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The flag of the United States of America consists of 13 equal horizontal stripes of red (top and bottom) alternating with white, with a blue rectangle in the canton bearing 50 small, white, five-pointed stars arranged in nine offset horizontal rows of six stars (top and bottom) alternating with rows of five stars. The 50 stars on the flag represent the 50 U.S. states and the 13 stripes represent the original Thirteen Colonies that rebelled against the British Crown and became the first states in the Union.[1] Nicknames for the flag include the stars and stripes, Old Glory,[2] the American flag, and the star-spangled banner (also the name of the country's official national anthem).
Because of its symbolism, the starred blue canton is called the "union". This part of the national flag can stand alone as a maritime flag called the Union Jack.
Symbolism
The flag of the United States is one of the nation's widely recognized and used symbols. Within the U.S. it is frequently displayed, not only on public buildings, but on private residences, as well as iconically in forms such as decals for car windows, and clothing ornaments such as badges and lapel pins. Throughout the world it is used in public discourse to refer to the U.S., both as a nation state, government, and set of policies, but also as an ideology and set of ideas.
Many understand the flag to represent the freedoms and rights guaranteed in the U.S. Constitution and its Bill of Rights and perhaps most of all to be a symbol of individual and personal liberty as set forth in the Declaration of Independence. The flag is a complex and contentious symbol, around which emotions run high.
Apart from the numbers of stars and stripes representing the number of current and original states, respectively, and the union with its stars representing a constellation, there is no legally defined symbolism to the colors and shapes on the flag. However, folk theories and traditions abound; for example, that the stripes refer to rays of sunlight and that the stars refer to the heavens, the highest place that a person could aim to reach.[4] Tradition holds that George Washington proclaimed: "We take the stars from Heaven, the red from our mother country, separating it by white stripes, thus showing that we have separated from her, and the white stripes shall go down to posterity representing Liberty."
Design
Specification
The basic design of the current flag is specified by 4 U.S.C. § 1; 4 U.S.C. § 2 outlines the addition of new stars to represent new states. The specification gives the following values:
* Hoist (width) of the flag: A = 1.0
* Fly (length) of the flag: B = 1.9[6]
* Hoist (width) of the Union: C = 0.5385 (A x 7/13, spanning seven stripes)
* Fly (length) of the Union: D = 0.76 (B × 2/5, two fifths of the flag length)
* E = F = 0.0538 (C/10, One tenth the height of the field of stars)
* G = H = 0.0633 (D/12, One twelfth the width of the field of stars)
* Diameter of star: K = 0.0616
* Width of stripe: L = 0.0769 (A/13, One thirteenth of the flag width)
Colors
The exact shades of red, white, and blue to be used in the flag are specified as follows:
Dark Red 70180 193 C #BF0A30 (191,10,48)
White 70001 Safe #FFFFFF (255,255,255)
Navy Blue 70075 281 C #002868 (0,40,104)
The 49- and 50-star unions
When Alaska and Hawaii were being considered for statehood in the 1950s, more than 1,500 designs were spontaneously submitted to President Dwight D. Eisenhower. Although some of them were 49-star versions, the vast majority were 50-star proposals. At least three, and probably more, of these designs were identical to the present design of the 50-star flag.[10] At the time, credit was given by the Executive Department to the United States Army Institute of Heraldry for the design.
Of these proposals, one created by 18-year old Robert G. Heft in 1958 as a school project has received the most publicity. His mother was a seamstress, but refused to do any of the work for him. He originally received a B- for the project. After discussing the grade with his teacher, it was agreed (somewhat jokingly) that if the flag was accepted by Congress, the grade would be reconsidered. Heft's flag design was chosen and adopted by presidential proclamation after Alaska and before Hawaii was admitted into the union in 1959. He got an A.
Decoration
Traditionally, the flag may be decorated with golden fringe surrounding the perimeter of the flag as long as it does not deface the flag proper. Ceremonial displays of the flag, such as those in parades or on indoor posts, often utilize fringe to enhance the beauty of the flag. The first recorded use of fringe on a flag dates from 1835, and the Army used it officially in 1895. No specific law governs the legality of fringe, but a 1925 opinion of the attorney general addresses the use of fringe (and the number of stars) "...is at the discretion of the Commander in Chief of the Army and Navy..." as quoted from footnote in previous volumes of Title 4 of the United States Code law books and is a source for claims that such a flag is a military ensign not civilian. However, according to the Army Institute of Heraldry, which has official custody of the flag designs and makes any change ordered, there are no implications of symbolism in the use of fringe.
Flag etiquette
Main article: United States Flag Code
The United States Flag Code outlines certain guidelines for the use, display, and disposal of the flag. For example, the flag should never be dipped to any person or thing, unless it is the ensign responding to a salute from a ship of a foreign nation. (This tradition comes from the 1908 Summer Olympics in London, where countries were asked to dip their flag to King Edward VII: the American team captain Martin Sheridan refused, famously proclaiming that "this flag dips to no earthly king."[13]). The flag should never be allowed to touch the ground and, if flown at night, must be illuminated. If the edges become tattered through wear, the flag should be repaired or replaced. When a flag is so tattered that can no longer serve as a symbol of the United States, it should be destroyed in a dignified manner, preferably by burning. The American Legion and other organizations regularly conduct dignified flag-burning ceremonies, often on Flag Day, June 14. It is a common myth that if a flag touches the ground or a flag that is soiled must be burned as well. While a flag that is currently touching the ground and a soiled flag are unfit for display, neither situation is permanent and thus the flag does not need to be burned if the unfit situation is remedied. [14]
Although US Flag Code states that "The flag should not be used as part of a costume or athletic uniform, except that a flag patch may be used on the uniform of military personnel, firefighters, police officers, and members of patriotic organizations", many athletic teams have worn the flag as a part of their uniform. Notably, Major League Baseball placed the flag on the back of all uniforms following the 9/11 attacks, and the US team in the 2006 World Baseball Classic wore a flag patch on their left sleeve. For Independence Day and 9/11 2008, with the exception of the Toronto Blue Jays, All MLB teams will wear navy-blue versions of their hats, with an American flag imposed inside their own logo.
Although the Flag Code is U.S. Federal law, there is no penalty for failure to comply with the Flag Code and it is not widely enforced—indeed, punitive enforcement would conflict with the First Amendment right to freedom of speech. Passage of the proposed Flag Desecration Amendment would overrule legal precedent that has been established in this area.
