trunks, which is beneficial for activities such as foraging for food or nest excavation. In addition to their strong claws and feet, woodpeckers have short, strong legs. This is typical of birds that regularly forage on trunks. Exceptions are the black-backed woodpecker and the American and Eurasian three-toed woodpeckers, which have only three toes on each foot. The tails of all woodpeckers, except the piculets and wrynecks, are stiffened, and when the bird perches on a vertical surface, the tail and feet work together to support it.
Woodpeckers have strong bills that they use for drilling and drumming on trees, and long, sticky tongues for extracting food (insects and larvae). Woodpecker bills are typically longer, sharper, and stronger than the bills of piculets and wrynecks, but their morphology is very similar. The bill's chisel-like tip is kept sharp by the pecking action in birds that regularly use it on wood. The beak consists of three layers; an outer sheath called rhamphotheca, made of scales formed from keratin proteins, an inner layer of bone which has a large cavity and mineralised collagen fibers, and a middle layer made of porous bone which connects the two other layers.
Furthermore, the tongue bone (or hyoid bone) of the woodpecker is very long, and winds around the skull through a special cavity, thereby cushioning the brain. Combined, this anatomy helps the beak absorb mechanical stress. Species of woodpecker and flicker that use their bills in soil or for probing as opposed to regular hammering tend to have longer and more decurved bills. Due to their smaller bill size, many piculets and wrynecks forage in decaying wood more often than woodpeckers. Their long, sticky tongues, which possess bristles, aid these birds in grabbing and extracting insects from deep within a hole in a tree. The tongue was reported to be used to spear grubs, but more detailed studies published in 2004 have shown that the tongue instead wraps around the prey before being pulled out.
Diagram showing the hyoid bone of Dendrocopos major
Many of the foraging, breeding, and signaling behaviors of woodpeckers involve drumming and hammering using their bills. To prevent brain damage from the rapid and repeated powerful impacts, woodpeckers have a number of physical features that protect their brains. These include a relatively small and smooth brain, narrow subdural space, little cerebrospinal fluid surrounding it to prevent it from moving back and forth inside the skull during pecking, the orientation of the brain within the skull (which maximises the contact area between the brain and the skull) and the short duration of contact. The skull consists of strong but compressible, sponge-like bone, which is most concentrated in the forehead and the back of the skull. Another anatomical adaptation of woodpeckers is the enormously elongated hyoid bone which subdivides, passes on either side of the spinal column and wraps around the brain case, before ending in the right nostril cavity. It plays the role of safety-belt.
Computer simulations have shown that 99.7% of the energy generated in pecking is stored in the form of strain energy, which is distributed throughout the bird's body, with only a small remaining fraction of the energy going into the brain. The pecking also causes the woodpecker's skull to heat up, which is part of the reason why they often peck in short bursts with brief breaks in between, giving the head some time to cool. During the millisecond before contact with wood, a thickened nictitating membrane closes, protecting the eye from flying debris.[ These membranes also prevent the retina from tearing. Their nostrils are also protected; they are often slit-like and have special feathers to cover them. Woodpeckers are capable of repeated pecking on a tree at high decelerations on the order of 10,000 m/s2 (33,000 ft/s2) (1000 g).[
Some large woodpeckers such as Dryocopus have a fast, direct form of flight, but the majority of species have a typical undulating flight pattern consisting of a series of rapid flaps followed by a swooping glide. Many birds in the genus Melanerpes have distinctive, rowing wing-strokes while the piculets engage in short bursts of rapid direct flight.
Distribution, habitat, and movements
Woodpeckers have a mostly cosmopolitan distribution, although they are absent from Australasia, Madagascar, and Antarctica. They are also absent from some of the world's oceanic islands, although many insular species are found on continental islands. The true woodpeckers, subfamily Picinae, are distributed across the entire range of the family. The Picumninae piculets have a pantropical distribution, with species in Southeast Asia, Africa, and the Neotropics, with the greatest diversity being in South America. The second piculet subfamily, the Sasiinae, contains the African piculet and two species in the genus Sasia that are found in Southeast Asia. The wrynecks (Jynginae) are found exclusively in the Old World, with the two species occurring in Europe, Asia, and Africa.
Most woodpeckers are sedentary, but a few examples of migratory species are known, such as the rufous-bellied woodpecker, yellow-bellied sapsucker, and Eurasian wryneck, which breeds in Europe and west Asia and migrates to the Sahel in Africa in the winter. More northerly populations of Lewis's woodpecker, northern flicker, Williamson's sapsucker, red-breasted sapsucker, and red-naped sapsucker all move southwards in the fall in North America. Most woodpecker movements can be described as dispersive, such as when young birds seek territories after fledging, or eruptive, to escape harsh weather conditions. Several species are altitudinal migrants, for example the grey-capped pygmy woodpecker, which moves to lowlands from hills during winter. The woodpeckers that do migrate, do so during the day.
