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Taken with a Kodak 66 mk3 folding camera from 1959.
120 Fuji Reala ISO 100 film
Light leak in bellows caused the red flare despite my efforts to repair them!
This is a relatively new sculpture on public display at Snape Maltings in Suffolk, England. Entitled 'Large interior form' by Henry Moore. He produced this in 1982 when he was 84. There are six of these sculptures in existence worldwide.
A succession of Henry Moore works has been sited on this lawn (chosen by HM himself) outside the entrance to the huge Concert Hall at Snape. The spot has naturally become known as the Henry Moore lawn.
Today is Day 1.
I started a new job today. Today was a day of meetings and accepting 60+ future email meetings/trainings.
Except for the sound going out in my manager meeting, it wasn’t too bad of a first day.
And it all begins again tomorrow at 6 am.
Now, I just need to find a non-family member to sign a form for me by tomorrow. Any volunteers?
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Gardens
Link to Cincinnati Zoo's Web Site ..............
"Link to the Cincinnati Zoo's Flickr photostream".
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Polar Bear ... Male named Little One
Ursus maritimus
Polar bears are survival specialists in an extreme environment—the Arctic, where winter lasts six months and temperatures average -30ºF. Their large body size, layers of thick, hollow hair, and three to four inches of blubber provide insulation from the cold, in and out of the water. The bears’ streamlined shape, partially webbed forepaws, and buoyant layer of blubber help make them champion swimmers.
Polar bears depend completely upon the sea for their existence, spending most of their time on the pack ice from which they hunt their preferred prey. The polar bear is a skillful predator of seals, with the help of a keen sense of smell, powerful paws, and sharp claws.
Fact File
Where to see them: Kroger Lords of the Arctic
Height: 7 to 11 ft
Weight: Up to 1,500 lbs
Lifespan: 15 to 18 yrs in the wild
Habitat: Arctic ice and coastal shores
Diet: Primarily seals, some walrus, lemmings, lichens, mosses, and carrion
Risk Status: Species at Risk (IUCN—Vulnerable)
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Right now I am waiting to hear from my Son-in-Law about my daughter. She is presently in labor with her first baby. Its a girl! Once the baby is born I will be heading to the hospital to see them. I would be there now but Mom and Dad wanted to do this part alone. Can't wait to meet my 12th grandchild.
By the way the pumpkin was done via photo shop!
Have a nice day everyone!
Dome, Chapel of St Joseph, patron of Jodar. Present form 1865-7, image 1946, Metal grille and gate 1993.
Church of Our Lady of the Assumption, Jódar.
This church was built on the primitive Mosque, documented by the Arab geographer Al-Himyari, who mentions that it had "three naves supported by marble columns".
Its primitive dedication was that of Santa María, not knowing what the primitive building was like, only that the High Altar was oriented to the west and its main door to the north, next to the so-called "Fountain of the Place". The first documentary data on the works of the current temple date back to the year 1547, bringing the stone from the Bedmar quarry. In 1569 Master Domingo de Uriarte worked there. From 1582 to 1589 the work was in charge of Juan Vizcaíno. In 1591 the brothers Gaspar and Francisco de Aranda are mentioned as builders and master stonemasons, building the central nave with its six side chapels with coffered vaults, as was the custom of Vandelvira, who was the supervisor of the works of the temples of the Diocese. The entire built complex is in the Renaissance-purist style.
In 1613 the construction of the Tower began, according to the layout of Juan de Aranda y Salazar with a baroque style. In it, three coats of arms belonging to the Bishops are carved in stone: Sancho Dávila, Cardinal Moscoso and Fernando Andrade, the Masters Francisco de Zamora, Alonso Galán, Andrés and Diego Guerrero intervening in the work, being completed in 1661 by Eufrasio López de Rojas, finding inside a shield of Sancho Dávila. One of its four bells is from 1794.
Inside the church.
In 1729 the head or Main Chapel was repaired by Juan de Consuegra. From 1771 to 1780 the current transept, Capilla Mayor and dome of the Evangelists were built in neoclassical style with rococo details on the dome that was built by Pedro Fernández, Manuel and Juan Armenteros. In 1799 the pulpits and stands were placed, beginning the construction of the Main Facade in neoclassical style by Manuel Caballero who finished it, together with the choir in 1801.
According to some historians, the façade is one of the best in the province due to its graceful proportions. In 1864 the Chapels of Expiration and Baptism were built. In 1877 the construction work of the Chapel of San José, directed by the architect Pedro Pascual Samaniego, with an elegant better half, which is decorated with interesting frescoes from 1915, was completed.
From 1989 to 1992 the temple underwent a profound restoration adding elements that enhance its interior even more, such as several altarpieces in Macael marble and stone, the magnificent Grille and stalls of the Chapel of San José, lighting, etc.
Description
Inside there are valuable works of art such as the Neo-Renaissance style High Altarpiece by Sevillian Carlos Bravo Nogales, also the author of its imagery. Images such as Jesús Yacente by Sebastián Santos Rojas, considered one of the best image makers of the 20th century. In general, all its Holy Week Imagery by famous image makers stands out, as well as the Altarpieces of San José and Ntra. Señora de los Dolores.
The Church preserves interesting paintings from the 16th, 17th and 18th centuries, Images from the 16th to the 18th and some pieces of silver jewelry from the 16th to the 19th, highlighting the Processional Custody of 1669 and the embroidery of some ornaments. The Church preserves a Parish Museum with interesting pieces of goldsmithing from the 16th century and embroidery, with suits from the 17th and 18th centuries.
Jodar
This beautiful village, surrounded by olive groves, is situated at the foot of the Sierra Magina Mountains, with vast extensions of olive trees on one side, and mountains on the other. The village, the most populated in the Park, spreads over a hill under the vigilance of a beautiful castle, which is also part of the Historic Artistic site. It also boasts a magnificent Parish Church.
Its municipal boundaries lie within the Sierra Magina Natural Park, a part of the Subbetic region, which offers beautiful and spectacular views. With regard to vegetation, Holm and Gall oaks are frequent, as well as pine trees and salgareños. Its rich and varied wildlife is also important.
Part of the Alto Guadalquivir Natural Space, an important wetland of great environmental importance, also lies within its district.
History
During the al-Andalus period it was called Galdur y Xauda. Its castle is among the oldest in the province, as it has been documented since the year 860. In the 10th century, the Arab governor Jair Aben Xaquir, declared it independent and joined the rebellious Omar Ben Hafsun, later to betray him. One of Omar Ben Hafsun"s deputies beheaded him and sent his head to Cordoba.
The Christian conquest was carried out by Sancho Martí-nez de la Torre in 1231, by order of King Fernando III, as a starting point in the battle for Ubeda.
In 1485, Diaz Sanchez de Carvajal founded an estate over Jodar, with the approval of the Catholic Kings, until the abolition of estate privileges in the 19th century.
À l’honneur les orgues Limonaire qui ont su séduire par l’intermédiaire des forains, des cafés et des bals jusqu’en 1935. Après la liquidation de la manufacture, l’activité de réparation et la fabrication des « musiques perforées » est reprise par d’anciens collaborateurs salariés ou par des sous-traitants. Parmi ces derniers, le plus connu est la manufacture Poirot Frères de Mirecourt qui est le véritable successeur de Limonaire. La facture d’orgues de foire de Georges Poirot ferme définitivement son atelier en 1954 baissant le rideau sur l’activité dans la ville.
Ottawa Citizen - 20 June 1907 (Camp Petawawa) - The wagons form a long line and move past the door of the storehouse and after receiving their boxes of goods, move over to the bakery for the loaves of bread. Thus in about halt an hour all the corps in camp by this excellent system have received their provisions for the day. There are two ovens in use. The large brick stationary oven Is capable of turning out 1,000 pounds of bread to each batch and running night and day would bake about 20,000 pounds of the staff of life in twenty-four hours. The field oven can turn out 2,000 pounds a day. The meat is brought Into the limits alive and each afternoon six oxen die at the hands of the butcher to relieve the appetites of the hungry soldiers.
- newspaper photo from the Montreal Standard newspaper - 29 September 1906.
The photograph for this postcard was taken by Lieut.-Col. F. Minden Cole, of Montreal, formerly in command of the 2nd Regiment Canadian Artillery.
Lt.-Col. Frederick Minden Cole DSO born 1 August 1859. The eldest son of the late Major Frederick Cole, and Louisa Purkis (Barrett) Cole, of 23, Essex Avenue, Montreal. Husband of Florence Trenholme Cole, of 15, Holton Avenue, Westmount, P.Q. Twice Mentioned in Dispatches, and awarded the Distinguished Service Order during the Great War. Educated at Montreal high school and McGill University, and was head of the firm of F. Minden Cole & Co,. real estate and insurance brokers. Major Frederick Minden Cole stood 5’9″ tall, 165 pounds when examined on 15 June 1915 in Montreal. Joined the 97th Battery, Siege Artillery on enlistment. Transferred to the 1st Canadian Heavy Artillery Group. Embarked Halifax on 22 November 1915. Disembarked Liverpool on 1 December 1915. Lt.-Col. Frederick Minden Cole DSO discharged from the CEF on 12 June of 1918, being Surplus to requirements. Frederick Minden Cole died of cancer at his home, 7 July 1920, and buried in Montreal Mount Royal Cemetery. LINK - cefrg.ca/blog/frederick-minden-cole-dso/
(29 September 1906) - The Artillery Practice Camp, which lasted for six weeks, from the middle of July to the first of September, was under the command of Colonel J. F. Wilson, of Quebec, and under his eagle eye and those of his efficient umpires, every officer and man of all the artillery detachments which came to camp, both field and heavy, received some valuable instruction under service conditions before returning home. The Standard’s illustrations, from photographs taken by Lieut.-Col. F. Minden Cole, will give a good idea of the work which was carried on by the Artillery, and also show the Army Service Corps at one of their necessary duties—namely, bread-making—and the efficient Army Medical Corps at work in their Field Hospital. Some familiar faces will no doubt be seen by nearly every reader of The Standard in the groups which we have reproduced, as the detachments in camp were drawn from Halifax on the East, to Winnipeg on the West. Next year it is expected the tented field will cover twice if not three times the space of the recent camp, as it is the intention to send not only Artillery, but Infantry and Cavalry as well, so that field manoeuvres on a large scale can be attempted. LINK - numerique.banq.qc.ca/patrimoine/details/52327/4464265?doc...
predator
An alternative view offered by Richard Dawkins is of predation as a form of competition.
de.wikipedia.org/wiki/Pr%C3%A4dator
Latin praedātor plunderer, equivalent to praedā (rī) to plunder
(derivative of praeda prey ) + -tor -tor
an animal that naturally preys on others
A predator is an organism that feeds on another organism
lateinisch praedator = Beutemacher
Beutegreifer
terrestrial carnivore
Raubtier
Predator (anglisierte Version von lat. praedator ‚Räuber, Plünderer‘, ‚Raubtier‘,
Bei Prädatoren lebt das Beutetier zum Zeitpunkt des ersten Angriffs noch
Räuber
exzellenter Jäger
Felis (fachsprachlich), Katze
Unsere Katze - our Cat:
Täglich möchte sie mehrmals
Mausen bzw. Spiele, die einen
Fang Charakter (Beute-Simulation) haben.
Versteck und Fangen spielt sie auch sehr gerne mit Menschen.
Das dauert eine gute halbe Stunde an.
ps
Die Katze kann sich gegen vermeintlich grössere Raubtiere (auch Menschen) mit ihren scharfe Zähnen und scharfen Krallen wehren.
-
Every day she wants
- more than once -
mice catching or similar games that
have prey character ( prey simulation ) .
Hiding and playing catch with human makes she very happy.
This takes have an hour.
ps
Masters should not forget:
A predator small enough to be prey for others, the domestic cat uses its formidable teeth and claws as weapons against animals that might confuse a cat with easier prey.
Domestic cats, animals similar in size to such prey species as rabbits, make a hissing sound reminiscent of a snake, advertising that they can put up formidable defenses for their size.
-
Zusammen mit der Norwegischen Waldkatze und der Sibirischen Katze zählt sie zur Gruppe der sogenannten Waldkatzen, welche wiederum zu den Naturrassen zählen.
-
working cat
Die Maine Coon ist als ursprüngliche working cat ein begabter Jäger, auch sind sie im Allgemeinen intelligente und verspielte Tiere. Sie benutzen mit Vorliebe ihre Pfoten, was dazu führt, dass sie problemlos Türen und Wasserhähne öffnen und kleine Objekte aufnehmen können. Maine Coons sind auch begabte „Apportierer“.
de.wikipedia.org/wiki/Maine-Coon-Katze
-
"Nutzkatze" - "Handwerker-Katze" „Bauernhofkatze“ „Rassekatze“
Familien-Katze Schmusekatze
Soziale Katze
Empathische Hauskatze
●
The Maine Coon is among the largest domesticated breeds of cat. It has a distinctive physical appearance and valuable hunting skills. It is one of the oldest natural breeds in North America, specifically native to the state of Maine,
where it is the official state cat.
Alternative names
Coon Cat
Maine Cat
Maine Shag
Snowshoe Cat
American Longhair
°°°°°°°°°°°°°°°°°°°°°°°°
PHOTOPEDIA
°°°°°°°°°°°°°°°°°°°°°°°°
en.wikipedia.org/wiki/Maine_Coon
Le maine coon est une race de chat à poil mi-long originaire de l'État du Maine aux États-Unis. Ce chat au physique rustique est caractérisé par sa grande taille, son museau carré, ses oreilles avec plumets et son poil mi-long. Il est à ce jour l'une des plus grandes races de chat domestique, avec le savannah, une race originaire des États-Unis issue du croisement avec un serval, un félin sauvage africain. Le maine coon est également la plus ancienne race naturelle nord-américaine.