Folding the flag
Though not part of the official Flag Code, according to military custom flags should be folded into a triangular shape when not in use. (The Philippines, a former American territory, also has this custom for folding its flag.) To properly fold the flag:
1. Begin by holding it waist-high with another person so that its surface is parallel to the ground.
2. Fold the lower half of the stripe section lengthwise over the field of stars, holding the bottom and top edges securely.
3. Fold the flag again lengthwise with the blue field on the outside.
4. Make a rectangular fold then a triangular fold by bringing the striped corner of the folded edge to meet the open top edge of the flag. Starting the fold from the left side over to the right
5. Turn the outer end point inward, parallel to the open edge, to form a second triangle.
6. The triangular folding is continued until the entire length of the flag is folded in this manner (usually thirteen triangular folds, as shown at right). On the final fold, any remnant that does not neatly fold into a triangle (or in the case of exactly even folds, the last triangle) is tucked into the previous fold.
7. When the flag is completely folded, only a triangular blue field of stars should be visible.
Display
The flag is customarily flown year-round at most public buildings, and it is not unusual to find private houses flying full-size flags. Some private use is year-round, but becomes widespread on civic holidays like Memorial Day, Veterans Day, Presidents' Day, Flag Day, and on Independence Day. On Memorial Day it is common to place small flags by war memorials and next to the graves of U.S. war veterans.
Places of continuous display
By presidential proclamation, acts of Congress, and custom, American flags are displayed continuously at certain locations.
* Replicas of the Star Spangled Banner Flag (15 stars, 15 stripes) are flown at two sites in Baltimore, Maryland: Fort McHenry National Monument and Historic Shrine (Presidential Proclamation No. 2795, July 2, 1948) and Flag House Square (Public Law 83-319, approved March 26, 1954).
* United States Marine Corps War Memorial (Raising the Flag on Iwo Jima), Arlington, Virginia (Presidential Proclamation No. 3418, June 12, 1961).
* Lexington, Massachusetts Town Green (Public Law 89-335, approved November 8, 1965).
* The White House, Washington, DC (Presidential Proclamation No. 4000, September 4, 1970).
* Fifty U.S. Flags are displayed continuously at the Washington Monument, Washington, DC. (Presidential Proclamation No. 4064, July 6, 1971, effective July 4, 1971).
* By order of Richard Nixon at United States Customs Service Ports of Entry that are continuously open (Presidential Proclamation No. 4131, May 5, 1972).
* By Congressional decree, a Civil War era flag (for the year 1863) flies above Pennsylvania Hall (Old Dorm) at Gettysburg College. This building, occupied by both sides at various points of the Battle of Gettysburg, served as a lookout and battlefield hospital.
* Grounds of the National Memorial Arch in Valley Forge NHP, Valley Forge, Pennsylvania (Public Law 94-53, approved July 4, 1975).
* Mount Slover limestone quarry (Colton Liberty Flag), in Colton, California (Act of Congress). First raised July 4, 1917.[15]
* Washington Camp Ground, part of the former Middlebrook encampment, Bridgewater, New Jersey, Thirteen Star Flag, by Act of Congress.
* By custom, at the Maryland home, birthplace, and grave of Francis Scott Key; at the Worcester, Massachusetts war memorial; at the plaza in Taos, New Mexico (since 1861); at the United States Capitol (since 1918); and at Mount Moriah Cemetery in Deadwood, South Dakota.
* On the south pole, in the center of the Antarctic, an American flag is posted separate from the cluster of worldwide flags.
* In addition, the American flag is on continuous display on the surface of the Moon, having been placed there by the astronauts of Apollo 11, Apollo 12, Apollo 14, Apollo 15, Apollo 16, and Apollo 17. It is possible that Apollo 11's flag was knocked down by the exhaust force of liftoff for return to lunar orbit.
Particular days of display
The flag should especially be displayed at full staff on the following days:
* January 1 - New Year's Day
* January 20 - Inauguration Day
* February 12 - Lincoln's Birthday
* Third Monday in February - Presidents' Day, originally Washington's birthday
* Third Saturday in May - Armed Forces Day
* Last Monday in May - Memorial Day (half-staff until noon)
* June 14 - Flag Day
* July 4 - Independence Day
* First Monday in September - Labor Day
* September 11 - Patriot Day
* September 17 - Constitution Day
* Second Monday in October - Columbus Day
* October 27 - Navy Day
* November 11 - Veterans Day
* Fourth Thursday in November - Thanksgiving Day
* and such other days as may be proclaimed by the President of the United States; the birthdays of States (date of admission); and on State holidays.
When Displaying the flag at half staff
The US Flag is displayed at half staff as a sign of respect or mourning. Nationwide, this action is proclaimed by the president of the United States; state-wide or territory-wide, the proclamation is made by the governor. In addition, there is no prohibition against municipal governments, private businesses or citizens flying the flag at half staff as a local sign of respect and mourning. President Dwight D. Eisenhower issued the first proclamation on March 1, 1954 standardizing the dates and time periods for flying the flag at half staff from all federal buildings, grounds, and naval vessels; other congressional resolutions and presidential proclamations ensued. However, they are only guidelines to all other entities: typically followed at state and local government facilities, and encouraged of private businesses and citizens. It is worthy of note that the rules regarding the display of the flag are the "Flag Code", not the Flag Law or Flag Act: there are no legal penalties for flying the flag at half staff (or upside down) improperly.
To properly fly the US flag at half staff, the protocol is to first hoist it briskly to full staff, then reverently (slowly) lower it to half-staff. Similarly, when the flag is to be lowered from half staff, it should be first hoisted briskly to full staff, then lowered reverently to the base of the flagpole.
Federal guidelines state the flag should be flown at half staff at the following dates/times:
* May 15 - Peace Officers Memorial Day
* Last Monday in May - Memorial Day (until noon)
* July 27 - Korean War Veterans Day
* September 11 - Patriot Day[16]
* December 7 - Pearl Harbor Remembrance Day
* For 30 days - Death of a US President or former President
* For 10 days - Death of a US Vice President, Supreme Court Chief Justice/retired Chief Justice, or Speaker of the House of Representatives.