Habitat requirements
Overall, woodpeckers are arboreal birds of wooded habitats. They reach their greatest diversity in tropical rainforests, but occur in almost all suitable habitats, including woodlands, savannahs, scrublands, and bamboo forests. Even grasslands and deserts have been colonised by various species. These habitats are more easily occupied where a small number of trees exist, or in the case of desert species like the Gila woodpecker, tall cacti are available for nesting. Some are specialists and are associated with coniferous or deciduous woodlands, or even, like the acorn woodpecker, with individual tree genera (oaks in this case). Other species are generalists and are able to adapt to forest clearance by exploiting secondary growth, plantations, orchards, and parks. In general, forest-dwelling species need rotting or dead wood on which to forage.
Several species are adapted to spending a portion of their time feeding on the ground, and a very small minority have abandoned trees entirely and nest in holes in the ground. The ground woodpecker is one such species, inhabiting the rocky and grassy hills of South Africa, and the Andean flicker is another.
The Swiss Ornithological Institute has set up a monitoring program to record breeding populations of woodland birds. This has shown that deadwood is an important habitat requirement for the black woodpecker, great spotted woodpecker, middle spotted woodpecker, lesser spotted woodpecker, European green woodpecker, and Eurasian three-toed woodpecker. Populations of all these species increased by varying amounts from 1990 to 2008. During this period, the amount of deadwood in the forest increased and the range of the white-backed woodpecker enlarged as it extended eastwards. With the exception of the green and middle-spotted woodpeckers, the increase in the amount of deadwood is likely to be the major factor explaining the population increase of these species.
Behavior
Most woodpeckers live solitary lives, but their behavior ranges from highly antisocial species that are aggressive towards their own kind, to species that live in groups. Solitary species defend such feeding resources as a termite colony or fruit-laden tree, driving away other conspecifics and returning frequently until the resource is exhausted. Aggressive behaviors include bill pointing and jabbing, head shaking, wing flicking, chasing, drumming, and vocalizations. Ritual actions do not usually result in contact, and birds may "freeze" for a while before they resume their dispute. The colored patches may be flouted, and in some instances, these antagonistic behaviors resemble courtship rituals.
Group-living species tend to be communal group breeders.[25] In addition to these species, a number of species may join mixed-species foraging flocks with other insectivorous birds, although they tend to stay at the edges of these groups. Joining these flocks allows woodpeckers to decrease their anti-predator vigilance and increase their feeding rate. Woodpeckers are diurnal, roosting at night inside holes and crevices. In many species the roost will become the nest-site during the breeding season, but in some species they have separate functions; the grey-and-buff woodpecker makes several shallow holes for roosting which are quite distinct from its nesting site. Most birds roost alone and will oust intruders from their chosen site, but the Magellanic woodpecker and acorn woodpecker are cooperative roosters.
Drumming is a form of nonvocal communication used by most species of woodpeckers, and involves the bill being repeatedly struck on a hard surface with great rapidity. After a pause, the drum roll is repeated, with each species having a pattern that is unique in the number of beats in the roll, the length of the roll, the length of the gap between rolls, and the cadence. The drumming is mainly a territorial call, equivalent to the song of a passerine. Woodpeckers choose a surface that resonates, such as a hollow tree, and may use man-made structures such as gutters and downpipes. Drumming serves for the mutual recognition of conspecifics and plays a part in courtship rituals. Individual birds are thought to be able to distinguish the drumming of their mates and those of their neighbors. Drumming can be reliably used to distinguish between multiple species in a region, even if those species are phenotypically similar. Cadence (or the mean number of drum beats per second) is heavily conserved within species. Comparative analyses within species between distant geographic populations have shown that cadence is heavily conserved across species' respective ranges, indicating that there likely are not 'dialects' as seen in passerine song. Drumming in woodpeckers is controlled by a set of nuclei in the forebrain that closely resemble the brain regions that underlie song learning and production in many songbirds. A 2023 study revealed a strong association between extractive foraging and relative brain size across the Family Picidae, indicating that a larger brain does not necessarily result in more powerful drumming abilities, but is implicated in foraging behaviors, as the act of sensing and retrieving wood-boring larvae from woody substrates likely requires an increase in sensory and motor control capabilities.