Les femelles ont des chaleurs plutôt discrètes
Weiblich Tiere haben eher eine diskrete Hitze.
fr.wikipedia.org/wiki/Maine_coon
Charakter Umfrage
und Kastrationen (etwa 60%)
942 Gesamt
414 Katzen (davon 233 kastriert)
501 Kater (davon 356 kastriert)
baseportal.de/cgi-bin/baseportal.pl?htx=/mcats/Umfrageaus...
passt:
Sie ist eine Königin und Empfangs-chefin!
Die beste Katze der Welt !!!
Eine Seele wohnt dieser Katze inne, welche einem Engel gleich ist!
Zart und einfach nur lieb!!!
Sie liebt "ihre" Menschen abgöttisch und hat ein riesiges Vertrauen.
Sie liegt neben dem Menschen.
Auch manchmal mit einem Körperteil auf dem Schoss oder Oberschenkel.
Oder zwischen den Beinen
oder angekuschelt.
Auch Kopf an Kopf mag sie.
Selten liegt auf dem Oberkörper des Menschen.
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Exif data
Camera
Canon PowerShot SX60 HS
Aperture
f/5.0
Focal Length
11.9 mm aka 65 mm
Exposure
0.001 sec (1/1000)
Scene Capture Mode SPORTS
Flash
Off, Did not fire
Exposure Bias
-1/3 EV
ISO Speed
800
#
Discussion:
However, it can be debated whether or not harvesting livestock fits strictly in the definition of predation.
... the feeding of and caring for animals, followed by their being slaughtered with an appropriate tool, cutting up, and cooking.
In many cultures, animals are hunted or farmed by specialists (such as ranchers or fishermen), brought to a marketplace, and sold in pieces to the people who actually consume the meat.
Former Friendly's 2069 Plank Rd Fredericksburg, VA. 12/24/16. This location closed in March 2017 and is currently Metro Diner.
Form and function. Easy to use, a degree of theft protection (must have 6mm allen wrench to open on the other side) and a lot of sexy. All bits hand made in the shop.
In May 1916 the merger was announced of The Wright Company and the Glenn L. Martin Company. Together they formed the Wright-Martin Aircraft Corporation.
The merger was encouraged by the USA government which intended to form aviation firms which could produce aircraft in more quantity.
Whatever the reasons the merger was short-lived as it ended somewhere in 1917 already with Glenn L. Martin setting up his own company the Martin Aircraft Company in 1918.
At least one of the Wright-Martin aircraft was this Type R biplane two-seat reconnaissance, shown here at Langley airfield. This 1916 machine did not look very advanced with its big radiator placed in front blocking the forward sight
The powerplant was Hall-Scott A-5A six cylinder engine rated at 150 hp.
This machine with serial '523' was one of a batch of 12 with serials 522 - 533. Earlier two Wright-Martin Type R machines were ordered with serials 108-109.
The early order of two were probably prototypes as pictiures show that the form of the rudder was somewhat comma shaped and there were diagonal struts which are here replaced by wire bracing.
In 1917, the U.K aviation magazine Flight published a big four-page article on the Type R which starts with the text
<i>This machine is designed for land reconnaissance work in the absence of enemy aeroplanes and for general sport use</i>.
The combination struck me as special.
This image from the Webb telescope shows N79, a massive star-forming region within the Large Magellanic Cloud (a satellite galaxy of the Milky Way). At mid-infrared wavelengths, Webb reveals glowing gas and dust deep within the clouds, as well as embedded baby stars.
N79 produces stars at a furious rate, much faster than star-forming regions found in our own galaxy. In fact, N79’s chemical composition is similar to those from the early universe, when star formation was at its peak.
Here, those vivid rays resembling sunlight are actually diffraction spikes. Most noticeable for bright, compact objects, diffraction spikes are somewhat like a telescope’s “signature.” The eight-point pattern is the result of the telescope’s hexagonal mirror design, combined with its secondary mirror struts. Meanwhile, NASA’s Hubble Space Telescope produces a four-pointed diffraction spike pattern due to its circular mirror.
Learn more: esawebb.org/images/potm2401a/
Credit: ESA/Webb, NASA & CSA, O. Nayak, M. Meixner
[Image description: A bright young star, located in the upper left quadrant, shines through layers of wispy white and blue clouds on a dark background. The star is surrounded by thick orange spikes in an eight-pointed pattern, overlaid across the majority of the frame. A patch of greenish-yellow clouds appears in the top right area of the image. There are a couple other bright spots seen as glowing yellow dots among the clouds, as well as another bright star with smaller blue diffraction spikes in the bottom right corner.]
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............Rainbow Lorikeet
Lorikeets, also called lories, are small colorful parrots. They feed primarily on fruit, nectar, and pollen, and have a unique brush-tipped tongue for lapping up nectar. Having two toes facing front and two toes facing back gives lorikeets a very strong grip. Using these feet, lorikeets have been known to hang upside down to feed from a flower.
Lorikeets are strong fliers, traveling between islands in search of flowering and fruiting trees.
Lorikeets are highly social birds, hanging out in flocks of dozens.
Like most parrots, lorikeets are noisy. They whistle, chatter, warble, and even make a metallic ‘ping’ sound.
Fact FileHeight: 10 to 11 in
Weight: 3.5 to 5.5 oz
Lifespan: 10 to 20 yrs
Habitat: Forest
Diet: Primarily nectar and pollen, some seeds, fruits and insects
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My doctors appointment went well so I won't be seeing him for another two months. Everything is about the same with my condition of Drop Foot and Reflex Sympathetic Distropy so nothing but time will tell as far as how much my nerve will heal and if my complications will ever go away. I think I'm starting to get use to it all so thats a good thing. I'm staying positive that all will be fine in the end. Thanks everyone for all your support through all of this. Your all the best! Have a nice night and a better tomorrow! Hugs!
The King of Selene, a city in Libya, had one daughter, named Cleodolinda.
Cleodolinda was a sweet maid, moving gently, and thinking gentle thoughts. Her form was fair, her eyes were clear and lustrous, and her heart was pure. She was as sweet as a summer morning, and as brave as a winter sun. Wherever she went she was welcome, for she carried joy with her. It seemed as if the earth were fairer where her shadow fell.
The King loved this Princess with a love that filled his whole heart with gladness. He knew her thoughts, felt her emotions, and shared her griefs. She was dearer to him than aught else in the world.
When Cleodolinda was fourteen years of age, the King thought he had never seen anything more beautiful than she. On that day he said to one of his courtiers: "Of all men on earth I am most happy. My country is at peace, the Queen my consort is amiable, and my daughter is as fair as she is good. I have nothing left to desire."
The courtier replied: "Sire, so gracious a monarch deserves only happiness."
But as the words were spoken a shadow fell, none knew whence, and encircled the King. And looking upon it, he replied, though fearing nothing: "There is none so gracious that grief may not fall upon him, and I know not why I have been more blest than other men."
That night, as the watchman went round the walls of Selene, he felt upon the air a most poisonous vapour that came from without the walls. And even as he wondered, the fumes of the poison became too much for him, and he fell over, and in a little time expired.
Now he had not long been lying there when a knight passed that way, and he had gone but a short distance beyond the spot where the body of the watchman lay, when he felt upon the air an odour most subtle and unpleasant. And it seemed to him that it came from without the city walls, where lay bogs and marshes and damp grounds. But even as the thought passed through his brain, the poisonous fumes became too much for him, and he, too, fell to the ground.
And in the morning another watchman, making his round, found his fellow dead beside the city wall, and, a little distance from him, the dead knight. And upon the air was a faint odour that was unpleasant to the nostrils.
Then the watchman scaled the wall, and, having glanced over, he perceived a huge beast which crawled away from the city and toward the marshes. As it crawled it flapped two great black wings, and from its nostrils belched out a black flame which contained those poisonous fumes of which the watchman felt the trace. Its body was covered with scales, so strong and smooth that they were like a knight's armour; and in shape it was half crawling beast, half loathsome bird. As the watchman observed it, the dragon crawled into the farther part of the marshes, and lay still.
Then the watchman hurried him to those in authority to report this affair; and when the matter came to the King's ears, he was greatly disturbed, for he remembered the shadow that had fallen upon him, and, despite himself, he was filled with fears. Yet the fears were not for his own safety.
And he roused himself to give orders that none should go outside the city walls till the dragon had gone back whence it came.
So the long day through no man went outside the city walls, but many adventurous persons, having gained a perch upon the walls, observed the dragon, which had come into the sunlight, and could be seen lying there.
These saw when, in the evening, the dragon roused itself, and rolling over its loathsome body, started to crawl toward the city. It crawled on four twisted feet, and pushed itself with its wings; and its eyes shone like red flames. As this vile creature approached, the people were afraid, and retreated into the city, for they knew not for what purpose the dragon came.
When it had reached the gates of the city, it took up a position close to them; and from its nostrils it poured terrible fumes, so that the people were like to die.
Then the King called together his knights, and one, who was braver than any other, declared that he would discover from the dragon its purpose in so haunting the city. And having entreated the dragon to cease casting out its poison while he spake with it, he approached and asked for what purpose it had come to the gates of Selene.
The dragon replied, by signs and hoarse noises, that it would only depart from the city gates and cease troubling the people of Selene with its poison, if it were granted a meal of two sheep a day.
When the King heard of this reply, he ordered that two sheep should be set aside every day for the dragon, and put without the city walls.
And when the dragon had on that day received two sheep, it devoured them, and crawled back to its lair.
But it remained in the marshes, and not far from the city, so that none might enter the city or come out of it for fear of the dragon. And every day it roused itself, and crawled to the gates to receive its meal of two sheep.
But after a time the sheep became few in number, so that there would not long be enough to feed the dragon; and the people were possessed with fear.
Then came to the King the bravest knights of Selene, praying him that he would allow them to go out and do battle with the dragon.
"For the sheep are few in number," said they; "and what is to be the fate of the people of Selene when they have nothing with which to feed the dragon?"
The King replied: "My brave knights, I fear me that ye go to your deaths. Yet can I neither forbid nor dissuade ye, for the fate of my people lies heavy on my heart."
Having so spoken he became silent, for the foreboding was upon him that darker trouble was to come upon the people of Selene.
Then went out the knights to do battle with the dragon. And when it perceived them issue from the city gates, it forsook its lair and ran toward them with a most incredible speed, resting partly upon its body, and partly upon its wings. And, having come near, it fell upon them, breathing out its terrible poison, and lashing them with its wings. And, since the knights could neither pierce the scales with which its body was covered, nor stun the creature with the hardest blow, they were speedily overcome by the fumes that emanated from it. And they perished, one and all.
Then there was weeping in Selene for the fate of the bravest of her knights. And while the people wept, they trembled, for the sheep that remained were few.
When there was no longer one left to offer to the dragon, it lay again by the city gates, and threw its poison into the city.
And the King, moving as one moves in an evil dream, facing a horror only half understood, went to the gates of the city, and called upon the dragon to cease its poison for a time since he would talk with it.
And he asked of it why it had come to torment the people of Selene. But to that the dragon would answer nothing.
Then said the King: "Our sheep are all finished, and indeed there is little food of any kind in Selene. Since this be so, wilt not thou leave our gates, and return to thine own place?"
But the dragon, lifting its loathly head, made answer, by signs and noises: "I will not return to it. Let me be granted one child a day for my meal, and I will not molest the people of Selene." And it would say no more.
Then the King went back the way he had come, and he walked heavily, for in his breast his heart was turned to stone. And he was filled with one great fear.
Cried the people of Selene: "We care no longer to live, since our children are to be taken from us!"
Nevertheless, because the poison from the dragon was reaching everywhere, so that none could escape, they promised, with bitter weeping, to offer up one child a day, hoping that the dragon would return to its home ere all the children were devoured.
And every day lots were cast. And upon whom fell the lot, a child of his was delivered to the dragon. And any child was sacrificed who was not yet fifteen years of age.
The Princess Cleodolinda was aged fourteen. Every day her eyes were dim with tears for the child who was that day sacrificed. But her father, the King, never wept. His eyes were dry, and his face pale. For his heart contained but one fear.
Then came a day when the lot fell upon the Princess Cleodolinda, and she must be delivered to the dragon.
The King's fear was fulfilled, yet he could not weep. And flinging out his hands he cried: "The Princess shall not be sacrificed! I will yield to ye everything, my wealth, my possessions, myself – but not my daughter."
But the people replied, yet without anger: "Have not we yielded our children, whom we loved; and shalt thou do less than we, O King?"And the King could not answer.
But after a while he said: "Ye will grant to me eight days to mourn for her, and to learn by heart her beauty, for I have loved her passing well."
The people replied: "We will sacrifice our own children for eight days."
Thus for eight days the King mourned his daughter Cleodolinda, whom he loved beyond aught else in the world; and the people mourned with him, for she was well beloved. But the Princess would not weep. For she said: "I am ashamed to weep for myself, I who am a King's daughter; and I die gladly for the people of Selene."
When the eight days were over, women clad the Princess in white garments, and she was placed outside the city wall to await the coming of the dragon.
Then, to still her heart's loud beating, she crossed her hands upon her breast; and to keep her eyes from wavering, she bent them upon the ground; and she thought of the people of Selene, for whom she was to die.
Now she had been standing thus but a short time, when she heard upon the ground the noise of a horse's hoofs, and looked up to see who it was that approached so near to the city of Selene.
And, having looked, her heart was filled with fear, for she beheld a knight of a fairer presence than any she had seen, and of a wondrous gentleness; and she perceived that he knew not of the dragon.
This knight was a soldier of the Emperor Diocletian, one who had risen to high honour in the army, and who was passing through Libya to join his men. When he perceived the Princess, standing pale and trembling outside the walls of the city, he paused on his way, to ask what was her distress.