* From death until the day of interment - US Supreme Court Associate Justice, member of the Cabinet, former Vice President, President pro-tempore of the Senate, or the majority and minority leaders of the Senate and House of Representatives. Also for federal facilities within a state or territory, for the governor.
* On the day after the death - US Senators, Members of Congress, territorial delegates or the resident commissioner of the commonwealth of Puerto Rico
History
See also: Timeline of the Flag of the United States
The flag has been changed 26 times since the new, 13-state union adopted it. The 48-star version went unchanged for 47 years, the longest time the flag went unmodified until July 4, 2007, when the current 50-star flag broke the record.
First flag
At the time of the signing of the Declaration of Independence, July 4, 1776, the United States had no official national flag. The Grand Union Flag has historically been referred to as the "First National Flag"; although it has never had any official status, it was used throughout the American Revolutionary War by George Washington and formed the basis for the design of the first official US flag.
This flag is properly considered the de facto first naval ensign of the United States. It was first raised aboard Continental Navy Commodore Esek Hopkins' flagship Alfred on the Delaware River on December 3, 1775,[17] possibly (according to his claim) by the ship's senior lieutenant John Paul Jones.
The origins of the design are unclear. It closely resembles the British East India Company (BEIC) flag of the same era, and an argument dating to Sir Charles Fawcett in 1937 holds that the BEIC flag indeed inspired the design.[18] However, the BEIC flag could have from 9 to 13 stripes, and was not allowed to be flown outside the Indian Ocean.[19] Both flags could have been easily constructed by adding white stripes to a British Red Ensign, a common flag throughout Britain and its colonies.
Another theory holds that the red-and-white stripe—and later, stars-and-stripes—motif of the flag may have been based on the Washington family coat-of-arms, which consisted of a shield "argent, two bars gules, above, three mullets gules" (a white shield with two red bars below three red stars).[20]
More likely it was based on a flag of the Sons of Liberty, one of which consisted of 13 red and white alternating horizontal stripes.
See also: Flags of the American Revolution
The Flag Resolution of 1777
On June 14, 1777, the Marine Committee of the Second Continental Congress passed the Flag Resolution which stated: "Resolved, That the flag of the United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new Constellation."[21] Flag Day is now observed on June 14 of each year. A false tradition holds that the new flag was first hoisted in June of 1777 by the Continental Army at the Middlebrook encampment.[22]
The 1777 resolution was probably meant to define a naval ensign, rather than a national flag. It appears between other resolutions from the Marine Committee. On 10 May 1779 Secretary of the Board of War Richard Peters, Jr. expressed concern "it is not yet settled what is the Standard of the United States."[23]
The Flag Resolution did not specify any particular arrangement, number of points, nor orientation for the stars. The pictured flag shows thirteen outwardly-oriented five-pointed stars arranged in a circle, the so-called Betsy Ross flag. Although the Betsy Ross legend is not taken seriously by many historians, the design itself is the oldest version of any U.S. flag to appear on any physical relic[citation needed], since it is historically referenced in contemporary battlefield paintings by John Trumbull and Charles Willson Peale, which depict the circular star arrangement. Popular designs at the time were varied and most were individually crafted rather than mass-produced. Other examples of 13-star arrangements can be found on the Francis Hopkinson flag, the Cowpens flag, and the Brandywine flag. Given the scant archaeological and written evidence, it is unknown which design was the most popular at that time.
The origin of the stars and stripes design cannot be fully documented. A popular story credits Betsy Ross for sewing the first flag from a pencil sketch by George Washington who personally commissioned her for the job. However, no evidence for this theory exists beyond Ross' descendants' much later recollections of what she told her family. Another woman, Rebecca Young, has also been credited as having made the first flag by later generations of her family. Rebecca Young's daughter was Mary Pickersgill, who made the Star Spangled Banner Flag.
It is likely that Francis Hopkinson of New Jersey, a signer of the Declaration of Independence, designed the 1777 flag while he was the Chairman of the Continental Navy Board's Middle Department, sometime between his appointment to that position in November of 1776 and the time that the flag resolution was adopted in June of 1777. This contradicts the Betsy Ross legend, which suggests that she sewed the first Stars and Stripes flag by request of the government in the Spring of 1776.[21][24] Hopkinson was the only person to have made such a claim during his own lifetime, when he sent a bill to Congress for his work. He asked for a "Quarter Cask of the Public Wine" as payment initially. The payment was not made, however, because it was determined he had already received a salary as a member of Congress, and he was not the only person to have contributed to the design. It should be noted that no one else contested his claim at the time.
Later flag acts
In 1795, the number of stars and stripes was increased from 13 to 15 (to reflect the entry of Vermont and Kentucky as states of the union). For a time the flag was not changed when subsequent states were admitted, probably because it was thought that this would cause too much clutter. It was the 15-star, 15-stripe flag that inspired Francis Scott Key to write "The Star-Spangled Banner," now the national anthem.
On April 4, 1818, a plan was passed by Congress at the suggestion of U.S. Naval Captain Samuel C. Reid[25] in which the flag was changed to have 20 stars, with a new star to be added when each new state was admitted, but the number of stripes would remain at thirteen to honor the original colonies. The act specified that new flag designs should become official on the first July 4 (Independence Day) following admission of one or more new states. The most recent change, from 49 stars to 50, occurred in 1960 when the present design was chosen, after Hawaii gained statehood in August 1959. Before that, the admission of Alaska in January 1959 prompted the debut of a short-lived 49-star flag.
As of July 4, 2007, the 50-star flag has become the longest rendition in use.
First salute
The Netherlands was the first country to salute the Grand Union flag, when gun salutes by American ships were returned by officials on Dutch islands in the West Indies in late 1776: on St. Croix in October, and on St. Eustatius in November. (Though later, the better documented St. Eustatius incident involving the USS Andrew Doria is traditionally regarded as the "first salute".) France was the first country to salute the Stars and Stripes, when a fleet off the French mainland returned a gun salute by Captain John Paul Jones commanding USS Ranger on February 14, 1778.
Historical progression of designs
See also: List of U.S. states by date of statehood
In the following table depicting the 28 various designs of the United States flag, the star patterns for the flags are merely the usual patterns, often associated with the United States Navy. Canton designs, prior to the proclamation of the 48-star flag by President William Howard Taft on 29 October 1912, had no official arrangement of the stars. Furthermore, the exact colors of the flag were not standardized until 1934.