Calls
Woodpeckers do not have such a wide range of songs and calls as do passerine birds, and the sounds they make tend to be simpler in structure. Calls produced include brief, high-pitched notes, trills, rattles, twittering, whistling, chattering, nasal churrs, screams, and wails. These calls are used by both sexes in communication and are related to the circumstances of the occasion; these include courtship, territorial disputes, and alarm calls. Each species has its own range of calls, which tend to be in the 1.0 to 2.5 kHz range for efficient transmission through forested environments. Mated couples may exchange muted, low-pitched calls, and nestlings often issue noisy begging calls from inside their nest cavity. The wrynecks have a more musical song, and in some areas, the song of the newly arrived Eurasian wryneck is considered to be the harbinger of spring. The piculets either have a song consisting of a long, descending trill, or a descending series of two to six (sometimes more) individual notes, and this song alerts ornithologists to the presence of the birds, as they are easily overlooked.
Diet and feeding
Most woodpecker species feed on insects and other invertebrates living under bark and in wood, but overall, the family is characterized by its dietary flexibility, with many species being both highly omnivorous and opportunistic. The diet includes ants, termites, beetles and their larvae, caterpillars, spiders, other arthropods, bird eggs, nestlings, small rodents, lizards, fruit, nuts, and sap. Many insects and their grubs are taken from living and dead trees by excavation. The bird may hear sounds from inside the timber indicating where creating a hole would be productive. Crustaceans, molluscs, and carrion may be eaten by some species, including the great spotted woodpecker, and bird feeders are visited for suet and domestic scraps.
Other means are also used to garner prey. Some species, such as the red-naped sapsucker, sally into the air to catch flying insects, and many species probe into crevices and under bark, or glean prey from leaves and twigs. The rufous woodpecker specialises in attacking the nests of arboreal ants, and the buff-spotted woodpecker feeds on and nests in termite mounds. Other species, such as the wrynecks and the Andean flicker, feed wholly or partly on the ground.
Ecologically, woodpeckers help to keep trees healthy by keeping them from suffering mass infestations. The family is noted for its ability to acquire wood-boring grubs from the trunks and branches, whether the timber is alive or dead. Having hammered a hole into the wood, the prey is extracted by use of a long, barbed tongue. Woodpeckers consume beetles that burrow into trees, removing as many as 85% of emerald ash borer larvae from individual ash trees.
The ability to excavate allows woodpeckers to obtain tree sap, an important source of food for some species. Most famously, the sapsuckers (genus Sphyrapicus) feed in this fashion, but the technique is not restricted to these, and others such as the acorn woodpecker and white-headed woodpecker also feed on sap. The technique was once thought to be restricted to the New World, but Old World species, such as the Arabian woodpecker and great spotted woodpecker, also feed in this way.
Breeding
All members of the family Picidae nest in cavities, nearly always in the trunks and branches of trees, well away from the foliage. Where possible, an area of rotten wood surrounded by sound timber is used. Where trees are in short supply, the gilded flicker and ladder-backed woodpecker excavate holes in cactus, and the Andean flicker and ground woodpecker dig holes in earth banks. The campo flicker sometimes chooses termite mounds, the rufous woodpecker prefers to use ants' nests in trees and the bamboo woodpecker specialises in bamboos. Woodpeckers also excavate nest holes in residential and commercial structures and wooden utility poles.
Woodpeckers and piculets excavate their own nests, but wrynecks do not, and need to find pre-existing cavities. A typical nest has a round entrance hole that just fits the bird, leading to an enlarged vertical chamber below. No nesting material is used, apart from some wood chips produced during the excavation; other wood chips are liberally scattered on the ground, thus providing visual evidence of the site of the nest. Many species of woodpeckers excavate one hole per breeding season, sometimes after multiple attempts. It takes around a month to finish the job and abandoned holes are used by other birds and mammals that are cavity nesters unable to excavate their own holes.
Cavities are in great demand for nesting by other cavity nesters, so woodpeckers face competition for the nesting sites they excavate from the moment the hole becomes usable. This may come from other species of woodpecker, or other cavity-nesting birds such as swallows and starlings. Woodpeckers may aggressively harass potential competitors, and also use other strategies to reduce the chance of being usurped from their nesting sites; for example, the red-crowned woodpecker digs its nest in the underside of a small branch, which reduces the chance that a larger species will take it over and expand it.
Members of Picidae are typically monogamous, with a few species breeding cooperatively and some polygamy reported in a few others. Polyandry, where a female raises two broods with two separate males, has also been reported in the West Indian woodpecker. Another unusual social system is that of the acorn woodpecker, which is a polygynandrous cooperative breeder where groups of up to 12 individuals breed and help to raise the young.[4] Young birds from previous years may stay behind to help raise the group's young, and studies have found reproductive success for the group goes up with group size, but individual success goes down. Birds may be forced to remain in groups due to a lack of habitat to which to disperse.