But the Princess, in a great agitation, replied: "Ah, sir, do not wait to question me, but press on thy way! For know, in yon marshes lurks a fearful dragon who has been the death of many a noble knight. Press on, I beseech thee, ere it issue from its lair."
But the knight replied: "I cannot press on and leave thee unprotected against the dragon."
And at that moment the dragon bestirred itself, and began to crawl from its hiding-place.
"Alas," cried Cleodolinda, "the dragon is upon us! I beseech thee, Sir Knight, leave me before it be too late!"
But the knight, turning him about, bade her remain where she was, and went out to meet the dragon.
When it observed him approach, the beast was struck with amazement, and, having paused for but a moment, it ran toward the knight with a great swiftness, and beating its dark wings upon the ground as it ran.
When it drew near to him, it puffed out from its nostrils a smoke so dense that the knight was enveloped in it as in a cloud; and darted hot flames from its eyes. Rearing its horrid body, it beat against the knight, dealing him fearful blows; but he, bending, thrust his spear against it, and caught the blows upon his shield.
And having cast all his strength into it, he dealt the dragon a deadly thrust; but the spear glanced aside, for the scales of the beast were like steel plates, and withstood the blow. Then the dragon, infuriated by the thrust, lashed itself against the knight and his horse, and threw out a vapour deadlier than before, and cast lightnings upon him from its eyes. And it writhed, an evil thing, about him, so that one would have said he must have been crushed; and wherever he thrust at it, that part was as if it had been clad in mail.
The fight lasted a long time, and the knight grew weary, though he fought with as great an ardour as at first. Through the deadly fumes that issued from the dragon the Princess could see his face shine out, and she saw that it was pale, yet lighted up by some radiance that shone from within. As he thrust at the dragon, this radiance grew greater, so that at last it was like the light of the sun.
But the dragon looped itself about the knight, and its poison was heavy upon him, so that to breathe was almost more pain than he could bear. Then he perceived that, no matter how the dragon writhed, it sought always to protect one place in its body – that place which lay beneath its left wing. And, nerving himself for a great blow, the knight bent himself downward, and thrust his spear with a turn into that place.
So great was the strength required for the thrust that the knight left the spear in the wound for weariness; and as he raised himself he felt the dragon's clasp upon him loosen. Then the smoke ceased to belch from its nostrils, and the great beast fell to the ground.
Perceiving that the dragon was now helpless, though not dead, the knight called joyfully to the Princess; and he bade her that she should loosen her girdle, and give it to him. When this was done, the knight bound it about the neck of the dragon, and gave the girdle-ends into the hand of the Princess that she might lead the dragon toward the city.
Thereafter, when they had reached the city gates, these were opened to them with great joy by the people of Selene, who had watched from the city this great fight; and all were astonished to behold the loathsome dragon so guided by the Princess.
With his sword, and in the presence of all people, the knight despatched the dragon; and when this was done, he would have gone on his way.
But the King said: "What shall be given to this brave knight, who hath so rid us of our enemy, and hath restored to us the Princess Cleodolinda, and saved our children?"
And the people cried of honours, and wealth, that should be given to the knight.
But he, when all had finished, thus replied: "I desire only that ye believe in the God who strengthened my hand to gain this victory, and be baptised."
And when he had baptised the city into the Christian faith, he went on his way.
The Cirneco dell'Etna is a small breed of dog originally from Sicily. This hound was historically used to hunt rabbits and can work for hours without food or water.The breed also has a keen sense of smell and is primarily built for endurance over harsh terrain such as that of Mount Etna. It is the smallest of the Mediterranean island hunting hounds, the others being the Pharaoh Hounds and Ibizan Hounds.Today they are increasingly kept for the sport of conformation showing and as pets, due to their low coat maintenance and friendly nature, although as an active hound they do need regular exercise. A Cirneco should measure from 43-51 cm (17-20in) and weigh between 10–12 kg (22-26lb). As with other breeds, those from hunting stock can lie outside these ranges.
The Cirneco dell'Etna is a small hound-type dog used in Sicily for rabbit hunting. It is found all over the Italian island and particularly in the area surrounding the active volcano, Mount Etna,where the dogs hunt on terrain formed by volcanic lava. Its presence in Sicily is noteworthy as one of the few ancient breeds that have undergone very little manipulation by man. Instead, the breed has been rigorously selected by nature for its ability to work for hours. The dog we have today is an extremely hardy breed. Affectionate and friendly, it is considered easier to train than some of its sighthound cousins. The Cirneco has been in Sicily for thousands of years. Most authors agree that the origins of the hound-type dog lie among ancient Egyptian prick-eared dogs. Bas-reliefs discovered along the Nile and dated around 4000 B.C. depict what could be the Cirneco today. Most probably, the Phoenicians spread these prick-eared, hound-type dogs as they sailed along their trade routes between Northern Africa and the Mediterranean coasts. Ancient records of hounds with upright ears and a pointed muzzle are found in many countries in that part of the world. The most vivid proof of the presence of the Cirneco dell’Etna in Sicily for at least the past 2500 years is the many coins minted between the 5th and 3rd centuries B.C. depicting exemplars of the breed. In particular, the Cirneco dell’Etna is used on coins minted at Segesta, with about 150 variations. In 400 B.C., Dionysus was said to have built a temple dedicated to the God Adranos on the south-western slope of the volcano, just outside the city of Adrano. Many dogs were bred there and legend claims that a thousand Cirnechi guarded the temple.The Cirneco was rarely seen and little known outside Sicily until 1932. Now Cirnechi have also been exported to many European countries where their elegant conformation has helped make them a success in the show ring and many have become FCI International Show Champions. The dog's affectionate temperament and adaptability make it an excellent family companion.
El cirneco del Etna es una raza de perro oriunda de Sicilia. Este tipo de lebrel de pequeño tamaño forma parte de un conjunto de razas caninas del Mediterráneo cuyo origen se encuentra en Egipto, y entre las que se encuentra el podenco Ibicenco. Se trata de un perro adaptado a terrenos difíciles, apto para la caza de conejos y liebres.Los machos miden entre 46 y 50 cm, y pesan de 10 a 12 kg, y las hembras miden entre 42 y 46 cm, pesando de 8 a 10 kg. La cabeza es alargada y estrecha y el hocico afilado y puntiagudo, con un stop muy poco pronunciado. La trufa es de color marrón claro, y los ojos, pequeños, pueden ser ocre claro, ámbar o grises. Las orejas, erguidas, son triangulares y puntiagudas, y están implantadas altas. El lomo es recto y largo, y el pecho no demasiado amplio, con la musculatura pectoral poco desarrollada, al contrario que las patas, fuertes y con una musculatura bien desarrollada. La cola, implantada baja, es gruesa y de diámetro uniforme. El manto, de color tostado o tostado y blanco, tiene un pelaje corto y espeso en la cabeza, orejas y patas y liso y semilargo en el tronco y la cola.Su nombre puede proceder del de la antigua ciudad de Cirene, donde Aristóteles, en De natura animalium, dice haber visto un perro cuya descripción coincide con la de este.Aunque parece claro que la raza es autóctona de Sicilia, es posible que fuese anterior a la civilización egipcia, y que hubiese sido llevado al norte de África por los fenicios. Esta hipótesis se vería confirmada por la existencia de una estatuilla hallada cerca de Siracusa, datada alrededor del 4000 a.c.Se encuentran representaciones del cirneco en monedas sicilianas del siglo Vl al siglo III a.c., y parece que se le tenía en gran consideración, como demuestra el hecho de que en una de las monedas halladas en la antigua ciudad siciliana de Segesta se le represente junto a una divinidad fenicia con facciones humanas. Desde entonces las características de la raza han permanecido prácticamente inalteradas, gracias en gran medida a los campesinos, que conservaron su pureza criándolo por su utilidad para cazar en las pendientes del Etna, de lava solidificada y difícilmente accesibles.
Der Cirneco dell’ Etna ist eine von der FCI anerkannte italienische Hunderasse, die von der Insel Sizilien stammt (FCI-Gruppe 5, Sektion 7, Standard Nr. 199).Frühere Studien gingen davon aus, dass der Cirneco dell'Etna von Jagdhunden abstammt, die zur Pharaonenzeit im Niltal gezüchtet wurden. Der Cirneco dell'Etna sei dann mit den Phöniziern nach Sizilien gekommen. Neueste Untersuchungen unterstützen allerdings eine andere Theorie: Der Cineco dell'Etna stammt ursprünglich aus Sizilien und lebte an den Abhängen des Ätna. Münzen und Gravuren aus der römischen Epoche belegen, dass Hunde dieses Typs bereits vor Christi Geburt auf Sizilien vorkamen.
Der Cirneco dell'Etna ist mittelgroß (bis zu 50 cm und bis zu 12 kg schwer), quadratisch gebaut, schlank, aber dennoch widerstandsfähig und robust. Das Fell ist kurz, sehr glatt und fest. Dabei ist das Fell auf dem Rumpf und der Rute ungefähr 3 cm lang. Die Fellfarbe ist falbfarben, von intensiv bis verwaschen, wie isabell-sandfarben. Weiße oder gescheckte Exemplare können vorkommen; in der Regel weist der Cirneco dell'Etna jedoch nur geringe weiße Abzeichen auf.Die Ohren sind auffällig groß und stehend typisch wie auch bei den Podencos.Der Cirneco dell'Etna wird zur Jagd auf Wildkaninchen verwendet. Sein Verbreitungsgebiet umfasst vor allem die Region um den Ätna, an dessen Abhängen er die Kaninchen im Gebüsch und Geröll aufstöbert. Er treibt die Kaninchen aus ihren Verstecken hervor, so dass die Jäger zum Schuss kommen können.
Le Cirneco de l'Etna (Cirneco dell’Etna) est un chien originaire de Sicile. La Fédération cynologique internationale l'a répertorié dans le groupe 5, section 7, standard n° 199.
Cirneco de l'Etna.....Chien de type lévrier bien qu'il soit classé dans le groupe 5. Chien adapté aux terrains difficiles qui chasse le lapin sauvage.Chien de nationalité italienne primitif qui descendrait des chiens de l’époque des Pharaons. Mais il pourrait s’agir d’une race autochtone d’origine sicilienne.
O cirneco do Etna (em italiano: Cirneco dell’Etna) é uma raça quase desconhecida fora da Itália, já que permaneceu isolada na Sicília por praticamente 2 000 anos. Em 1939 foi reconhecida como raça. Comum aos cães de raças antigas, estes têm dificuldade de adaptação ao mundo urbano, pois precisam de constante atividade e são difíceis de adestrar, embora sejam vistos como animais muito fiéis. Podendo pesar até 12 kg, tem como peculiaridade as grandes orelhas largas e eretas, o longo pescoço e a cabeça estreita.
Сицилийская борзая или Чирнеко дель Этна — порода собак. Происходит с Сицилии. Изначально выращивалась для охоты на зайца. Классические исследования собачьих пород, распространенных в Средиземноморском регионе, пришли к заключению, что Чирнеко Дель Этна происходят от античных охотничьих собак, выведенных в долине Нила в эпоху фараонов, собак, получивших достигших Сицилии благодаря Финикийцам. Но согласно последним исследованиям получила одобрения теория, согласно которой эта порода имеет непосредственно сицилийское происхождение, зародившись в окрестностях Этны. Монеты и гравюры доказывают, что Чирнеки существовали в этом регионе за много веков до нашей эр Собака примитивного типа, элегантного и утонченного сложения, среднего размера, не громоздкая, сильная и крепкая. По морфологическому сложению — собака удлиненных линий, легкого сложения; квадратного формата; шерсть тонкая.
Охотничья собака, выведенная для охоты на кролика по сложной местности; обладает большим темпераментом, но в то же время мягкая и привязчивая.
Cirneco dell’etna on italialainen koirarotu. Se on vinttikoiran tyyppinen pystykorvainen, alkukantainen ja harvinainen rotu. Cirneco dell’etnan tarkka alkuperä jää hämärän peittoon, mutta se on hyvin vanha rotu ja muuttunut vuosisatojen saatossa vain vähän. Rotu on saanut olla melko rauhassa, ja vasta viime vuosina sen jalostukseen on puututtu.Rotu on nykyisin lähinnä seura- ja harrastekoira. Italiassa sitä käytetään yhä villikaniinien metsästykseen. Cirneco on nopea koira, ja ketteränä se pystyy vaihtamaan suuntaa nopeasti esimerkiksi metsästyksen aikana. Cirneco käyttää metsästäessään kuuloaan, näköään ja hajuaistiaan.Cirneco dell’etna on luonteeltaan temperamenttinen, eloisa, ystävällinen, iloinen ja leikkisä koira. Cirnecon leikkisyys säilyy yleensä vanhoihin päiviin asti. Cirneco on myös hyvin läheisyyttä rakastava koira, ja sen lempipaikka onkin yleensä kainalossa sohvalla tai peiton alla omistajansa vieressä. Cirneco kiintyy voimakkaasti perheeseensä ja tulee yleensä hyvin toimeen ystävällisenä ja lempeänä koirana kaikenikäisten ihmisten kanssa. Miellyttämisenhalua cirnecolla ei ole kovin paljon, joten ilman hyvää motivointikeinoa se ei välttämättä aina tottele ainakaan ensimmäisellä käskyllä. Cirnecolla on kuitenkin miellyttämisenhalua enemmän kuin yleensä vinttikoirilla. Cirneco tarvitsee johdonmukaisen ja määrätietoisen peruskasvatuksen.