Future of the flag
The United States Army Institute of Heraldry has plans for flags with up to 56 stars, using a similar staggered star arrangement should additional states accede. There are political movements supporting statehood in Puerto Rico and the District of Columbia, among other areas.
Non-standard flags
A number of non-standard flags appeared in the early years of American independence. One example is the design approximated here, of a flag traditionally believed to have been carried by the American troops at the Battle of Guilford Court House in 1781. This is disputed by some other historians who think it dates to the nineteenth century. The original flag is at the North Carolina Historical Museum.
Similar flags
The flag of Liberia bears a close resemblance, showing the ex–American-slave origin of the country. The Liberian flag has similar red and white stripes, though only 11 of them, as well as a blue square for the union, but with only a single large white star.
The flag of Malaysia also has a striking resemblance, with red and white stripes (14 total), and a blue canton, but displaying instead of stars a star and crescent emblem. This might be due, however, to the great influence of the British East India Company, rather than the later United States flag
The flag of Hawaii, in use since it was a kingdom in the 19th century, with eight stripes in red, white, and blue, and the British Union Flag in the canton, has some resemblance to the U.S. Grand Union Flag of the 18th century.
The flag of Amazonas was adopted by law No. 1513 of January 14, 1982. The 25 stars in the topleft corner represent the 25 municipalities which existed on August 4, 1897. The bigger star represents the capital Manaus. The two horizontal white bars represent hope, while the red bar in the middle represents the struggles overcome.
The flag of Ohio was adopted in 1902 and designed by John Eisemann. The large blue triangle represent Ohio's hills and valleys, and the stripes represent roads and waterways. 17 stars symbolize that Ohio was the 17th state admitted to the union. The white circle with its red center not only represents the first letter of the state name, but also its nickname "the Buckeye State".
The flag of Georgia was adopted on May 8, 2003. The flag has three red and white stripes, with the state coat of arms (taken from the state seal) on a blue field in the upper left corner. In the coat of arms, the arch symbolizes the state's Constitution and the pillars represent the three branches of government: legislative, executive, and judicial. The words of the state motto, "Wisdom, Justice, Moderation," are wrapped around the pillars, guarded by a male figure dressed in Colonial attire like a soldier of the War of Independence, with a drawn sword representing the defense of the Constitution. An additional motto, In God We Trust, appears under these elements, though it is not part of the state seal nor coat of arms. The flag has thirteen stars, representing Georgia and the 12 other original states that formed the United States of America.
The flag of Piaui was created on 24 July 1922. The blue canton and a star represents the state itself and the green and yellow bars represent Piauí's union with Brazil. It is similar to an old flag of Brazil used for four days after the republican coup that established the United States of Brazil in November 1889.
The flags of Chile and of Texas have similar simplified designs, each with a single red and white stripe, and a "lone star" in the canton.
Today's Chile flag was conceived by Bernardo O'Higgins's Minister of War José Ignacio Zenteno and designed by Antonio Arcos, although some claim that is was Gregorio de Andía y Varela who drew it.
Though more dissimilar in appearance, the flag of Cuba was also inspired by the flag of the United States. Its origins date from 1849, when Cuban liberation movements emerged among Cuban exiles in the U.S.[28]
Another flag design tied to that of the U.S. flag is the flag of Puerto Rico. There are specific shades of red and blue for the construction of the flag, however there might be slight variations depending on the flag-flyer's political beliefs. The pro-independence groups use sky blue, while the pro-statehood groups use a darker shade of blue more similar to that of the U.S. flag. The official version uses an intermediate shade, so as not to take sides.
The green bars in the flag of Goiás symbolize the spring and the yellow bars gold. The blue rectangle in the topleft corner symbolizes the sky, with the five stars forming the constellation of the Southern Cross. The flag was adopted on July 30, 1919. It is a toned down version of the original Republican flag of Brazil, in itself not original.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
The Thar Desert, also known as the Great Indian Desert or Marusthali (Land of the dead), is a large, arid region in the northwestern part of the Indian subcontinent that forms a natural boundary between India and Pakistan. It is the world's 9th largest subtropical desert. This desert spreads over about 2,340,000 km2, with 85% in India and the remaining part in Pakistan. It covers more than 2,000,000 km2 in Rajasthan and extends into Gujarat, Punjab, and Haryana.
GEOGRAPHY
The Thar Desert extends between the Aravalli Hills in the north-east, the Great Rann of Kutch along the coast and the alluvial plains of the Indus River in the west and north-west. Most of the desert is covered by huge shifting sand dunes that receive sediments from the alluvial plains and the coast. The sand is highly mobile due to strong winds occurring before the onset of the monsoon. The Luni River is the only river integrated into the desert. Rainfall is limited to 100–500 mm per year, mostly falling from July to September.
Salt water lakes in the Thar Desert include the Sambhar, Kuchaman, Didwana in Rajasthan and Kharaghoda in Gujarat. These lakes receive rain water during monsoon and evaporate during the dry season. The salt is derived by the weathering of rocks in the region.
DESERTIFICATION CONTROL
The soil of the Thar Desert remains dry for much of the year and is prone to wind erosion. High velocity winds blow soil from the desert, depositing some on neighboring fertile lands, and causing shifting sand dunes within the desert. Sand dunes are stabilised by erecting micro-windbreak barriers with scrub material and subsequent afforestation of the treated dunes with seedlings of shrubs such as phog, senna, castor oil plant and trees such as gum acacia, Prosopis juliflora and lebbek tree. The 649 km long Indira Gandhi Canal brings fresh water to the Thar Desert. It was conceived to halt spreading of the desert to fertile areas.
There are few local tree species suitable for planting in the desert, which are slow growing. Therefore, exotic tree species were introduced for plantation. Many species of Eucalyptus, Acacia, Cassia and other genera from Israel, Australia, US, Russia, Zimbabwe, Chile, Peru and Sudan have been tried in Thar Desert. Acacia tortilis has proved to be the most promising species for desert afforestation and the jojoba is another promising species of economic value found suitable for planting in these areas.