Great spotted woodpecker feeding its chick
A pair works together to help build the nest, incubate the eggs, and raise their altricial young. In most species, though, the male does most of the nest excavation and takes the night shift while incubating the eggs. A clutch usually consists of two to five round, white eggs. Since these birds are cavity nesters, their eggs do not need to be camouflaged and the white color helps the parents to see them in dim light. The eggs are incubated for about 11–14 days before they hatch. About 18–30 days are then needed before the chicks are fully fledged and ready to leave the nest. In most species, soon after this, the young are left to fend for themselves, exceptions being the various social species, and the Hispaniolan woodpecker, where adults continue to feed their young for several months. In general, cavity nesting is a successful strategy and a higher proportion of young is reared than is the case with birds that nest in the open. In Africa, several species of honeyguide are brood parasites of woodpeckers.
Systematics and evolutionary history
The Picidae are just one of nine living families in the order Piciformes. Other members of this group, such as the jacamars, puffbirds, barbets, toucans, and honeyguides, have traditionally been thought to be closely related to the woodpecker family (true woodpeckers, piculets, wrynecks, and sapsuckers). The clade Pici (woodpeckers, barbets, toucans, and honeyguides) is well supported and shares a zygodactyl foot with the Galbuli (puffbirds and jacamars). More recently, several DNA sequence analyses have confirmed that Pici and Galbuli are sister groups.
The name Picidae for the family was introduced by English zoologist William Elford Leach in a guide to the contents of the British Museum published in 1819. The phylogeny has been updated according to new knowledge about convergence patterns and evolutionary history. Most notably, the relationship of the Picinae genera has been largely clarified, and the Antillean piculet was found to be a surviving offshoot of protowoodpeckers. Genetic analysis supports the monophyly of the Picidae, which seem to have originated in the Old World, but the geographic origins of the Picinae is unclear. The Picumninae are returned as paraphyletic. Morphological and behavioural characters, in addition to DNA evidence, highlights genus Hemicircus as the sister group of all remaining true woodpeckers, besides a sister-group relationship between the true woodpecker tribes Dendropicini and Malarpicini.
The evolutionary history of this group is not well documented, but the known fossils allow some preliminary conclusions; the earliest known modern picids were piculet-like forms of the Late Oligocene, about 25 million years ago (Mya). By that time, however, the group was already present in the Americas and Europe, and they actually may have evolved much earlier, maybe as early as the Early Eocene (50 Mya). The modern subfamilies appear to be rather young by comparison; until the mid-Miocene (10–15 Mya), all picids seem to have been small or mid-sized birds similar to a mixture between a piculet and a wryneck. A feather enclosed in fossil amber from the Dominican Republic, dated to about 25 Mya, however, seems to indicate that the Nesoctitinae were already a distinct lineage by then.
Stepwise adaptations for drilling, tapping, and climbing head first on vertical surfaces have been suggested. The last common ancestor of woodpeckers (Picidae) was incapable of climbing up tree trunks or excavating nest cavities by drilling with its beak. The first adaptations for drilling (including reinforced rhamphotheca, frontal overhang, and processus dorsalis pterygoidei) evolved in the ancestral lineage of piculets and true woodpeckers. Additional adaptations for drilling and tapping (enlarged condylus lateralis of the quadrate and fused lower mandible) have evolved in the ancestral lineage of true woodpeckers (Hemicircus excepting). The inner rectrix pairs became stiffened, and the pygostyle lamina was enlarged in the ancestral lineage of true woodpeckers (Hemicircus included), which facilitated climbing head first up tree limbs. Genus Hemicircus excepting, the tail feathers were further transformed for specialized support, the pygostyle disc became greatly enlarged, and the ectropodactyl toe arrangement evolved. These latter characters may have facilitated enormous increases in body size in some lineages.
Prehistoric representatives of the extant Picidae genera are treated in the genus articles. An enigmatic form based on a coracoid, found in Pliocene deposits of New Providence in the Bahamas, has been described as Bathoceleus hyphalus and probably also is a woodpecker.
The following cladogram is based on the comprehensive molecular phylogenetic study of the woodpeckers published in 2017 together with the list of bird species maintained by Frank Gill, Pamela Rasmussen and David Donsker on behalf of the International Ornithological Committee (IOC). The Cuban green woodpecker in the monotypic genus Xiphidiopicus was not included in the study. The relative positions of Picumninae, Sasiinae and Picinae in the cladogram are uncertain. In the 2017 study the results depended upon which of two different statistical procedures were used to analyse the DNA sequence data. One method found that Sasiinae was sister to Picinae (as shown below), the other method found that Sasiinae was sister to a clade containing both Picumninae and Picinae
The woodpecker family Picidae contains 37 genera.[56] For more detail, see list of woodpecker species.