Cirneco dell’etna on ikivanha rotu, jonka juuret johtavat 1000-luvulle ennen ajanlaskun alkua. Joidenkin mielestä se polveutuu Egyptin viimeisten dynastioiden faaraoiden koirista ja niistä koirista, joita foinikialaiset kauppiaat toivat Italiaan. Tutkimukset antavat aiheen olettaa, että se olisi Sisilian alkuperäisrotu. Cirneconnäköisiä korkokuvia on löydetty faaraoiden haudoista, mm. Luxorista ja Ben-Hassanista. Sisiliasta on myös löydetty 45 cm korkea luuranko, joka muistuttaa cirnecoa suuresti. Luuranko on paikallistettu vuoteen 1400 eaa. Nykyisin kyseinen luuranko on nähtävissä Pigorini-museossa Roomassa. Myös vanhoista Sisiliasta löytyneistä kolikoista on löydetty cirnecoa esittäviä koiran kuvia.
Il cirneco dell'Etna è un cane appartenente ad una razza molto antica, che ha subito poche manipolazioni nel corso dei secoli.Le origini del cirneco risalgono al 1000 a.C. Si dice che questa razza derivi dai cani dei Faraoni egiziani delle ultime dinastie e da cani importati in Sicilia dai commercianti fenici. Successivi studi hanno indicato che molto probabilmente il Cirneco è una razza autoctona siciliana.Il cirneco dell'Etna appartiene alla classe dei cani da caccia di tipo primitivo; è un animale molto veloce e per questo viene utilizzato soprattutto nella caccia al coniglio selvatico e alla lepre.Si presenta con una figura molto snella, con gambe lunghe, orecchie dritte e con un corpo muscoloso ma nello stesso tempo molto elegante. Ha un fiuto eccezionale ed è agilissimo nel cambiare direzione durante l'inseguimento della preda. Da notare che, sebbene l'aspetto del cirneco ricordi quello dei levrieri, non caccia a vista ma usa l'olfatto, come un cane da cerca; secondo la classificazione della Federazione Cinologica Internazionale (F.C.I.), tutti i cani appartenenti alla razza dei "levrieri" appartengono al 10º gruppo, mentre il cirneco è inserito nel 5º Gruppo, quello delle razze di tipo primitivo.Generalmente raggiunge l'altezza di 46-50 cm al garrese negli esemplari maschi, mentre le femmine misurano dai 42 ai 46. Il peso del maschio si aggira intorno ai 10-12 kg, mentre le femmine raggiungono gli 8-10. La lunghezza del tronco è in media uguale all'altezza al garrese: il cirneco ha dunque una costruzione quadrata. È strutturato da una massa muscolare che comprende l'80% del corpo. Si presenta snello e, se nutrito in modo adeguato, mantiene una linea elegante e slanciata.Cane velocissimo e molto agile, è capace di raggiungere persino i 40/45 km/h nella corsa.I colori del mantello del cirneco dell'Etna vanno dal sabbia dorato al cervo scuro; non necessariamente devono essere presenti macchie bianche, ma possono essercene su tutto il corpo; sebbene molto rari, ne esistono colorati di bianco arancio (come nel setter inglese) e di bianco puro (pur non essendo propriamente albino). Il colore riconosciuto dagli standard di razza è il fulvo più o meno intenso, isabella e sabbia, con lista bianca in fronte, al petto, piedi bianchi, punta della coda bianca e ventre bianco.Dotato di grande intelligenza, è generalmente indipendente e solitario. Generalmente diffidente con gli estranei, si affeziona ad un solo padrone. Si può dire che abbia le sue simpatie e antipatie a pelle: con alcuni individui non socializza e alla loro vista abbaia; con altri inizialmente si mostra aggressivo ma poi socializza e con altri ancora prova un feeling immediato e socializza subito. È un cane che per il padrone darebbe tutto se stesso.Se correttamente socializzato da cucciolo, evidenzia un carattere molto disponibile e gioioso e privo di diffidenze anche verso le persone appena conosciute.Se cresce in un ambiente familiare, dove ha ricevuto tutti gli stimoli nei confronti dell'ambiente esterno, ama essere portato a spasso e incontrare altri cani e persone, anche se sconosciuti. Se lasciato libero, soprattutto in luoghi di campagna, cambia visibilmente espressione; tutti i muscoli si tendono, ama ispezionare l'ambiente circostante e, anche se all'inizio sembra indipendente, in realtà sa sempre dove si trova il suo padrone e puntualmente ritorna sotto la sua attenzione. Prima di liberare un cirneco in un luogo aperto occorre aver rafforzato un rapporto sereno e di fiducia. Il cirneco è un cane primitivo e rispetto ad altri animali domestici, molto spesso è un soggetto che porta rancore se trattato male, non dimentica facilmente uno sgarbo subito, non sopporta di essere rimproverato con eccessiva durezza.La vita media di questo cane è molto elevata, quindici anni circa, ma esistono esemplari che vivono anche venti anni.
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light and shadow of the Chinese character 愛 meaning love in both Chinese and Japanese....
Sorry that the projection to the walls is reversed...
I like the Effect of Yin - Yang created by the two different walls of the corner...
Thanks for the comments guys...
These three rollers are in the fender forming machine of the last photo. They arch the flat strip of stainless steel, break the lip for the rolled edge, and roll the lip.
I had no idea what to expect at Yalding, either the town or church. Jools realised it was near to West Farleigh, so we went to investigate.
Across what looked like a canal and then the river via an old pack bridge, with the tower of the church on the far bank.
The town, or this part of it, stretched either side of the High Street, and once parked, we approach the church down an alleyway and I see the porch doors open; a good sign.
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The little cupola on the west tower is topped by a weathervane dated 1734, and summons us to a large church, heavily restored in the 1860s, but worth travelling a long way to see. The nave roof has two interesting features - one is a form of celure or canopy of honour over the third bay from the west. It must have served some long-forgotten purpose. At the east end of the nave there is a real Canopy of Honour in its more usual position over the chancel arch. The south transept contains many interesting features - niches in the walls, bare stonework walls and a good arcaded tomb chest recessed into the south wall. There is a telling string course that suggests a thirteenth-century date, although the two windows in its east wall are Decorated in style. The most recent feature in the church - and by far the most important - is the engraved glass window in the chancel. It was engraved by Laurence Whistler in 1979 and commemorates Edmund Blunden, the First World War poet. It depicts a trench, barbed wire, a shell-burst and verses from Blunden's poems. This feature apart it is the nineteenth-century work that dominates Yalding - especially the awful encaustic tiles with arrow-like designs, the crude pulpit with symbols of the evangelists and the poor quality pews. The glass isn't much better, the Light of the World in the south chancel window being especially poor, but the south window of the south transept (1877) showing scenes from the Life of Christ redeems the state of the art.
www.kentchurches.info/church.asp?p=Yalding
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YALDING.
NORTH-WESTWARD from Hunton lies Yalding, antiently written Ealding, which signifies the antient meadow or low ground.
Most of this parish is in the hundred of Twyford, and the rest of it, viz. the borough of Rugmerhill, is in the antient demesne of Aylesford. That part of this parish, which holds of the manor of West Farleigh, is in the borough of West Farleigh, and the borsholder thereof ought to be chosen at the court leet there, and so much thereof as is held of the manor of Hunton, is in the borough of Hunton, and the borsholder thereof is chosen at the court leet there; and the inhabitants of neither of these boroughs owe service to the court holden for the hundred of Twyford, within which hundred they both are; but at that court a constable for that hundred may be chosen out of either of these boroughs.
THIS PARISH lying southward of the quarry hills, is within the district of the Weald. It is but narrow, but extends full four miles in length from north to south, the upper or northern part reaches up to the quarry hill adjoining to West Farleigh, near which is Yalding down, on which is a large kiln for the purpose of burning pit coal into coke, which is effected by laying the coal under earth, and when set on fire quenching the cinders; the method is used in making charcoal from wood, the former particularly is much used in the oasts for the drying of hops, so profitably encouraged in this neighbourhood. Below it, near the river Medway, its western boundary in this part, opposite to Nettlested, stands the seat of Sir John Gregory Shaw, bart. a retired, but not an ill chosen situation. It was for several generations the residence of the family of Kinward, which from the reign of king Henry VIII. was possessed of good estates in this parish and its neighbourhood, and bore for their arms, Azure, on a bend or, three roses gules, between three cross-croslets, fitchee argent. Robert Kenward, esq. of Yalding, resided here, and dying in 1720, was buried with the rest of his family in this church; he left a son John, and several daughters, of whom the third, Martha, married the late Sir Gregory Page, bart. and died S. P. John Kenward, esq. the son, died in 1749, leaving by Alicia his wife, youngest daughter of Francis Brooke, esq. of Rochester, one daughter and heir Alicia, who carried this seat and a considerable estate in this neighbourhood to Sir John Shaw, bart. late of Eltham, whose eldest son, Sir John Gregory Shaw, bart. is the present owner of it, and resides here. (fn. 1). In this part of the parish the land is kindly both for corn and hops, of which there are several plantations, and round the down there are some rich grass lands, but further southward where the parish extends to Brenchley, Horsemonden, and Mar den, it is rather a sorlorn country, the land lying very low, and the soil is exceeding wet and miry, and much of it very poor, and greatly subject to rushes, being a stiff unfertile clay; the hedge rows are broad and interspersed with quantities of large spreading oak trees.
The river Medway flows from Tunbridge along the west side of the upper part of this parish as mentioned before, there are across it here two bridges, Twyford and Brandt bridge, leading hither from Watringbury, Nettlested and East Peckham; a small stream, which comes from Marden, and is here called the Twist, flows through the lower part of this parish towards the west side of it, and joins the main river at Twyford bridge, which extends over both of them; another larger stream being a principal head of the Medway flowing from Style-bridge by Hunton clappers, separating these two parishes, joins the main river, about a quarter of a mile below Twyford bridge; on the conflux of these two larger streams the town of Yalding is situated, having a long narrow stone bridge of communication from one part of the town to the other, on the opposite bank of the Hunton stream. Leland who lived in king Henry the VIIIth.'s reign, calls it a a praty townelet, to which however at present it has no pretensions. The church and court-lodge stand at the north end of the town. A fair is held in it on WhitMonday, and on October 15, yearly. The high road over Teston bridge, and through West Farleigh, leads through the town, and thence southward along the hamlets of Denover and Collens-street to Marden; at a small distance from the former is the borough of Rugmarhill, esteemed to be within the antient demesne of Aylesford, belonging to Mrs. Milner.
Adjoining the town southward is Yalding lees, over which there is another high road, which leads from Twyford bridge, parallel with the other before-mentioned, along the hamlet of Lodingford, and thence through the lower part of this parish towards Brenchley, near the boundaries of which in this parish is an estate still called Oldlands, which appears in king Edward II's reign to have been part of the demesne lands of the manor of Yalding, for he then confirmed to the priory of Tunbridge a rent charge to be received out of the asserts of the old and new lands of the late Richard de Clare, in Dennemannesbrooke, which he had given to it on its foundation; lower down, close to the stream of the Twist, is the manor house of Bockingsold, the lands of which extend across the river into Brenchley and Horsemonden and other parishes.
A third high road over Brandt bridge passes along the western bounds of this parish, over Betsurn-green towards Lamberhurst and Sussex.
A new commission of sewers under the great seal, was not many years ago obtained to scour and cleanse that branch of the river Medway, or if I may so call it, the Yalding river from Goldwell in Great Chart, through Smarden, Hunton, and other intermediate parishes to its junction with the Rain river, at a place called Stickmouth, a little below the town of Yalding.
The commissioners for the navigation of the river Medway, about twenty years ago, made a navigable cut or canal, from a place in the river called Hampsted, where they judiciously constructed a lock to a place in the river near Twyford bridge, where they erected a tumbling bay for the water, when at a certain height, to pass over. The contrivance of this cut from one bend or angle of the river to the other, is of the greatest utility to the navigation, by not only shortening the passage, but by baying up a convenient depth of water, which they could not have had along the lees, and other adjoining low lands on each side of that part of the river, which is avoided by it, or at least not without a very great expence.
At the river here the barges are loaded with timber, great guns, bullets, &c. for Chatham and Sheerness docks, London, and other parts, and bring back coals, and other commodities for the supply of the neighbouring country.
In 1757 a large eel was caught in the river here, which measured five feet nine inches in length, and eighteen inches in girt, and weighed upwards of forty pounds.
THE MANOR OF YALDING, or Ealding, as it was usually written, was, after the conquest, part of the possessions of the eminent family of Clare, who became afterwards earls of Gloucester and Hertford, (fn. 2) the ancestor of whom, Richard Fitz Gilbert, came into England with William the Conqueror, and gave him great assistance in the memorable battle of Hastings, and in respect of his near alliance in blood to the king, he was advanced to great honor, and had large possessions bestowed upon him, both in Normandy and England; among the latter was this estate of Yalding, as appears from the survey of Domesday, taken in the 15th year of the Conqueror's reign, in which it is thus entered, under the title of Terra Richardi F. Gislebti:
Richard de Tonebridge holds Ealdinges, and Aldret held it of king Edward, and then and now it was taxed at two sulings. The arable land is sixteen carucates. There are two churches (viz. Yalding and Brenchley) and fifteen servants, and two mills of twenty-five shillings, and four fisheries of one thousand and seven hundred eels, all but twenty. There are five acres of pasture, and wood for the pannage of one hundred and fifty hogs.
In the time of king Edward the Consessor, and afterwards, it was worth thirty pounds, now twenty pounds, on account of the lands lying waste to that amount.
The above-mentioned Richard Fitz Gilbert, at the latter end of the Conqueror's reign, was usually called Richard de Tonebridge, from his possessions and residence there, and his descendants took the name of Clare, for the like reason of their possessing that honor. His descendant, Gilbert, son of Richard de Clare, earl of Gloucester and Hertford, owned it in the reign of king Henry III. and in the 21st year of Edward I. he claimed before the justices itinerant, and was allowed all the privileges of a manor.