PROTECTED AREAS
There are several protected areas in the Thar Desert:
in Pakistan:
the Nara Desert Wildlife Sanctuary covers 6,300 km2;
the Rann of Kutch Wildlife Sanctuary.
in India:
the Desert National Park covers 3,162 km2 and represents the Thar Desert ecosystem, it includes 44 villages. Its diverse fauna includes the great Indian bustard (Chirotis nigricaps), blackbuck, chinkara, fox, Bengal fox, wolf, and caracal. Seashells and massive fossilized tree trunks in this park record the geological history of the desert;
the Tal Chhapar Sanctuary covers 7 km2 and is an Important Bird Area. It is located in the Churu District, 210 km from Jaipur, in the Shekhawati region. This sanctuary is home to a large population of blackbuck, fox and caracal such as partridge and sand grouse;
Jalore Wildlife Sanctuary is a privately owned sanctuary 130 km from Jodhpur, where Asiatic wildcat, leopard, jirds, desert fox and herds of Indian gazelle live.
BIODIVERSITY
FAUNA
Stretches of sand in the desert are interspersed by hillocks and sandy and gravel plains. Due to the diversified habitat and ecosystem, the vegetation, human culture and animal life in this arid region is very rich in contrast to the other deserts of the world. About 23 species of lizard and 25 species of snakes are found here and several of them are endemic to the region.
Some wildlife species, which are fast vanishing in other parts of India, are found in the desert in large numbers such as the blackbuck (Antilope cervicapra), chinkara (Gazella bennettii) and Indian wild ass (Equus hemionus khur) in the Rann of Kutch. They have evolved excellent survival strategies, their size is smaller than other similar animals living in different conditions, and they are mainly nocturnal. There are certain other factors responsible for the survival of these animals in the desert. Due to the lack of water in this region, transformation of the grasslands into cropland has been very slow. The protection provided to them by a local community, the Bishnois, is also a factor. Other mammals of the Thar Desert include a subspecies of red fox (Vulpes vulpes pusilla) and the caracal.
The region is a haven for 141 species of migratory and resident birds of the desert. One can see eagles, harriers, falcons, buzzards, kestrel and vultures. There are short-toed eagles (Circaetus gallicus), tawny eagles (Aquila rapax), greater spotted eagles (Aquila clanga), laggar falcons (Falco jugger) and kestrels. There are also a number of reptiles.
The Indian peafowl is a resident breeder in the Thar region. The peacock is designated as the national bird of India and the provincial bird of the Punjab (Pakistan). It can be seen sitting on khejri or pipal trees in villages or Deblina.
VEGETATION
The natural vegetation of this dry area is classed as Northwestern thorn scrub forest occurring in small clumps scattered more or less openly. Density and size of patches increase from west to east following the increase in rainfall. The natural vegetation of the Thar Desert is composed of the following tree, shrub and herb species:
trees and shrubs: Acacia jacquemontii, Balanites roxburghii, Ziziphus zizyphus, Ziziphus nummularia, Calotropis procera, Suaeda fruticosa, Crotalaria burhia, Aerva javanica, Clerodendrum multiflorum, Leptadenia pyrotechnica, Lycium barbarum, Grewia tenax, Commiphora mukul, Euphorbia neriifolia, Cordia sinensis, Maytenus emarginata, Capparis decidua, Mimosa hamata
herbs and grasses: Ochthochloa compressa, Dactyloctenium scindicum, Cenchrus biflorus, Cenchrus setigerus, Lasiurus scindicus, Cynodon dactylon, Panicum turgidum, Panicum antidotale, Dichanthium annulatum, Sporobolus marginatus, Saccharum spontaneum, Cenchrus ciliaris, Desmostachya bipinnata, Eragrostis species, Ergamopagan species, Phragmites species, Tribulus terrestris, Typha species, Sorghum halepense, Citrullus colocynthis
The endemic floral species include Calligonum polygonoides, Prosopis cineraria, Acacia nilotica, Tamarix aphylla, Cenchrus biflorus.
PEOPLE
The Thar Desert is the most densely populated desert in the world, with a population density of 83 people per km2. In India, the inhabitants comprise Hindus, Muslims, and Sikhs. In Pakistan, inhabitants include Sindhis and Kolhis.
About 40% of the total population of Rajasthan live in the Thar Desert. The main occupation of the people is agriculture and animal husbandry. A colourful culture rich in tradition prevails in this desert. The people have a great passion for folk music and folk poetry.
Jodhpur, the largest city in the region, lies in the scrub forest zone. Bikaner and Jaisalmer are located in the desert proper. A large irrigation and power project has reclaimed areas of the northern and western desert for agriculture. The small population is mostly pastoral, and hide and wool industries are prominent.
The desert's part in Pakistan also has a rich multifaceted culture, heritage, traditions, folk tales, dances and music due to its inhabitants who belong to different religions, sects and castes.
THAR IN ANCIENT LITERATURE
The Indian epics describe this region as Lavanasagara (Salt-ocean). The Ramayana mentions Lavanasagara (the Salt-ocean) when Rama goes to attack Lanka with the army of vanaras. Rama uses his agneyashtra-amogha to dry up the sea named drumakulya situated on north of Lavanasagara. A fresh water source named Pushkar surrounded by Marukantara was created.
According to Jain cosmology, Jambūdvīpa is at the centre of Madhyaloka, or the middle part of the universe, where the humans reside. Jambūdvīpaprajñapti or the treatise on the island of roseapple tree contains a description of Jambūdvīpa and life biographies of Ṛṣabha and King Bharata. Jambūdvīpa continent is surrounded by ocean Lavanoda (Salt-ocean).
The Sarasvati River is one of the chief Rigvedic rivers mentioned in ancient Hindu texts. The Nadistuti hymn in the Rigveda (10.75) mentions the Sarasvati between the Yamuna in the east and the Sutlej in the west, and later Vedic texts like Tandya and Jaiminiya Brahmanas as well as the Mahabharata mention that the Sarasvati dried up in a desert.
Most scholars agree that at least some of the references to the Sarasvati in the Rigveda refer to the Ghaggar-Hakra River, while the Helmand River is often quoted as the locus of the early Rigvedic river. Whether such a transfer of the name has taken place, either from the Helmand to the Ghaggar-Hakra, or conversely from the Ghaggar-Hakra to the Helmand, is a matter of dispute.
There is also a small present-day Sarasvati River (Sarsuti) that joins the Ghaggar.