Cuban green woodpecker
(Xiphidiopicus percussus)
female, Cuba
Campo flicker
Colaptes campestris
female, Brazil
Family: Picidae
Subfamily: Jynginae – wrynecks
Jynx (2 species)
Subfamily: Picumninae – piculets[57]
Picumnus – piculets (26 species)
Subfamily: Sasiinae
Verreauxia – African piculet
Sasia – Asian piculets (2 species)
Subfamily: Picinae – true woodpeckers
Tribe Nesoctitini
Nesoctites – monotypic: Antillean piculet
Tribe Hemicircini
Hemicircus – 2 species
Tribe Picini
Micropternus – monotypic: rufous woodpecker
Meiglyptes – 4 species
Gecinulus – 3 species
Dinopium – 5 species (flamebacks)
Picus – 14 species
Chrysophlegma – 3 species
Pardipicus – 2 species
Geocolaptes – monotypic: ground woodpecker
Campethera – 11 species
Mulleripicus – 4 species
Dryocopus – 6 species
Celeus – 13 species
Piculus – 7 species
Colaptes – 14 species
Tribe Campephilini
Campephilus – 12 species
Blythipicus – 2 species
Reinwardtipicus – monotypic: orange-backed woodpecker
Chrysocolaptes – 9 species (flamebacks)
Tribe Melanerpini
Sphyrapicus – 4 species (sapsuckers)
Melanerpes – 24 species
Picoides – 3 species
Yungipicus – 7 species
Leiopicus – monotypic: yellow-crowned woodpecker
Dendrocoptes – 3 species
Chloropicus – 3 species
Dendropicos – 12 species
Dendrocopos – 12 species
Dryobates – 5 species
Leuconotopicus – 6 species
Veniliornis – 14 species
Xiphidiopicus – monotypic: Cuban green woodpecker
Incertae sedis fossils
Genus: †Palaeopicus (Late Oligocene of France)
†Picidae gen. et sp. indet. (Middle Miocene of New Mexico, US)
†Picidae gen. et sp. indet. (Late Miocene of Gargano Peninsula, Italy)
Genus: †Palaeonerpes (Ogallala Early Pliocene of Hitchcock County, US) – possibly dendropicine
Genus: †Pliopicus (Early Pliocene of Kansas, US) – possibly dendropicine
cf. Colaptes DMNH 1262 (Early Pliocene of Ainsworth, US) – malarpicine?
Relationship with humans
In general, humans consider woodpeckers in a favourable light; they are viewed as interesting birds and fascinating to watch as they drum or forage, but their activities are not universally appreciated. Many woodpecker species are known to excavate holes in buildings, fencing, and utility poles, creating health and/or safety issues for affected structures. Such activity is very difficult to discourage and can be costly to repair.
Woodpeckers also drum on various reverberatory structures on buildings such as gutters, downspouts, chimneys, vents, and aluminium sheeting. Drumming is a less-forceful type of pecking that serves to establish territory and attract mates. Houses with shingles or wooden boarding are also attractive as possible nesting or roosting sites, especially when close to large trees or woodland. Several exploratory holes may be made, especially at the junctions of vertical boards or at the corners of tongue-and-groove boarding. The birds may also drill holes in houses as they forage for insect larvae and pupae hidden behind the woodwork.
Woodpeckers sometimes cause problems when they raid fruit crops, but their foraging activities are mostly beneficial as they control forest insect pests such as the woodboring beetles that create galleries behind the bark and can kill trees. They also eat ants, which may be tending sap-sucking pests such as mealybugs, as is the case with the rufous woodpecker in coffee plantations in India. Woodpeckers can serve as indicator species, demonstrating the quality of the habitat. Their hole-making abilities make their presence in an area an important part of the ecosystem, because these cavities are used for breeding and roosting by many bird species that are unable to excavate their own holes, as well as being used by various mammals and invertebrates.
The spongy bones of the woodpecker's skull and the flexibility of its beak, both of which provide protection for the brain when drumming, have provided inspiration to engineers; a black box needs to survive intact when a plane falls from the sky, and modelling the black box with regard to a woodpecker's anatomy has increased the resistance of this device to damage 60-fold.[61] The design of protective helmets is another field being influenced by the study of woodpeckers.
One of the accounts of the founding of Rome, preserved in the work known as Origo Gentis Romanae (unknown), refers to a legend of a woodpecker bringing food to the boys Romulus and Remus during the time they were abandoned in the wild, thus enabling them to survive and play their part in history.
Popular culture
Woody Woodpecker is an animated character that appeared in theatrical short films produced between 1940 and 1972.