¶Gilbert de Clare, earl of Gloucester and Hertford, his son, by Joane, of Acres, king Edward I.'s daughter, succeeded to it, and dying in the 7th year of king Edward II. without surviving issue, his three sisters became his coheirs, and on the partition of their inheritance, this manor, among others in this county, was allotted to Margaret, the second sister, then wife of Hugh de Audley, junior, who in the 12th year of Edward II. obtained for his manor of Ealding, a market to be held here weekly, and a fair to continue three days yearly, viz. the vigil, the day of the feast of St. Peter and St. Paul, and the day subsequent to it. He died in the 21st year of it, holding this manor, which he held for his life, by the law of England, of the king in capite. He left an only daughter and heir Margaret, then the wife of Ralph Stafford, who in her right became possessed of the manor of Yalding, and was a man greatly esteemed by king Edward III. who among other marks of his favor, in his 24th year, advanced him to the title of earl of Stafford.
After which it continued in his descendants down to his great grandson, Humphry Stafford, who was created duke of Buckingham anno 23 Henry VI. whose grandson Henry, duke of Buckingham, having put himself in arms against king Richard, in favor of Henry, earl of Richmond, and being deserted by his army, had concealed himself in the house of one Ralph Banister, who had been his servant, who on the king's proclamation of a reward of 1000l. or 100l. per annum, for the discovering of the duke, betrayed him, and he was without either arraignment or judgment, beheaded at Salisbury.
YALDING is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester and deanry of Malling.
The church, which is a large handsome building, consists of three isles and a large chancel, with a square tower at the west end. Against the south wall in it is a very antient altar tomb, which has been much desaced, on which is remaining, Ermine, a bend gules. There was formerly a brass plate on it. On a large stone in the middle isle, is a memorial for Robert Penhurst, descended from Sir Robert Penhurst, of Penhurst, in Suffex, who died in 1610. The arms, on a shield, a mullet. In the chancel there is a handsome monument for the family of Warde, who bore for their arms, Azure, a cross flory or, and one for the family of Kenward, in this parish. In the pavement of the church are several large broad stones, a kind of petrifaction of the testaceous kind, dug up in the moors or low lands in this parish.
Richard de Clare, earl of Hertford, gave the church of Aldinges, with the chapel of Brenchesley, and all their appurtenances, in pure and perpetual alms, to the priory of Tunbridge, lately founded by him.
Gilbert de Glanvill, bishop of Rochester, who came to that fee in the 31st year of king Henry II. confirmed this gift, and granted, that the prior and canons should possess the appropriation of this church in pure and perpetual alms; saving a perpetual vicarage in it, granted by his authority, with the assent and presentation of the prior and canons as follows:
That the vicar should have the altarage, and all obventions, and small tithes belonging to this church, and all houses, which were within the court, and the land belonging to the church, together with the tenants and homages, and the alder-bed, and the tithes of sheaves of Wenesmannesbroke, and the tithes of Longesbroke, of the new assart, and the moiety of meadow belonging to the church; all which were granted to him, to hold under the yearly pension of two shillings, duly to be paid to the prior and canons; and that the vicar should sustain all episcopal burthens and customs, as well for the prior and canons as for himself. And he granted to the prior and canons as part of the appropriation, the tithes of sheaves of this church, excepting the said tithes of Wenesmannesbroke, and of Longebroke; and that they should have the moiety of the meadow belonging to the church, with the fisheries, and the place in which the two greater barns stood, with the barns themselves, and the whole outer court in which the stable stood, with the garden which was towards the east, and the small piece of land which lay by the garden, and the rent of four-pence, which ought to be paid yearly to the court of Eyles forde; reserving to himself the power of altering the endowment of this vicarage, if at any time it should seem expedient; saving, nevertheless, all episcopal rights to the bishop of Rochester, &c. (fn. 16)
The church of Yalding, together with the advowson of the vicarage, remained with the priory of Tunbridge, till the suppression of it, in the 17th year of king Henry VIII. when being one of those smaller monasteries which cardinal Wolsey had obtained for the endowment of his colleges, it was surrendered into his hands, with all the possessions belonging to it.
After which the king granted his licence to him, in his 18th year, to appropriate and annex this church, among others of the cardinal's patronage, to the dean and canons of the college founded by him in the university of Oxford. But here it staid only four years, when this great prelate being cast in a præmunire in 1529, the estates of that college were forfeited to the king, and became part of the royal revenue.
¶Queen Elizabeth, in her 10th year, granted the rectory or parsonage of Yalding, and the advowson of the vicarage, for thirty years, to Mr. John Warde, at the yearly rent of thirty pounds, in whose possession they continued till king James I. in his 5th year, granted the see of them to Richard Lyddale and Edward Bostock, at the like yearly rent, (fn. 17) and they soon afterwards alienated them to Ambrose Warde, gent. of this parish, son of John above-mentioned, in whose descendants they continued down till they came into the possession of three brothers, Thomas, of Littlebrook, in Stone; George and Ambrose, among whose descendants they came afterwards to be divided, and again sub-divided in different shares, one third part to captain Thomas Amhurst, of Rochester; one third of a third part, and a third of a sixth part to Mr. Holmes, of Derby; Mr. Ambrose Ward, of Littlebrook, and the Rev. Mr. Richard Warde, late of Oxford, each alike, and the remaining sixth part by the Rev. Mr. John Warde, the present vicar of this parish, who some years ago rebuilt the vicarage-house in a very handsome manner.
This rectory now pays a yearly fee-farm rent of thirty pounds to the crown.
It is valued in the king's books, at 20l. 18s. 9d. and the yearly tenths at 2l. 1s. 10½d.
There are two separate manors, one belonging to the rectory or parsonage, and the other to the vicarage of this church.
A couple of magnificent thunderclouds popped up this evening beyond the lake in Rusk County. They caught the last rays of the sun and lit up the sky. This chronicles the development of one of these storms.
genuinely thrilled to be asked to cover a street art project 'New Forms' based at Clarence Docks in Leeds.
Note to self - buy a vapour mask...2 hours of paint fumes and my head was spinning.
For more info see - www.facebook.com/events/546902445418920/?ref_dashboard_fi...
Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.
In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.
for more:
en.wikipedia.org/wiki/Quincea%C3%B1era
Contents
[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles
1.2 Brazil
1.3 Cuba
1.4 Dominican Republic
1.5 Ecuador, Venezuela and Colombia
1.6 French Guiana and French Caribbean
1.7 Mexico
1.8 Traditions from other hispanic countries
2 Quinceañera's new tradition
3 See also
4 References
5 External links
In specific countries[edit]
Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]
In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:
1.Entrance, which is usually accompanied by slow songs
2.Waltz
3.Entree
4.First period of dancing
5.Main meal course
6.Second period of dancing
7.Dessert and video playback of the recorded birthday with her friends
8.15-candle ceremony (optional)
9.Third period of dancing
10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.
11.Last period of dancing
Ceremony of the 15 Candles[edit]
In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.
Brazil[edit]
In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:
1.Entrance
2.Mass (optional)
3.First period of dancing (usually to international music)
4.Ceremony with videos about the girl's life with friends' greeting
5.A dance with men from her family and one boy (either her boyfriend or her best friend)
6.Second period of dancing (usually to national music)
7.Cake cutting
8.Third period of dancing
Cuba[edit]
In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.
Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.
Dominican Republic[edit]
This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.
It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.
A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.
Ecuador, Venezuela and Colombia[edit]
In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.
After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]
French Guiana and French Caribbean[edit]
In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.
Mexico[edit]
File:Mexican Quinceanera.theora.ogvPlay media
A Mexican quinceañera celebration
Quinceañera with "chambelanes"
In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]
In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]
After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:
1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.
2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.
3.The first dance - Usually a waltz where the girl dances, starting with her father.
4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.
5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.
6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.
Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.
Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]
Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]
Traditions from other hispanic countries[edit]
Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .
Quinceañera's new tradition[edit]
Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.
Nikon D810 Photos Pro Women's Surfing Swatch Women's Pro Trestles Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon!
New blog!
I get a lot of questions here, so if you have one, please ask at the blog! Thanks!
Swatch Women's Pro in Trestles San Clemente with pro surfers /models Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomer Nikki Van Dijk, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracels took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the bright sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS, but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
L'abbaye Saint-Guénolé de Landévennec est une abbaye située à Landévennec, commune de la presqu’île de Crozon en Cornouaille.
Elle est réputée avoir été fondée par saint Guénolé, personnage religieux qui aurait vécu à la fin du 5ème siècle, ce qui en fait une des plus anciennes et plus importantes de Bretagne. L'historien Arthur de La Borderie la qualifie de « Cœur de la Bretagne ».
Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY & OTHER NAMES
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
INDO-EUROPEAN ORIGINS
Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.
RUDRA
Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.
AGNI
Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.
INDRA
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.
LATER VEDIC LITERATURE
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.
PURANIC LITERATURE
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.
TANTRIC LITERATURE
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.
POSITION WITHIN HINDUISM
SHAIVISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
ATTRIBUTES
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)
Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.
JYOTIRLINGA
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.
SHAKTI
Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
THE FIVE MANTRAS
Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).
Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)
FORMES AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIRUPANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
OTHER FORMS, AVATARS IDENTIFICATIONS
Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).
Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.
FESTIVALS
Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.
BEYOND HINDUISM
BUDDHISM
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.
SIKHISM
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.
OTHERS
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.
WIKIPEDIA
Qariya Al Sawda. Mesquitas, forma e localização.
Fotógrafo: Fernando Varanda (1941-)
Fotografia: 1973 - 1990.
[CFT167.368]
Formed in 1529 from the joining together of 2 existent churches, each with a double tower. View from SE
Ludham bridge crosses the River Ant about five miles to the east of Wroxham, in the middle of the Norfolk Broads. A series of small rivers and other waterways connects the various lakes. Boat hire is an important part of the local economy.
The Broads are a network of mostly navigable rivers and lakes in Norfolk and Suffolk, the lakes having been formed by the flooding of peat workings. The Broads, and some surrounding land, were constituted as a special area with a level of protection similar to a national park by the Norfolk and Suffolk Broads Act 1988.
The total area is 303 square kilometres (117 sq miles), most of which is in Norfolk, with over 200 kilometres (120 miles) of navigable waterways. There are seven rivers and 63 broads, mostly less than 4 metres (13 ft) deep. Thirteen broads are generally open to navigation, with a further three having navigable channels.
Source: Wikipedia
Kathmandu is the capital and largest municipality of Nepal. It is the only city of Nepal with the administrative status of Mahanagar (Metropolitan City), as compared to Upa-Mahanagar (Sub-Metropolitan City) or Nagar (City). Kathmandu is the core of Nepal's largest urban agglomeration located in the Kathmandu Valley consisting of Lalitpur, Kirtipur, Madhyapur Thimi, Bhaktapur and a number of smaller communities. Kathmandu is also known informally as "KTM" or the "tri-city". According to the 2011 census, Kathmandu Metropolitan City has a population of 975.453 and measures 49,45 square kilometres.
The city stands at an elevation of approximately 1.400 metres in the bowl-shaped Kathmandu Valley of central Nepal. It is surrounded by four major hills: Shivapuri, Phulchoki, Nagarjun, and Chandragiri. Kathmandu Valley is part of three districts (Kathmandu, Lalitpur, and Bhaktapur), has the highest population density in the country, and is home to about a twelfth of Nepal's population.
Historically, the Kathmandu Valley and adjoining areas were known as Nepal Mandala. Until the 15th century, Bhaktapur was its capital when two other capitals, Kathmandu and Lalitpur, were established. During the Rana and Shah eras, British historians called the valley itself "Nepal Proper". Today, Kathmandu is not only the capital of the Federal Democratic Republic of Nepal, but also the headquarters of the Bagmati Zone and the Central Development Region of Nepal.
Kathmandu is the gateway to tourism in Nepal. It is also the hub of the country's economy. It has the most advanced infrastructure of any urban area in Nepal, and its economy is focused on tourism, which accounted for 3.8% of Nepal's GDP in 1995–96. Tourism in Kathmandu declined thereafter during a period of political unrest, but since then has improved. In 2013, Kathmandu was ranked third among the top 10 travel destinations on the rise in the world by TripAdvisor, and ranked first in Asia.
The city has a rich history, spanning nearly 2000 years, as inferred from inscriptions found in the valley. Religious and cultural festivities form a major part of the lives of people residing in Kathmandu. Most of Kathmandu's people follow Hinduism and many others follow Buddhism. There are people of other religious beliefs as well, giving Kathmandu a cosmopolitan culture. Nepali is the most commonly spoken language in the city. English is understood by Kathmandu's educated residents. Kathmandu was devastated by a 7.8 magnitude earthquake on April 25, 2015.
ETYMOLOGY
The city of Kathmandu is named after Kasthamandap temple, that stood in Durbar Square. In Sanskrit, Kastha (काष्ठ) means "wood" and Mandap (/मण्डप) means "covered shelter". This temple, also known as Maru Satal (in ″Newar language″), was built in 1596 by King Laxmi Narsingh Malla. The two-storey structure was made entirely of wood, and used no iron nails nor supports. According to legend, all the timber used to build the pagoda was obtained from a single tree. The structure unfortunately collapsed during the major earthquake in April 2015.
The colophons of ancient manuscripts, dated as late as the 20th century, refer to Kathmandu as Kasthamandap Mahanagar in Nepal Mandala. Mahanagar means "great city". The city is called "Kasthamandap" in a vow that Buddhist priests still recite to this day. Thus, Kathmandu is also known as Kasthamandap. During medieval times, the city was sometimes called Kantipur (कान्तिपुर). This name is derived from two Sanskrit words - Kanti and pur. "Kanti" is one of the names of the Goddess Lakshmi, and "pur" means place.