The Mahabharata mentions the Kamyaka Forest situated on the western boundary of the Kuru Kingdom (Kuru Proper + Kurujangala), on the banks of the Saraswati River.[clarification needed] It lay to the west of the Kurukshetra plain. It contained within it a lake called the Kamyaka lake (2,51). Kamyaka forest is mentioned as being situated at the head of the Thar desert, near the lake Trinavindu (3,256). The Pandavas, on their way to exile in the woods, left Pramanakoti on the banks of the Ganges and went towards Kurukshetra, travelling in a western direction, crossing the rivers Yamuna and Drishadvati. They finally reached the banks of the Saraswati River.[clarification needed] There they saw the forest of Kamyaka, the favourite haunt of ascetics, situated on a level and wild plain on the banks of the Saraswati (3-5,36) abounding in birds and deer (3,5). There the Pandavas lived in an ascetic asylum (3,10). It took 3 days for Pandavas to reach the Kamyaka forest, setting out from Hastinapura, on their chariots (3,11).
In the Rigveda we also find mention of a River named Aśvanvatī along with river Drishadvati. Some scholars consider both Saraswati and Aśvanvatī the same river.
The human habitations on the banks of rivers Saraswati and Drishadvati had shifted to the east and south directions prior to Mahabharata period. During those days The present day Bikaner and Jodhpur areas were known as Kurujangala and Madrajangala provinces.
The Desert National Park, Jaisalmer has a collection of fossils of animals and plants of 180 million years old.
DESERT ECONOMY
AGRICULTURE
The Thar is one of most heavily populated desert areas in the world and the main occupations of people living here are agriculture and animal husbandry. Agriculture is not a dependable proposition in this area - after the rainy season, at least 33% of crops fail. Animal husbandry, trees and grasses, intercropped with vegetables or fruit trees, is the most viable model for arid, drought-prone regions. The region faces frequent droughts. Overgrazing due to high animal populations, wind and water erosion, mining and other industries result in serious land degradation.
The agricultural production is mainly from the Kharif crops. The Kharif crops are the crops that are grown in the summer season and are seeded in the months of June and July. These crops are harvested in the months of September and October and include bajra, pulses such as guar, jowar (Sorghum vulgare), maize (zea mays), sesame and groundnuts. In past few decades the development of canals, tube wells etc. has changed crop pattern. Now the desert districts in Rajasthan have started producing rabi crops like wheat, mustard, cumin seed etc.The people have started to grow cash crops too.
Thar region of Rajasthan is the main opium producer and consumer area. There are mainly two crop seasons. The water for irrigation comes from wells and tanks from underlying water sources deep below the surface. The Indira Gandhi Canal irrigates northwestern Rajasthan. The Government of India has started a centrally sponsored scheme under the title of Desert Development Programme based on watershed management with the objective to check spreading of desert and improve the living condition of people in desert.
LIVESTOCK
n the last 15–20 years, the Rajasthan desert has seen many changes, including a manifold increase of both the human and animal population. Animal husbandry has become popular due to the difficult farming conditions. At present, there are ten times more animals per person in Rajasthan than the national average, and overgrazing is also a factor affecting climatic and drought conditions.
A large number of farmers in Thar desert depend on animal husbandry for their livelihood. Cows, buffalos, sheep, goats, camels, and oxen consists of major cattle population. Barmer district has the highest cattle population out of which sheep and goats are in majority. Some of the best breeds of bullocks such as Kankrej (Sanchori) and Nagauri are from desert region.
Thar region of Rajasthan is the biggest wool-producing area in India. Chokla, Marwari, Jaisalmeri, Magra, Malpuri, Sonadi, Nali and Pungal breeds of sheep are found in the region. Of the total wool production in India, 40-50% comes from Rajasthan. The sheep-wool from Rajasthan is considered best for carpet making industry in the world. The wool of Chokla breed of sheep is considered of superior quality. The breeding centres have been developed for Karakul and Merino sheep at Suratgarh, Jaitsar and Bikaner. Some important mills for making Woolen thread established in desert area are: Jodhpur Woolen Mill, Jodhpur; Rajasthan Woolen Mill, Bikaner and India Woolen Mill, Bikaner. Bikaner is the biggest mandi (market place) of wool in Asia.
The live stock depends for grazing on common lands in villages. During famine years in the desert the nomadic rebari people move with large herds of sheep and camel to the forested areas of south Rajasthan or nearby states like Madhya Pradesh for grazing the cattle.
The importance of animal husbandry can be understood from the organization of large number of cattle fairs in the region. Cattle fairs are normally named after the folk-deities. Some of major cattle fairs held are Ramdevji cattle fair at Manasar in Nagaur district, Tejaji cattle fair at Parbatsar in Nagaur district, Baldeo cattle fair at Merta city in Nagaur district, Mallinath cattle fair at Tilwara in barmer district. Live stock is very important to the Thar desert people.
AGROFORESTRY
Forestry has an important part to play in the amelioration of the conditions in semi-arid and arid lands. If properly planned, forestry can make an important contribution to the general welfare of the people living in desert areas. The living standard of the people in the desert is low. They can not afford other fuels like gas, kerosene etc. Fire wood is their main fuel, of the total consumption of wood about 75 percent is firewood. The forest cover in desert is low. Rajasthan has a forest area of 31150 km2. which is about 9% of the geographical area. The forest area is mainly in southern districts of Rajasthan like Udaipur and Chittorgarh. The minimum forest area is in Churu district only 80 km2. Thus the forest is insufficient to fulfill the needs of firewood and grazing in desert districts. This diverts the much needed cattledung from the field to the hearth. This in turn results into the decrease in agricultural production. Agroforestry model is best suited to the people of desert. Some Institutes have done good work in Agroforestry.
The scientists of Central Arid Zone Research Institute (CAZRI), have successfully developed and improved dozens of traditional and non-traditional crops/fruits, such as Ber trees (like plums) that produce much larger fruits than before (lemon-size) and can thrive with minimal rainfall. These trees have become a profitable option for farmers. One example from a case study of horticulture showed that in situation of budding in 35 plants of Ber and Guar (Gola, Seb & Mundia variety developed in CAZRI), using only one hectare of land, yielded 10,000 kg. of Ber and 250 kg. of Guar, which translates into double or even triple profit.