The Pokémon Pikipek was introduced in the seventh generation games Pokémon Sun and Moon. In addition to being a visual homage to a pileated woodpecker, entries in the game's Pokédex encyclopedia describes the small Flying-type as analogous to its real-world counterpart. Its later forms (called "evolutions" in the series) Trumbeak and Toucannon resemble a honeyguide and toucan, respectively, perhaps as a tongue-in-cheek reference to the phylogenetic relationship woodpeckers share with these Piciformes families.
Status and conservation
In a global survey of the risk of extinction faced by the various bird families, woodpeckers were the only bird family to have significantly fewer species at risk than would be expected.
Nevertheless, several woodpeckers are under threat as their habitats are destroyed. Being woodland birds, deforestation and clearance of land for agriculture and other purposes can reduce populations dramatically. Some species adapt to living in plantations and secondary growth, or to open countryside with forest remnants and scattered trees, but some do not. A few species have even flourished when they have adapted to man-made habitats. There are few conservation projects directed primarily at woodpeckers, but they benefit whenever their habitat is conserved. The red-cockaded woodpecker has been the focus of much conservation effort in the southeastern United States, with artificial cavities being constructed in the longleaf pines they favour as nesting sites.
Two species of woodpeckers in the Americas, the ivory-billed woodpecker is critically endangered and the imperial woodpecker is classified as extinct in the wild, with some authorities believing them extinct, though possible but disputed ongoing sightings of ivory-billed woodpeckers have been made in the United States and a small population may survive in Cuba. A critically endangered species is the Okinawa woodpecker from Japan, with a single declining population of a few hundred birds. It is threatened by deforestation, golf course, dam, and helipad construction, road building, and agricultural development.
Anatomy
Woodpeckers possess many sophisticated shock-absorption mechanisms that help protect them from head injury. Micro-CT scans show that plate-like spongy bones are in the skull with an uneven distribution, highly accumulated in the forehead and occiput but not in other regions. Along with the long hyoid bone “safety belt” the woodpecker has uneven beak lengths which drastically reduce strains when compared to equal length. Models have shown that pecking force is changed to strain energy and stored into the body at around 99% absorption while 1% is in the head. The head also has many factors that reduce strain to the brain and small portions of energy are dissipated into the form of heat, therefore the pecks are always intermittent.
Tau protein accumulation is associated with chronic traumatic encephalopathy (CTE), and thus has been studied in sports where athletes suffer repeated concussions. Tau is important as it helps hold together and stabilize brain neurons. Woodpeckers' brains share similarities to humans with CTE showing most build-up in the frontal and temporal lobes of the brain. It is not yet known whether these accumulations are pathological or the result of behavioral changes. More research is being done on the subject and the woodpecker is a suitable animal model to study. The orientation of the brain within the skull increases the area of contact when pecking to reduce stress on the brain, and their small size helps, given the acceleration speeds.
Mechanical properties
Straight-line trajectory was theorized to be the reason why woodpeckers do not injure themselves, since centripetal forces were the cause of concussion, but they do not always peck in straight lines, so they produce and resist centripetal forces. Laboratory tests show that the woodpeckers' cranial bone produces a significantly higher Young's modulus and ultimate strength scores compared to other birds its size. The cranial bone has a high bone mineral density with plate-like structures that are thick with high numbers of trabeculae that are spaced closely together which all may lead to lower deformation while pecking.
The jaw apparatus was studied, looking into its cushioning effects. When comparing the same impact to the beak and to the forehead, the forehead experiences an impact force 1.72 times that of the beak, due to the contact time being 3.25 ms in the forehead and 4.9 ms in the beak. This is impulse momentum where impulse is the integral of force over time. The quadrate bone and joints play an important role in extending impact time, which decreases impact load to brain tissue.
Bio-inspired honeycomb sandwich beams are inspired by the woodpecker's skull design; this beam's goal is to withstand continuous impacts without the need of replacement. The BHSB is composed of carbon fiber-reinforced plastic (CFRP), this is to mimic the high-strength beak. Next is a rubber layer core for the hyoid bone for absorbing and spreading impact, a second core layer of aluminum honeycomb that is porous and light like the woodpecker's spongey bone for impact cushioning. The final layer is the same as the first a CFRP to act as the skull bone. Bio-inspired honeycomb sandwich beams when compared to conventional beams reduced area damage by 50–80% and carried 40 to 5% of the level of stresses in the bottom layer while having an impact-resistance efficiency 1.65 to 16.22 times higher.