Among the indigenous Newar people, Kathmandu is known as Yen Desa (येँ देश), and Patan and Bhaktapur are known as Yala Desa (यल देश) and Khwopa Desa (ख्वप देश). "Yen" is the shorter form of Yambu (यम्बु), which originally referred to the northern half of Kathmandu.
HISTORY
Archaeological excavations in parts of Kathmandu have found evidence of ancient civilizations. The oldest of these findings is a statue, found in Maligaon, that was dated at 185 AD. The excavation of Dhando Chaitya uncovered a brick with an inscription in Brahmi script. Archaeologists believe it is two thousand years old. Stone inscriptions are an ubiquitous element at heritage sites and are key sources for the history of Nepal
The earliest Western reference to Kathmandu appears in an account of Jesuit Fathers Johann Grueber and Albert d'Orville. In 1661, they passed through Nepal on their way from Tibet to India, and reported that they reached "Cadmendu, the capital of the Kingdom of Necbal".
ANCIENT HISTORY
The ancient history of Kathmandu is described in its traditional myths and legends. According to Swayambhu Purana, the present day Kathmandu was once a lake called Nagdaha. The lake was drained by Manjusri, who established a city called Manjupattan and made Dharmakar the ruler of the land.
Kotirudra Samhita of Shiva Purana, Chapter 11, shloka 18 refers to the place as Nayapala city famous for its Pashupati Shivalinga. The name Nepal probably originates from this city Nayapala.
Very few historical records exist of the period before the medieval Licchavis rulers. According to Gopalraj Vansawali, a genealogy of Nepali monarchs, the rulers of Kathmandu Valley before the Licchavis were Gopalas, Mahispalas, Aabhirs, Kirants, and Somavanshi. The Kirata dynasty was established by Yalamber. During the Kirata era, a settlement called Yambu existed in the northern half of old Kathmandu. In some of the Sino-Tibetan languages, Kathmandu is still called Yambu. Another smaller settlement called Yengal was present in the southern half of old Kathmandu, near Manjupattan. During the reign of the seventh Kirata ruler, Jitedasti, Buddhist monks entered Kathmandu valley and established a forest monastery at Sankhu.
MEDIEVAL HISTORY
LICCHAVI ERA
The Licchavis from the Indo-Gangetic plain migrated north and defeated the Kiratas, establishing the Licchavi dynasty. During this era, following the genocide of Shakyas in Lumbini by Virudhaka, the survivors migrated north and entered the forest monastery in Sankhu masquerading as Koliyas. From Sankhu, they migrated to Yambu and Yengal (Lanjagwal and Manjupattan) and established the first permanent Buddhist monasteries of Kathmandu. This created the basis of Newar Buddhism, which is the only surviving Sanskrit-based Buddhist tradition in the world. With their migration, Yambu was called Koligram and Yengal was called Dakshin Koligram during most of the Licchavi era.Eventually, the Licchavi ruler Gunakamadeva merged Koligram and Dakshin Koligram, founding the city of Kathmandu. The city was designed in the shape of Chandrahrasa, the sword of Manjushri. The city was surrounded by eight barracks guarded by Ajimas. One of these barracks is still in use at Bhadrakali (in front of Singha Durbar). The city served as an important transit point in the trade between India and Tibet, leading to tremendous growth in architecture. Descriptions of buildings such as Managriha, Kailaskut Bhawan, and Bhadradiwas Bhawan have been found in the surviving journals of travelers and monks who lived during this era. For example, the famous 7th-century Chinese traveller Xuanzang described Kailaskut Bhawan, the palace of the Licchavi king Amshuverma. The trade route also led to cultural exchange as well. The artistry of the Newar people - the indigenous inhabitants of the Kathmandu Valley - became highly sought after during this era, both within the Valley and throughout the greater Himalayas. Newar artists travelled extensively throughout Asia, creating religious art for their neighbors. For example, Araniko led a group of his compatriot artists through Tibet and China. Bhrikuti, the princess of Nepal who married Tibetan monarch Songtsän Gampo, was instrumental in introducing Buddhism to Tibet.
MALLA ERA
The Licchavi era was followed by the Malla era. Rulers from Tirhut, upon being attacked by Muslims, fled north to the Kathmandu valley. They intermarried with Nepali royalty, and this led to the Malla era. The early years of the Malla era were turbulent, with raids and attacks from Khas and Turk Muslims. There was also a devastating earthquake which claimed the lives of a third of Kathmandu's population, including the king Abhaya Malla. These disasters led to the destruction of most of the architecture of the Licchavi era (such as Mangriha and Kailashkut Bhawan), and the loss of literature collected in various monasteries within the city. Despite the initial hardships, Kathmandu rose to prominence again and, during most of the Malla era, dominated the trade between India and Tibet. Nepali currency became the standard currency in trans-Himalayan trade.
During the later part of the Malla era, Kathmandu Valley comprised four fortified cities: Kantipur, Lalitpur, Bhaktapur, and Kirtipur. These served as the capitals of the Malla confederation of Nepal. These states competed with each other in the arts, architecture, aesthetics, and trade, resulting in tremendous development. The kings of this period directly influenced or involved themselves in the construction of public buildings, squares, and temples, as well as the development of water spouts, the institutionalization of trusts (called guthis), the codification of laws, the writing of dramas, and the performance of plays in city squares. Evidence of an influx of ideas from India, Tibet, China, Persia, and Europe among other places can be found in a stone inscription from the time of king Pratap Malla. Books have been found from this era that describe their tantric tradition (e.g. Tantrakhyan), medicine (e.g. Haramekhala), religion (e.g. Mooldevshashidev), law, morals, and history. Amarkosh, a Sanskrit-Nepal Bhasa dictionary from 1381 AD, was also found. Architecturally notable buildings from this era include Kathmandu Durbar Square, Patan Durbar Square, Bhaktapur Durbar Square, the former durbar of Kirtipur, Nyatapola, Kumbheshwar, the Krishna temple, and others.
MODERN ERA
EARLY SHAH RULE
The Gorkha Kingdom ended the Malla confederation after the Battle of Kathmandu in 1768. This marked the beginning of the modern era in Kathmandu. The Battle of Kirtipur was the start of the Gorkha conquest of the Kathmandu Valley. Kathmandu was adopted as the capital of the Gorkha empire, and the empire itself was dubbed Nepal. During the early part of this era, Kathmandu maintained its distinctive culture. Buildings with characteristic Nepali architecture, such as the nine-story tower of Basantapur, were built during this era. However, trade declined because of continual war with neighboring nations. Bhimsen Thapa supported France against Great Britain; this led to the development of modern military structures, such as modern barracks in Kathmandu. The nine-storey tower Dharahara was originally built during this era.
RANA RULE
Rana rule over Nepal started with the Kot Massacre, which occurred near Hanuman Dhoka Durbar. During this massacre, most of Nepal's high-ranking officials were massacred by Jang Bahadur Rana and his supporters. Another massacre, the Bhandarkhal Massacre, was also conducted by Kunwar and his supporters in Kathmandu. During the Rana regime, Kathmandu's alliance shifted from anti-British to pro-British; this led to the construction of the first buildings in the style of Western European architecture. The most well-known of these buildings include Singha Durbar, Garden of Dreams, Shital Niwas, and the old Narayanhiti palace. The first modern commercial road in the Kathmandu Valley, the New Road, was also built during this era. Trichandra College (the first college of Nepal), Durbar School (the first modern school of Nepal), and Bir Hospital (the first hospital of Nepal) were built in Kathmandu during this era. Rana rule was marked by tyranny, debauchery, economic exploitation and religious persecution.
GEOGRAPHY
Kathmandu is located in the northwestern part of Kathmandu Valley to the north of the Bagmati River and covers an area of 50,67 square kilometres. The average elevation is 1.400 metres above sea level. The city is directly bounded by several other municipalities of the Kathmandu valley: south of the Bagmati by Lalitpur Sub-Metropolitan City (Patan) with which it today forms one urban area surrounded by a ring road, to the southwest by Kirtipur Municipality and to the east by Madyapur Thimi Municipality. To the north the urban area extends into several Village Development Committees. However, the urban agglomeration extends well beyond the neighboring municipalities, e. g. to Bhaktapur and just about covers the entire Kathmandu valley.
Kathmandu is dissected by eight rivers, the main river of the valley, the Bagmati and its tributaries, of which the Bishnumati, Dhobi Khola, Manohara Khola, Hanumant Khola, and Tukucha Khola are predominant. The mountains from where these rivers originate are in the elevation range of 1.500–3.000 metres, and have passes which provide access to and from Kathmandu and its valley. An ancient canal once flowed from Nagarjuna hill through Balaju to Kathmandu; this canal is now extinct.
Kathmandu and its valley are in the Deciduous Monsoon Forest Zone (altitude range of 1.200–2.100 metres), one of five vegetation zones defined for Nepal. The dominant tree species in this zone are oak, elm, beech, maple and others, with coniferous trees at higher altitude.
TOURISM
Tourism is considered another important industry in Nepal. This industry started around 1950, as the country's political makeup changed and ended the country's isolation from the rest of the world. In 1956, air transportation was established and the Tribhuvan Highway, between Kathmandu and Raxaul (at India's border), was started. Separate organizations were created in Kathmandu to promote this activity; some of these include the Tourism Development Board, the Department of Tourism and the Civil Aviation Department. Furthermore, Nepal became a member of several international tourist associations. Establishing diplomatic relations with other nations further accentuated this activity. The hotel industry, travel agencies, training of tourist guides, and targeted publicity campaigns are the chief reasons for the remarkable growth of this industry in Nepal, and in Kathmandu in particular.
Since then, tourism in Nepal has thrived; it is sometimes called the "third religion" of Nepal. It is the country's most important industry. Tourism is a major source of income for most of the people in the city, with several hundred thousand visitors annually. Hindu and Buddhist pilgrims from all over the world visit Kathmandu's religious sites such as Pashupatinath, Swayambhunath, Boudhanath and Budhanilkantha. From a mere 6179 tourists in 1961–62, the number jumped to 491504 in 1999-2000. With the end of Maoist insuregency period in 2009 there was a significant rise of 509,956 tourist arrivals. Since then, tourism has improved as the country turned into a Democratic Republic. In economic terms, the foreign exchange registered 3.8% of the GDP in 1995–96 but then started declining. The high level of tourism is attributed to the natural grandeur of the Himalayas and the rich cultural heritage of the country.
The neighborhood of Thamel is Kathmandu's primary "traveler's ghetto", packed with guest houses, restaurants, shops, and bookstores, catering to tourists. Another neighborhood of growing popularity is Jhamel, a name for Jhamsikhel coined to rhyme with Thamel. Jhochhen Tol, also known as Freak Street, is Kathmandu's original traveler's haunt, made popular by the hippies of the 1960s and 1970s; it remains a popular alternative to Thamel. Asan is a bazaar and ceremonial square on the old trade route to Tibet, and provides a fine example of a traditional neighborhood.
With the opening of the tourist industry after the change in the political scenario of Nepal in 1950, the hotel industry drastically improved. Now Kathmandu boasts several five-star hotels like Hyatt Regency, Hotel Yak & Yeti, The Everest Hotel, Hotel Radisson, Hotel De L'Annapurna, The Malla Hotel, Shangri-La Hotel (which is not operated by the Shangri-La Hotel Group) and The Shanker Hotel. There are several four-star hotels such as Hotel Vaishali, Hotel Narayani, The Blue Star and Grand Hotel. The Garden Hotel, Hotel Ambassador, and Aloha Inn are among the three-star hotels in Kathmandu. Hotels like Hyatt Regency, De L'Annapurna and Hotel Yak & Yeti are among the five-star hotels providing casinos as well.
DEMOGRAPHICS
Kathmandu's urban cosmopolitan character has made it the most populous city in Nepal, recording a population of 671846 residents living in 235387 households in the metropolitan area, according to the 2001 census. According to the National Population Census of 2011, the total population of Kathmandu city was 975543 with an annual growth rate of 6,12% with respect to the population figure of 2001. 70% of the total population residing in Kathmandu are aged between 15 and 59.
Over the years the city has been home to people of various ethnicities, resulting in a range of different traditions and cultural practices. In one decade, the population increased from 427045 in 1991 to 671805 in 2001. The population was projected to reach 915071 in 2011 and 1.319.597 by 2021. To keep up this population growth, the KMC-controlled area of 5,076.6 hectares has expanded to 8.214 hectares in 2001. With this new area, the population density which was 85 in 1991 is still 85 in 2001; it is likely to jump to 111 in 2011 and 161 in 2021.
ETHNIC GROUPS
The largest ethnic groups are Newar (29.6%), Matwali (25.1% Sunuwar, Gurung, Magars, Tamang etc.), Khas Brahmins (20.51%) and Chettris (18.5%) . Tamangs originating from surrounding hill districts can be seen in Kathmandu. More recently, other hill ethnic groups and Caste groups from Terai have become present as well in vast majority. The major languages are Nepali, Nepal Bhasa and English is understood by about 30% of the people. The major religions are Hinduism and Buddhism.
The linguistic profile of Kathmandu underwent drastic changes during the Shah dynasty's rule because of its strong bias towards the Brahminic culture. Sanskrit language therefore was preferred and people were encouraged to learn it even by attending Sanskrit learning centers in Terai. Sanskrit schools were specially set up in Kathmandu and in the Terai region to inculcate traditional Hindu culture and practices originated from Nepal.