Arid Forest Research Institute, (AFRI) situated at Jodhpur is another national level institute in the region. It is one of the institutes of the Indian Council of Forestry Research and Education ( ICFRE ) working under the Ministry of Environment & Forests, Govt. of India. The Objective of the Institute is to carry out scientific research in forestry in order to provide technologies to increase the vegetative cover and to conserve the biodiversity in the hot arid and semi arid region of Rajasthan, Gujarat and Dadara & Nagar Haveli union territory.
The most important tree species in terms of providing a livelihood in Thar desert communities is Prosopis cineraria.
Prosopis cineraria provides wood of construction class. It is used for house-building, chiefly as rafters, posts scantlings, doors and windows, and for well construction water pipes, upright posts of Persian wheels, agricultural implements and shafts, spokes, fellows and yoke of carts. It can also be used for small turning work and tool-handles. Container manufacturing is another important wood-based industry, which depends heavily on desert-grown trees.
Prosopis cineraria is much valued as a fodder tree. The trees are heavily lopped particularly during winter months when no other green fodder is available in the dry tracts. There is a popular saying that death will not visit a man, even at the time of a famine, if he has a Prosopis cineraria, a goat and a camel, since the three together are some what said to sustain a man even under the most trying condition. The forage yield per tree varies a great deal. On an average, the yield of green forage from a full grown tree is expected to be about 60 kg with complete lopping having only the central leading shoot, 30 kg when the lower two third crown is lopped and 20 kg when the lower one third crown is lopped. The leaves are of high nutritive value. Feeding of the leaves during winter when no other green fodder is generally available in rain-fed areas is thus profitable. The pods have a sweetish pulp and are also used as fodder for livestock.
Prosopis cineraria is most important top feed species providing nutritious and highly palatable green as well as dry fodder, which is readily eaten by camels, cattle, sheep and goats, constituting a major feed requirement of desert livestock. Locally it is called Loong. Pods are locally called sangar or sangri. The dried pods locally called Kho-Kha are eaten. Dried pods also form rich animal feed, which is liked by all livestock. Green pods also form rich animal feed, which is liked by drying the young boiled pods. They are also used as famine food and known even to prehistoric man. Even the bark, having an astringent bitter taste, was reportedly eaten during the severe famine of 1899 and 1939. Pod yield is nearly 1.4 quintals of pods/ha with a variation of 10.7% in dry locations.
Prosopis cineraria wood is reported to contain high calorific value and provide high quality fuel wood. The lopped branches are good as fencing material. Its roots also encourage nitrogen fixation, which produces higher crop yields.
Tecomella undulata is one more tree species, locally known as Rohida, which is found in Thar Desert regions of northwest and western India. It is another important medium sized tree of great use in Agroforestry, that produces quality timber and is the main source of timber amongst the indigenous tree species of desert regions. The trade name of the tree species is Desert teak or Marwar teak.
Tecomella undulata is mainly used as a source of timber. Its wood is strong, tough and durable. It takes a fine finish. Heartwood contains quinoid. The wood is excellent for firewood and charcoal. Cattle and goats eat leaves of the tree. Camels, goats and sheep consume flowers and pods.
Tecomella undulata plays an important role in the ecology. It acts as a soil-binding tree by spreading a network of lateral roots on the top surface of the soil. It also acts as a windbreak and helps in stabilizing shifting sand dunes. It is considered as the home of birds and provides shelter for other desert wildlife. Shade of tree crown is shelter for the cattle, goats and sheep during summer days.
Tecomella undulata has medicinal properties as well. The bark obtained from the stem is used as a remedy for syphilis. It is also used in curing urinary disorders, enlargement of spleen, gonorrhoea, leucoderma and liver diseases. Seeds are used against abscess.
ECOTOURISM
Desert safaris on camels have become increasingly popular around Jaisalmer. Domestic and international tourists frequent the desert seeking adventure on camels for anything from a day to several days. This ecotourism industry ranges from cheaper backpacker treks to plush Arabian night style campsites replete with banquets and cultural performances. During the treks tourists are able to view the fragile and beautiful ecosystem of the Thar desert. This form of tourism provides income to many operators and camel owners in Jaisalmer as well as employment for many camel trekers in the desert villages nearby. But also people from various parts of the world come here to see pushkar mela and oasis.
INDUSTRY
Rajasthan is pre-eminent in quarrying and mining in India. The Taj Mahal was built with white marble mined from Makrana in Nagaur district. The state is the second largest source of cement in India. It has rich salt deposits at Sambhar. Jodhpur sandstone is mostly used in monuments, important buildings, residential buildings, and such. This stone is termed "chittar patthar". Jodhpur has also got mines of red stone locally known as ghatu patthar used in construction. Sandstone is found in Jodhpur and Naguar districts. Jalore is biggest centre of granite processing units.
Lignite coal deposits are there at places Giral, Kapuradi, Jalipa, Bhadka in Barmer district; Plana, Gudha, Bithnok, Barsinghpur, Mandla Charan, Raneri Hadla in Bikaner district and Kasnau, Merta, Lunsar etc., in Nagaur district. Lignite based Thermal power plant has been established at Giral in Barmer district. Jindal group is working on 1080 Megawatt power project in private sector at village Bhadaresh in Barmer district. "Neweli Lignite Barsinghpur Project" is in progress to establish two thermal power units of capacity 125 megawatts each at Barsinghpur in Bikaner district. Reliance Energy is working on establishing power generation through underground gasification technique in Barmer district with an outlay of about 30 billion rupees.
There is large storage of good quality petroleum in Jaisalmer and Barmer districts. The main places with deposits of petroleum are Baghewal, Kalrewal, and Tawariwal in Jaisalmer district and Gudha Malani area in Barmer district. Barmer district has started petroleum production on commercial scale.
Barmer district is in the news due to its large oil basin. The British exploration company Cairn Energy started production of oil on a large scale. Mangala, Bhagyam and Aishwariya are the major oil fields in the district. This is India's biggest oil discovery in 22 years. This promises to transform the local economy, which has long suffered from the harshness of the desert.
The Government of India initiated departmental exploration for oil in 1955-56 in the Jaisalmer area, Oil India Limited's discovered natural gas in 1988 in the Jaisalmer basin. Also known for their fine leather messenger bags made from wild camels native to the area.