A typical scene in Malé, new buildings coming up and almost all the construction workers are foreign and there's almost no attention to safety. Exploitation of foreign workers rivals fishing as the second most profitable sector of the Maldivian economy after tourism.
read more: www.mvdemocracynetwork.org/348/
An excerpt:
"“Recently I caught one Maldivian man who was bringing in over 1800 people. I asked him, ‘what will you do with them?’ He said there were ‘many projects’. I asked him to show me the projects and he couldn’t.
“I asked him if he had cleared this with the Ministry of Human Resources, Youth and Sports. I rang to check and it had – it was attested by one of the ministries of this government.
“I signed but had questions in my mind – why were the terms and conditions so small? There should be pages and pages – for 1800 people there should be hundreds of pages, and details of the project.
“But I had doubts in my mind so declared my signature null and void within Bangladesh within 4-5 days. I checked the company – it took me months – and then I found out the whole thing was a scam totalling over US$300 million.
“Those people would have come [to Male'] had I not checked. Had I not done it, 1800 people would have sold their homes and become delinquent in the Maldives. This did not bother a Maldivian broker – hell is not good enough for the people who are doing this.”"
Exploitant : Transdev Nanterre
Réseau : RATP
Ligne : 426
Lieu : Pont de Sèvres (Boulogne-Billancourt, F-92)
Lien TC Infos : tc-infos.fr/id/27638
Longueur : 24,4 m
Capacité : 154 voyageurs
Constructeur : Carrosserie Hess AG
Exploitant : Réseau Stan
Pays : France🇫🇷
Ville : Nancy (54000)
Nombre de trolley : 25
Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.
With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.
Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.
Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.
HISTORY
ANCIENT
Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.
In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.
Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.
Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.
The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.
PORTUGUESE CONTACTS
The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.
DUTCH EAST INDIA
In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.
In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:
I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.
The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.
AFTERWARD THE DUTCH GOVERNORS
exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.
n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.
Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.
During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.
INDIPENDENCE FROM THE DUTCH
In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.
CONTEMPORARY
The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.
The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.
As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.
GEOGRAPHY
The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.
Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.
The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.
The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.
Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.
To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.
CLIMATE
Being just 8 degrees south of the equator, Bali has a fairly even climate year round.
Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.
ECOLOGY
Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.
Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.
Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.
Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.
The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.
A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.
Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.
ENVIRONMENT
Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.
From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).
Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.
ECONOMY
Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.
AGRICULTURE
Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.
The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.
TOURISM
The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.
The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.
An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.
In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.
Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.
Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.
In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.
In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.
Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.
Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.
Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.
SEX TOURISM
In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.
Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.
By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.
TRANSPORTATION
The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.
A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.
In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.
A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.
On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.
In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.
On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.
To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.
DEMOGRAPHICS
The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.
ETHNIC ORIGINS
A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.
CASTE SYSTEM
Bali has a caste system based on the Indian Hindu model, with four castes:
- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.
- Wesia (Vaishyas) – the caste of merchants and administrative officials
- Ksatrias (Kshatriyas) – the kingly and warrior caste
- Brahmana (Bramhin) – holy men and priests
RELIGION
Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.
Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.
Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.
Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.
LANGUAGE
Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.
English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.
CULTURE
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.
Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.
Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.
Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.
WIKIPEDIA
Exploitant : Keolis Aude
Réseau : Citibus
Ligne : Été 6
Lieu : Pissevache (Saint-Pierre-la-Mer, F-11)
Lien TC Infos : tc-infos.fr/id/38906
Animal rights protesters marching down Whitehall on 26 August 2023. They were near the end of a march from Marble Arch to Parliament Square. According to an activist I talked to, they were demanding the end to all types of animal exploitation and highlighting universal veganism as not only the only ethical and humane option, but as also a vital tool to prevent catastrophic climate change.
Here are four good reasons to go vegan in 2023
Animal Welfare: By not using or consuming animal products you are helping to reduce harm to animals and supporting their well-being. You should choose veganism if you believe in treating animals with kindness and respect.
Health Benefits: Vegan diets can lower the risk of heart disease, certain cancers, and type 2 diabetes. They typically include more fruits, vegetables, and whole grains, which are good for your health.
Environmental Impact: Producing plant-based foods typically has a much smaller environmental footprint than raising animals for meat. It can help combat issues of immense importance to the planet's future, particularly by reducing methane emissions and deforestation and thereby mitigating climate change.
Resource Conservation: A vegan diet requires fewer resources like water and land compared to a diet heavy in animal products. It's a more sustainable choice for the planet's future.
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/35439
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 4
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/36010
During World War II, Western Allied tank development tended to lag behind their German enemies and Soviet counterparts: the British split their armored forces into infantry support tanks like the Matilda and Churchill, and exploitation tanks such as the Cruiser series. The former were tough but very slow; the latter were fast but thinly armored. None of them carried a large gun, as they were not meant to duel other tanks.