ARCHITECTURE AND CITYSCAPE
The ancient trade route between India and Tibet that passed through Kathmandu enabled a fusion of artistic and architectural traditions from other cultures to be amalgamated with local art and architecture. The monuments of Kathmandu City have been influenced over the centuries by Hindu and Buddhist religious practices. The architectural treasure of the Kathmandu valley has been categorized under the well-known seven groups of heritage monuments and buildings. In 2006 UNESCO declared these seven groups of monuments as a World Heritage Site (WHS). The seven monuments zones cover an area of 188,95 hectares, with the buffer zone extending to 239,34 hectares. The Seven Monument Zones (Mzs) inscribed originally in 1979 and with a minor modification in 2006 are Durbar squares of Hanuman Dhoka, Patan and Bhaktapur, Hindu temples of Pashupatinath and Changunarayan, the Buddhist stupas of Swayambhu and Boudhanath.
DURBAR SQUARES
The literal meaning of Durbar Square is a "place of palaces". There are three preserved Durbar Squares in Kathmandu valley and one unpreserved in Kirtipur. The Durbar Square of Kathmandu is located in the old city and has heritage buildings representing four kingdoms (Kantipur, Lalitpur, Bhaktapur, Kirtipur); the earliest is the Licchavi dynasty. The complex has 50 temples and is distributed in two quadrangles of the Durbar Square. The outer quadrangle has the Kasthamandap, Kumari Ghar, and Shiva-Parvati Temple; the inner quadrangle has the Hanuman Dhoka palace. The squares were severely damaged in the April 2015 Nepal earthquake.
Hanuman Dhoka is a complex of structures with the Royal Palace of the Malla kings and of the Shah dynasty. It is spread over five acres. The eastern wing, with ten courtyards, is the oldest part, dating to the mid-16th century. It was expanded by King Pratap Malla in the 17th century with many temples. The royal family lived in this palace until 1886 when they moved to Narayanhiti Palace. The stone inscription outside is in fifteen languages.
Kumari Ghar is a palace in the center of the Kathmandu city, next to the Durbar square where a Royal Kumari selected from several Kumaris resides. Kumari, or Kumari Devi, is the tradition of worshipping young pre-pubescent girls as manifestations of the divine female energy or devi in South Asian countries. In Nepal the selection process is very rigorous. Kumari is believed to be the bodily incarnation of the goddess Taleju (the Nepali name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury are also causes for her to revert to common status. The current Royal Kumari, Matina Shakya, age four, was installed in October 2008 by the Maoist government that replaced the monarchy.
Kasthamandap is a three-storeyed temple enshrining an image of Gorakhnath. It was built in the 16th century in pagoda style. The name of Kathmandu is a derivative of the word Kasthamandap. It was built under the reign of King Laxmi Narsingha Malla. Kasthamandap stands at the intersection of two ancient trade routes linking India and Tibet at Maru square. It was originally built as a rest house for travelers.
PASHUPATINATH TEMPLE
The Pashupatinath Temple is a famous 5th century Hindu temple dedicated to Lord Shiva (Pashupati). Located on the banks of the Bagmati River in the eastern part of Kathmandu, Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It served as the seat of national deity, Lord Pashupatinath, until Nepal was secularized. However, a significant part of the temple was destroyed by Mughal invaders in the 14th century and little or nothing remains of the original 5th-century temple exterior. The temple as it stands today was built in the 19th century, although the image of the bull and the black four-headed image of Pashupati are at least 300 years old. The temple is a UNESCO World Heritage Site. Shivaratri, or the night of Lord Shiva, is the most important festival that takes place here, attracting thousands of devotees and sadhus.
Believers in Pashupatinath (mainly Hindus) are allowed to enter the temple premises, but non-Hindu visitors are allowed to view the temple only from the across the Bagmati River. The priests who perform the services at this temple have been Brahmins from Karnataka, South India since the time of Malla king Yaksha Malla. This tradition is believed to have been started at the request of Adi Shankaracharya who sought to unify the states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is followed in other temples around India, which were sanctified by Adi Shankaracharya.
The temple is built in the pagoda style of architecture, with cubic constructions, carved wooden rafters (tundal) on which they rest, and two-level roofs made of copper and gold.
BOUDHANATH
The Boudhanath, (also written Bouddhanath, Bodhnath, Baudhanath or the Khāsa Chaitya), is one of the holiest Buddhist sites in Nepal, along with Swayambhu. It is a very popular tourist site. Boudhanath is known as Khāsti by Newars and as Bauddha or Bodhnāth by speakers of Nepali. Located about 11 km from the center and northeastern outskirts of Kathmandu, the stupa's massive mandala makes it one of the largest spherical stupas in Nepal. Boudhanath became a UNESCO World Heritage Site in 1979.The base of the stupa has 108 small depictions of the Dhyani Buddha Amitabha. It is surrounded with a brick wall with 147 niches, each with four or five prayer wheels engraved with the mantra, om mani padme hum. At the northern entrance where visitors must pass is a shrine dedicated to Ajima, the goddess of smallpox. Every year the stupa attracts many Tibetan Buddhist pilgrims who perform full body prostrations in the inner lower enclosure, walk around the stupa with prayer wheels, chant, and pray. Thousands of prayer flags are hoisted up from the top of the stupa downwards and dot the perimeter of the complex. The influx of many Tibetan refugees from China has seen the construction of over 50 Tibetan gompas (monasteries) around Boudhanath.
SWAYAMBHU
Swayambhu is a Buddhist stupa atop a hillock at the northwestern part of the city. This is among the oldest religious sites in Nepal. Although the site is considered Buddhist, it is revered by both Buddhists and Hindus. The stupa consists of a dome at the base; above the dome, there is a cubic structure with the eyes of Buddha looking in all four directions.[clarification needed] There are pentagonal Toran above each of the four sides, with statues engraved on them. Behind and above the torana there are thirteen tiers. Above all the tiers, there is a small space above which lies a gajur.
CULTURE
ARTS
Kathmandu valley is described as "an enormous treasure house of art and sculptures", which are made of wood, stone, metal, and terracotta, and found in profusion in temples, shrines, stupas, gompas, chaityasm and palaces. The art objects are also seen in street corners, lanes, private courtyards, and in open ground. Most art is in the form of icons of gods and goddesses. Kathmandu valley has had this art treasure very long, but received worldwide recognition only after the country opened its doors to the outside world in 1950.
The religious art of Nepal and Kathmandu in particular consists of an iconic symbolism of the Mother Goddesses such as: Bhavani, Durga, Gaja-Lakshmi, Hariti-Sitala, Mahsishamardini, Saptamatrika (seven mother goddesses), and Sri-Lakshmi(wealth-goddess). From the 3rd century BC, apart from the Hindu gods and goddesses, Buddhist monuments from the Ashokan period (it is said that Ashoka visited Nepal in 250 BC) have embellished Nepal in general and the valley in particular. These art and architectural edifices encompass three major periods of evolution: the Licchavi or classical period (500 to 900 AD), the post-classical period (1000 to 1400 AD), with strong influence of the Palla art form; the Malla period (1400 onwards) that exhibited explicitly tantric influences coupled with the art of Tibetan Demonology.
A broad typology has been ascribed to the decorative designs and carvings created by the people of Nepal. These artists have maintained a blend of Hinduism and Buddhism. The typology, based on the type of material used are: Stone Art, Metal Art, Wood Art, Terracotta Art, and Painting.
MUSEUMS
Kathmandu is home to a number of museums and art galleries, including the National Museum of Nepal and the Natural History Museum of Nepal. Nepal's art and architecture is an amalgamation of two ancient religions, Hinduism and Buddhhism. These are amply reflected in the many temples, shrines, stupas, monasteries, and palaces in the seven well-defined Monument Zones of the Kathmandu valley recognized as a UNESCO World Heritage Site. This amalgamation is also reflected in the planning and exhibitions in museums and art galleries throughout Kathmandu and its sister cities of Patan and Bhaktapur. The museums display unique artifacts and paintings from the 5th century CE to the present day, including archeological exportation.
KATHMANDU MUSEUMS ABD ART GALLERIES INCLUDE:
The National Museum
The Natural History Museum
Hanumandhoka Palace Complex
The Kaiser Library
The National Art Gallery
The NEF-ART (Nepal Fine Art) Gallery
The Nepal Art Council Gallery
Narayanhity Palace Museum
The Taragaon Museum
The National Museum is located in the western part of Kathmandu, near the Swayambhunath stupa in an historical building. This building was constructed in the early 19th century by General Bhimsen Thapa. It is the most important museum in the country, housing an extensive collection of weapons, art and antiquities of historic and cultural importance. The museum was established in 1928 as a collection house of war trophies and weapons, and the initial name of this museum was Chhauni Silkhana, meaning "the stone house of arms and ammunition". Given its focus, the museum contains an extensive quantity of weapons, including locally made firearms used in wars, leather cannons from the 18th–19th century, and medieval and modern works in wood, bronze, stone and paintings.
The Natural History Museum is located in the southern foothills of Swayambhunath hill and has a sizeable collection of different species of animals, butterflies, and plants. The museum is noted for its display of species, from prehistoric shells to stuffed animals.
The Tribhuvan Museum contains artifacts related to the King Tribhuvan (1906–1955). It has a variety of pieces including his personal belongings, letters and papers, memorabilia related to events he was involved in and a rare collection of photos and paintings of Royal family members. The Mahendra Museum is dedicated to king Mahendra of Nepal (1920–1972). Like the Tribhuvan Museum, it includes his personal belongings such as decorations, stamps, coins and personal notes and manuscripts, but it also has structural reconstructions of his cabinet room and office chamber. The Hanumandhoka Palace, a lavish medieval palace complex in the Durbar, contains three separate museums of historic importance. These museums include the Birendra museum, which contains items related to the second-last monarch, Birendra of Nepal.
The enclosed compound of the Narayanhity Palace Museum is in the north-central part of Kathmandu. "Narayanhity" comes from Narayana, a form of the Hindu god Lord Vishnu, and Hiti, meaning "water spout" (Vishnu's temple is located opposite the palace, and the water spout is located east of the main entrance to the precinct). Narayanhity was a new palace, in front of the old palace built in 1915, and was built in 1970 in the form of a contemporary Pagoda. It was built on the occasion of the marriage of King Birenda Bir Bikram Shah, then heir apparent to the throne. The southern gate of the palace is at the crossing of Prithvipath and Darbar Marg roads. The palace area covers 30 hectares and is fully secured with gates on all sides. This palace was the scene of the Nepali royal massacre. After the fall of the monarchy, it was converted to a museum.The Taragaon Museum presents the modern history of the Kathmandu Valley. It seeks to document 50 years of research and cultural heritage conservation of the Kathmandu Valley, documenting what artists photographers architects anthropologists from abroad had contributed in the second half of the 20th century. The actual structure of the Museum showcases restoration and rehabilitation efforts to preserve the built heritage of Kathmandu. It was designed by Carl Pruscha (master-planner of the Kathmandy Valley) in 1970 and constructed in 1971. Restoration works began in 2010 to rehabilitate the Taragaon hostel into the Taragaon Museum. The design uses local brick along with modern architectural design elements, as well as the use of circle, triangles and squares. The Museum is within a short walk from the Boudhnath stupa, which itself can be seen from the Museum tower.
ART GALLERIES
Kathmandu is a center for art in Nepal, displaying the work of contemporary artists in the country and also collections of historical artists. Patan in particular is an ancient city noted for its fine arts and crafts. Art in Kathmandu is vibrant, demonstrating a fusion of traditionalism and modern art, derived from a great number of national, Asian, and global influences. Nepali art is commonly divided into two areas: the idealistic traditional painting known as Paubhas in Nepal and perhaps more commonly known as Thangkas in Tibet, closely linked to the country's religious history and on the other hand the contemporary western-style painting, including nature-based compositions or abstract artwork based on Tantric elements and social themes of which painters in Nepal are well noted for. Internationally, the British-based charity, the Kathmandu Contemporary Art Centre is involved with promoting arts in Kathmandu.
Kathmandu contains many notable art galleries. The NAFA Gallery, operated by the Arts and crafts Department of the Nepal Academy is housed in Sita Bhavan, a neo-classical old Rana palace.
The Srijana Contemporary Art Gallery, located inside the Bhrikutimandap Exhibition grounds, hosts the work of contemporary painters and sculptors, and regularly organizes exhibitions. It also runs morning and evening classes in the schools of art. Also of note is the Moti Azima Gallery, located in a three storied building in Bhimsenthan which contains an impressive collection of traditional utensils and handmade dolls and items typical of a medieval Newar house, giving an important insight into Nepali history. The J Art Gallery is also located in Kathmandu, near the Royal Palace in Durbarmarg, Kathmandu and displays the artwork of eminent, established Nepali painters. The Nepal Art Council Gallery, located in the Babar Mahal, on the way to Tribhuvan International Airport contains artwork of both national and international artists and extensive halls regularly used for art exhibitions.
CUISINE
The staple food of most of Kathmanduites is dal bhat. It consists of rice and lentil soup, generally served with vegetable curries, achar and sometimes Chutney. Momo, a type of Nepali version of Tibetan dumpling, has become prominent in Nepal with many street vendors selling it. It is one of the most popular fast foods in Kathmandu. Various Nepali variants of momo including buff (i.e. buffalo) momo, chicken momo, and vegetarian momo are famous in Kathmandu. Dal Bhaat is the local cuisine of Kathmandu.
Most of the cuisines found in Kathmandu are non-vegetarian. However, the practice of vegetarianism is not uncommon, and vegetarian cuisines can be found throughout the city. Consumption of beef is very uncommon and considered taboo in many places. Buff (meat of water buffalo) is very common. There is a strong tradition of buff consumption in Kathmandu, especially among Newars, which is not found in other parts of Nepal. Consumption of pork was considered taboo until a few decades ago. Due to the intermixing with Kirat cuisine from eastern Nepal, pork has found a place in Kathmandu dishes. A fringe population of devout Hindus and Muslims consider it taboo. The Muslims forbid eating buff as from Quran while Hindus eat all varieties except Cow's meat as the consider Cow to be a goddess and symbol of purity. The chief breakfast for locals and visitors is mostly Momo or Chowmein.