Experience in North Africa, where the British tanks were regularly outgunned by German Panzers and blown apart by 88mm antitank guns, led to a major change in British tank design. The success of the Germans with the Panther and the Russians with the T-34/85 led the British to begin designing a new main battle tank, the Comet--the Comet combined the speed of a Cruiser tank with the superb 17 pounder (76mm) gun of the Sherman Firefly. The Comet's armor was still considered to be too thin to resist a direct hit from an 88, so a heavier tank was ordered. This would become the Centurion.
Whereas the Comet was the answer to the Panther, the Centurion was meant to take on the German heavies: the Tiger and King Tiger. The design specification called for armor thick enough to take multiple 88mm hits, yet retain the mobility (if not the top speed) of the Comet. It would also be equipped with the 17 pounder main gun. The designers were able to meet these requirements by using sloped armor: though the Centurion's armor was actually thinner than that of the Churchill, the sloped design made it more resistant to hits. Although the Centurion was larger than the Comet, it was just as mobile. Design changes (such as dropping the 17 pounder in favor of a more powerful 20 pounder main gun) meant that the first Centurions did not reach the British Armoured Corps until after the end of World War II, but crews were enthusiastic about the design all the same: the Centurion was a winner.
They were right. The Centurion might not have ever dueled a Tiger, but it would prove to be one of the most successful postwar tank designs, equal to (and in some cases superior to) the American M48 Patton series and the Soviet T-55. Centurions quickly replaced all other British tank designs, and was heavily exported.
It would also be combat proven. The British used their Centurions to superb effect in Korea, where Centurion regiments reinvented tank doctrine in mountainous terrain; the Australians would use them in Vietnam, where only six out of 58 were lost. India used Centurions against Pakistan, while South Africa used theirs in Angola. By far, however, the most experienced Centurion users were the Israelis. The IDF Armored Corps began to receive ex-British and Canadian Centurions just before the Six-Day War of 1968; during the 1973 Yom Kippur War, about 80 IDF Centurions destroyed 500 Syrian T-55s in the Battle of the Valley of Tears. In Israeli service, the Centurion was known as the Sho't (Scourge), and most were upgunned with American 105mm main guns.
Centurions would be replaced by the Chieftain in British Army units, but hundreds of Centurions would persist in service well into the 1990s; South Africa still uses heavily modified Centurions as the Olifant. The Centurion also underwent several dozen variants as engineering vehicles, self-propelled artillery, and even heavily modified in Israeli as turretless armored personnel carriers.
One would be forgiven for thinking that I've put the wrong description on this page, as the tank in the picture looks very much like a M1 Abrams. It is, however, a Centurion. During the production of the 1996 movie Courage Under Fire, the producers of the film did not have the assistance of the US Department of Defense. This was a problem, as Denzel Washington's character is a former M1 Abrams tank commander and a scene in the movie is based roughly on the Battle of 73 Easting. With no privately-owned M1s to draw on, the producers needed to find another solution, and did: they bought a few former Australian Army Centurions and heavily modified them to resemble the M1. To the casual moviegoer, they looked just like the real thing.
After Courage Under Fire was completed, the Centurions were sold to a private firm in California, ArmyTrucks, which rents out "vismods" and military surplus to Hollywood for film production. Since 1996, the modified Centurions have been used in movies and TV shows such as Cloverfield, Iron Man and The Walking Dead. The way to differentiate the modded Centurion from an actual Abrams is to count the road wheels between the tracks: if it has seven wheels, it is an Abrams; if it has six, it's a Centurion. The hull is also slightly narrower and the fake turret longer, though this is very difficult to see in a movie. (In Walking Dead, the character Rick Grimes actually gave away the tank's identity: he climbs through a bottom escape hatch to escape the zombies in downtown Atlanta. The Abrams does not have a bottom escape hatch.)
The Russell Military Museum acquired this "M1 Abrams" Centurion vismod from Army Trucks; it is the only one of the Centurion vismods on public display. It has seen better days: rust has broken out over most of the tank, marring its desert tan paint job. (The water around the tank is due to two days of heavy rain just before the day I was there in May 2018.) Though fake, the gun shows the larger bore evacuator of the M1A1 series, with the 120mm main gun instead of the earlier 105mm. Though not in great shape, it was still interesting seeing one of these vismods.
My wife brought this flower home yesterday for me to exploit, and it's huge. About the size of a dinner plate. The botanical name for the flower is Magnolia grandiflora, but I used creative license and employed a more made up name.
Lighting stuff for those who care: Simple lighting with one YN560-III in a 24 inch softbox at camera left about 6 inches from the flower. I used side lighting because it creates the shadows that reveal shapes and texture. The flash, in manual mode, was triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422