Kathmandu had only one restaurant in 1955. A large number of restaurants in Kathmandu have since opened, catering Nepali cuisine, Tibetan cuisine, Chinese cuisine and Indian cuisine in particular. Many other restaurants have opened to accommodate locals, expatriates, and tourists. The growth of tourism in Kathmandu has led to culinary creativity and the development of hybrid foods to accommodate for tourists such as American chop suey, which is a sweet-and-sour sauce with crispy noodles with a fried egg commonly added on top and other westernized adaptations of traditional cuisine. Continental cuisine can be found in selected places. International chain restaurants are rare, but some outlets of Pizza Hut and KFC have recently opened there. It also has several outlets of the international ice-cream chain Baskin-Robbins
Kathmandu has a larger proportion of tea drinkers than coffee drinkers. Tea is widely served but is extremely weak by western standards. It is richer and contains tea leaves boiled with milk, sugar and spices. Alcohol is widely drunk, and there are numerous local variants of alcoholic beverages. But its use has been now reduced.refnational survey. Drinking and driving is illegal, and authorities have a zero tolerance policy. Ailaa and thwon (alcohol made from rice) are the alcoholic beverages of Kathmandu, found in all the local bhattis (alcohol serving eateries). Chhyaang, tongba (fermented millet or barley) and rakshi are alcohols from other parts of Nepal which are found in Kathmandu. However, shops and bars in Kathmandu widely sell western and Nepali beers. Shops are forbidden to sell alcohol on the first two days and last two days of the Nepali month (Nepal Sambat).
FESTIVALS
Most of the fairs and festivals in Kathmandu originated in the Malla period or earlier. Traditionally, these festivals were celebrated by Newars. In recent years, these festivals have found wider participation from other Kathmanduites as well. As the capital of the Republic of Nepal, various national festivals are celebrated in Kathmandu. With mass migration to the city, the cultures of Khas from the west, Kirats from the east, Bon/Tibetan from the north, and Mithila from the south meet in the capital and mingle harmoniously. The festivities such as the Ghode (horse) Jatra, Indra Jatra, Dashain Durga Puja festivals, Shivratri and many more are observed by all Hindu and Buddhist communities of Kathmandu with devotional fervor and enthusiasm. Social regulation in the codes enacted incorporate Hindu traditions and ethics. These were followed by the Shah kings and previous kings, as devout Hindus and protectors of Buddhist religion.
Cultural continuity has been maintained for centuries in the exclusive worship of goddesses and deities in Kathmandu and the rest of the country. These deities include the Ajima, Taleju (or Tulja Bhavani), Digu taleju, and Kumari (the living goddess).[citation needed] The artistic edifices have now become places of worship in the everyday life of the people, therefore a roster is maintained to observe annual festivals. There are 133 festivals held in the year.
Some of the traditional festivals observed in Kathmandu, apart from those previously mentioned, are Bada Dashain, Tihar, Chhath, Maghe Sankranti, Naga Panchami, Janai Poornima, Pancha Dan, Teej/Rishi Panchami, Pahan Charhe, Jana Baha Dyah Jatra (White Machchhendranath Jatra), and Matatirtha Aunsi.
HINDUISM
Assumedly, together with the kingdom of Licchhavi (c. 400 to 750), Hinduism and the endogam social stratification of the Caste was established in Kathmandu Valley. The Pashupatinath Temple, Changu Narayan temple (the oldest), and the Kasthamandap are of particular importance to Hindus. Other notable Hindu temples in Kathmandu and the surrounding valley include Bajrayogini Temple, Dakshinkali Temple, Guhyeshwari Temple, and the Sobha Bhagwati shrine.
The Bagmati River which flows through Kathmandu is considered a holy river both by Hindus and Buddhists, and many Hindu temples are located on the banks of this river. The importance of the Bagmati also lies in the fact that Hindus are cremated on its banks, and Kirants are buried in the hills by its side. According to the Nepali Hindu tradition, the dead body must be dipped three times into the Bagmati before cremation. The chief mourner (usually the first son) who lights the funeral pyre must take a holy riverwater bath immediately after cremation. Many relatives who join the funeral procession also take bath in the Bagmati River or sprinkle the holy water on their bodies at the end of cremation as the Bagmati is believed to purify people spiritually.
BUDDHISM
Buddhism started in Kathmandu with the arrival of Buddhist monks during the time of Buddha (c. 563 - 483 BC). They started a forest monastery in Sankhu. This monastery was renovated by Shakyas after they fled genocide from Virudhaka (rule: 491-461 BC).
During the Hindu Lichchavi era (c. 400 to 750), various monasteries and orders were created which successively led to the formation of Newar Buddhism, which is still practiced in the primary liturgical language of Hinduism, Sanskrit.
WIKIPEDIA
taken for an experimental self-portraiture shoot based on my college project Human Form and inspired by Francesca Woodman's love for exploring self, movement, and sexuality.
flickriver.com/photos/javier1949/popular-interesting/
Palacio Longoria - Sociedad General de Autores
Calle Fernando VI, 4 c/v a Pelayo. Madrid
Arquitecto: José Grases Riera Proyecto 1902 Obras 1902-05. Colaborador en la dirección de las obras José López Salaberry. Terminación: Francisco García Nava 1912-1913. Reforma : Carlos Arniches Moltó 1950-1951. Rehabilitación: Proyecto: Ángeles Hernández-Rubio y Santiago Fajardo 992. Obras: Santiago Fajardo: 1993-95.
Declarado Bien de Interés Cultural BIC con la categoría de Monumento en 1996
Seguimos a Oscar da Rocha y Ricardo Muñoz en su excelente trabajo “Madrid modernista: guía de arquitectura”, y al primero de ellos en su magnífica tesis doctoral acerca del Modernismo en Madrid
El palacio de Longoria es, sin duda, el ejemplar más célebre del modernismo madrileño. Mandado edificar por el banquero Javier González Longoria para su vivienda privada y la sede de su negocio. Para ello recurrió al arquitecto José Grases Riera –de origen catalán, aunque afincado en Madrid desde finales del siglo XIX– cuya trayectoria, que incluye el popular Monumento a Alfonso XII en el Retiro, representa una de las mejores manifestaciones del eclecticismo característico de la arquitectura madrileña de aquella época.
Frente a sus obras más tradicionales Grases proyectó un edificio singular y novedoso, que exhibe una profusa decoración modernista inspirada en el art nouveau francés (sinuosidades naturalistas, flores variadas, cabezas femeninas, formas orgánicas diversas, etc.). Este peculiar giro en los fundamentos estilísticos del autor debe vincularse, además de a la influencia de las nuevas modas, a los deseos del propietario. Pero toda la exuberante ornamentación modernista, aplicada como un revestimiento decorativo, prende sobre unos volúmenes que responden a criterios convencionales (esencialmente eclécticos), manifiestos tanto en la planta del edificio (en forma de L con la clásica rotonda en la esquina) como en el sistema constructivo mixto (muros de carga con forjados de vigas y bovedillas) y en la composición de los alzados (simétricos y rematados por un ático en forma de mansarda).
La planta se conforma, sobre un solar en esquina sensiblemente cuadrado, mediante dos cuerpos rectangulares, paralelos a las dos calles, ensamblados por un torreón circular que acoge la gran escalera. El protagonismo visual recae sobre el tratamiento decorativo dado a las fachadas, realizadas en piedra artificial con formas suaves, vegetales y orgánicas que dan una continuidad espacial a las superficies con una decoración que lo invade todo enlazando unos elementos con otros. La fachada principal se retranquea para iluminar los sótanos y queda realzada con la inclusión de un patio inglés cerrado con una bella verja de forja, que tras su última restauración ha recuperado lo mejor de su sugestiva apariencia. La inclusión en el ático de azulejos cerámicos con piezas irregulares, recuerda al “trencadís” creado por Antoni Gaudí. La planta en “L” deja un patio-jardín interior que permite desarrollar una interesante fachada al mismo con una galería porticada sobre soportes en forma de palmeras y pabellones semicirculares en los extremos.
En el interior, se distingue la soberbia escalera principal, una de las más brillantes piezas del modernismo español, cuya admirable combinación de hierro (armadura), bronce (barandillas), mármol (escalones), yeso (relieves) y vidrio (cúpula) sigue la concepción modernista de integración de todas las artes. Trazada a partir de unos diseños extraordinaria calidad, la escalinata configura una espectacular escenografía iluminada cenitalmente por una hermosa vidriera. De traza imperial y perímetro circular se sitúa en la rotonda de la esquina, eje del edificio, y la corona una impresionante cúpula de hierro y vidrio con estructura nervada en estrella que apoya en soportes de hierro. La barandilla es asimismo una sugestiva obra de forja con dinámicos elementos vegetales salpicados con flores y hojas de latón movidos por el característico "golpe de látigo". En una labor de tal magnificencia y complejidad Grases debió contar con la colaboración de artesanos muy cualificados, pero desgraciadamente ignoramos sus nombres.
En cualquier caso el conjunto origina una escenografía espectacular y, sobre todo, plenamente modernista. La escalera es sin duda el elemento art nouveau más ortodoxo de todo el edificio, ya que en ella los distintos materiales reciben un tratamiento decorativo (identificación entre estructura y ornamento), existe una absoluta integración de las artes (arquitectura, metalistería, escultura y vidriería), se desarrolla un espacio dinámico y se crea un ambiente hedonista y totalmente novedoso. En resumen, el Palacio de Longoria es, por su condición ecléctica, el edificio más representativo del modernismo madrileño pero también, por su abundante decoración y su magnífica escalinata, uno de los más excepcionales.
Según nos comenta Oscar da Rocha en su tesis, José Grases Riera (1850-1919, terminó sus estudio de arquitectura el año 1878 en Barcelona) y en agosto de 1902 firmó la memoria y los planos del que habría de ser su trabajo más polémico. Hasta entonces sus obras madrileñas habían estado sometidas a la influencia del eclecticismo neobarroco y afrancesado que podemos apreciar en La Equitativa (1887-1891), El New Club (1899-1902), el Monumento a Alfonso XII (1901-1922) o el Teatro Lírico (1901-1902); edificios todos ellos muy alejados del modernismo exhibido por el Palacio de Longoria. Siempre se ha responsabilizado de tan inesperado cambio estilístico al propietario, Francisco Javier González Longoria, y hasta ahora esta idea sigue siendo plenamente asumible.
González Longoria poseyó el palacio muy poco tiempo. En 1912, por encargo de su nuevo propietario el dentista Florestán Aguilar, el arquitecto municipal Francisco García Nava realiza unas obras de reforma en las que introduce algunos elementos nuevos a fin de destinar el edificio para residencia personal y sede de la Compañía Dental Española. Así, realiza, entre otras obras, la conclusión de las fachadas, especialmente la configuración de las abiertas al jardín. A partir de aquel momento sus interiores se fueron degradando y desapareció la distribución original. Durante el tiempo en que el palacio perteneció a Florestán Aguilar –hasta mediados de los años 40– fueron varias las obras ejecutadas. A la vez que se reformaba el edificio, se encargó la realización de un garaje-cochera. Esta construcción, situada al fondo de la parcela y hoy perdida, podría ser el lugar que durante algún tiempo sirvió de taller al pintor Julio Romero de Torres. En 1919, el arquitecto Francisco Pingarrón Yarritu proyectó un pabellón en la azotea, con fachada al jardín –recientemente sustituido por un ligero volumen de hierro y cristal–, que con poco acierto intentaba respetar el aspecto modernista del conjunto. En 1946, los herederos de Aguilar vendieron el inmueble a Construcciones Civiles, que traslada aquí su sede, y en 1950 lo adquiere la Sociedad General de Autores, su actual propietaria, que encarga al arquitecto Carlos Arniches una radical transformación, realizando el cierre de las galerías de la fachada posterior y modificando por completo la organización y decoración interiores. Únicamente respetó el eje central, con el zaguán de entrada y la gran escalinata que, junto con la interesante escalera de servicio, son las únicas partes internas del edificio que conservan su aspecto original, además de la ejecución de una ampliación sobre un edificio colindante. La misma Sociedad emprendió en la década de 1990 la recuperación del edificio, entonces muy deteriorado, realizando la restauración de las fachadas y la rehabilitación total de los interiores. Se eliminan añadidos superfluos o antiestéticos (construcciones del jardín, pabellón de la terraza, etc.), se recuperan los motivos decorativos (algunos perdidos hacía décadas) y se devuelve a las fachadas el cromatismo uniforme (color siena) que suaviza la sensación de yuxtaposición de los elementos ornamentales sobre los muros –muy evidente cuando tenían tonalidades distintas–. Muy elogiable es el trabajo de recuperación de la escalera de servicio, uno de los escasos ámbitos que perduran del edificio original, en la que hoy se combinan acertadamente elementos antiguos y modernos. Las figuras en relieve de las esquinas y la cerrajería de los antepechos, con un diseño similar al de la verja de cerramiento, pertenecen a la primera decoración. Ahora se complementan con un zócalo de mármol de inspiración modernista y un añadido en la cancela del ascensor –basado en el modelo del antepecho– que respetan totalmente la coherencia del conjunto. Las obras fueron proyectadas por Ángeles Hernández-Rubio y Santiago Fajardo y realizadas bajo dirección de este último arquitecto.
Por todas sus cualidades arquitectónicas y artísticas el edificio fue declarado en 1996 Bien de Interés Cultural con la categoría de Monumento.