The Thar desert seems an ideal place for generation of electricity from wind power. According to an estimate Rajasthan state has got a potential of 5500 Megawatt wind power generation as such it is in the priority of the state govt. Rajasthan State Power Corporation has established its first wind power based power plant at Amarsagar in Jaisalmer district. Some leading companies in the field are working on establishing wind mills in Barmer, Jaisalmer and Bikaner districts. Solar energy also has a great potential in this region as most of the days during a year are cloud free. Solar energy based plant has been established at Bhaleri in Churu district to convert hard water into drinking water.
SALT WATER LAKES
There are a number of salt water lakes in Thar desert. These are Sambhar, Pachpadra, Tal Chhapar, Falaudi and Lunkaransar where Sodium chloride salt is produced from salt water. The Didwana lake produces Sodium Sulphate salt. Ancient Archaeological evidences of habitations have been recovered from Sambhar and Didwana lakes which shows their antiquity and historical importance.
WATER & HOUSING IN THE DESERT
Water scarcity plays an important role in shaping life in all parts of Thar. Natural (tobas) or man-made (johads), both types of small, intermittent ponds, are often the only source of water for animals and humans in the true desert areas. The lack of a constant water supply causes much of the local population to live as nomads. Most human settlements are found near the two seasonal streams of the Karon-Jhar hills. Potable groundwater is also rare in the Thar desert. Supplies are often sour due to dissolved minerals, and are only available deep underground. Wells that successfully bear sweet water attract nearby settlement, but are difficult to dig, possibly claiming the lives of the well-diggers.
According to 1980 housing census in Pakistan, there were 241,326 housing units of one or two very small rooms. The degree of crowding was six persons per housing unit and three persons per room. For most of the housing units (approximately 76 per cent), the main construction material of outer walls is unbaked bricks whereas wood is used in 10 per cent and baked bricks or stones with mud bonding in 8 per cent housing units. A large number of families still live in jhugis or huts which are housing units formed with straws and thin wood-sticks. The wind storm proves these jhugis unsustainable all the times. But the poverty leaves no other option to these jhugiwalas (people living in jhugis).
The river Luni is the only natural water source that drains inside a lake in the desert. It originates in the Pushkar valley of the Aravalli Range, near Ajmer and ends in the marshy lands of Rann of Kutch in Gujarat, after travelling a distance of 530 km. The Luni flows through part of Ajmer, Barmer, Jalor, Jodhpur, Nagaur, Pali, and Sirohi districts and Mithavirana Vav Radhanpur region of Banaskantha North Gujarat. Its major tributaries are the Sukri, Mithri, Bandi, Khari, Jawai, Guhiya and Sagi from the left, and the Jojari River from the right.
The Ghaggar is another intermittent river in India, flowing during the monsoon rains. It originates in the Shivalik Hills of Himachal Pradesh and flows through Punjab and Haryana to Rajasthan; just southwest of Sirsa, Haryana and by the side of talwara jheel in Rajasthan, this seasonal river feeds two irrigation canals that extend into Rajasthan. It terminates in Hanumangarh district.
The Rajasthan Canal system is the major irrigation scheme of the Thar Desert and is conceived to reclaim it and also to check spreading of the desert to fertile areas. It is world's largest irrigation which is being extended in an attempt to make the desert arable. It runs south-southwest in Punjab and Haryana but mainly in Rajasthan for a total of 650 kilometers and ends near Jaisalmer, in Rajasthan. After the construction of the Indira Gandhi Canal, irrigation facilities were available over an area of 6770 km² in Jaisalmer district and 37 km² in Barmer district. Irrigation had already been provided in an area of 3670 km² in Jaisalmer district. The canal has transformed the barren deserts of this district into rich and lush fields. Crops of mustard, cotton, and wheat now flourish in this semi-arid western region replacing the sand there previously.
Besides providing water for agriculture, the canal will supply drinking water to hundreds of people in far-flung areas. As the second stage of work on the canal progresses rapidly, there is hope that it will enhance the living standards of the people of the state.
DESERT FOR RECREATION
Thar Desert provides the recreational value in terms of desert festivals organized every year. Rajasthan desert festivals are celebrated with great zest and zeal. This festival is held once a year during winters. Dressed in brilliantly hued costumes, the people of the desert dance and sing haunting ballads of valor, romance and tragedy. The fair has snake charmers, puppeteers, acrobats and folk performers. Camels, of course, play a stellar role in this festival, where the rich and colorful folk culture of Rajasthan can be seen.
Camels are an integral part of the desert life and the camel events during the Desert Festival confirm this fact. Special efforts go into dressing the animal for entering the spectacular competition of the best-dressed camel. Other interesting competitions on the fringes are the moustache and turban tying competitions, which not only demonstrate a glorious tradition but also inspire its preservation. Both the turban and the moustache have been centuries old symbols of honor in Rajasthan.
Evenings are meant for the main shows of music and dance. Continuing till late into the night, the number of spectators swells up each night and the grand finale, on the full moon night, takes place by silvery sand dunes.
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. . . the natural make-up of the women is called Thanaka. It is a cream made out of the bark of specific trees. Thanaka cream has been used by Burmese women for over 2000 years. It has a fragrant scent somewhat similar to sandalwood. The creamy paste is applied to the face in attractive designs, the most common form being a circular patch on each cheek, nose, sometimes made stripey with the fingers known as thanaka bè gya, or patterned in the shape of a leaf, often also highlighting the bridge of the nose with it at the same time. It may be applied from head to toe (thanaka chi zoun gaung zoun). Apart from cosmetic beauty, thanaka also gives a cooling sensation and provides protection from sunburn. It is believed to help remove acne and promote smooth skin. It is also an anti-fungal. The active ingredients of thanaka are coumarin and marmesin.
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Yangon (Burmese: ရန်ကုန်, MLCTS rankun mrui, pronounced: [jàɴɡòʊɴ mjo̰]; formerly known as Rangoon, literally: "End of Strife") is the capital of the Yangon Region of Myanmar, also known as Burma. Yangon served as the capital of Myanmar until 2006, when the military government relocated the capital to the purpose-built city of Naypyidaw in central Myanmar. With over 7 million people, Yangon is Myanmar's largest city and is its most important commercial centre.
Yangon boasts the largest number of colonial-era buildings in the region, and has a unique colonial-era urban core that is remarkably intact. The colonial-era commercial core is centred around the Sule Pagoda, which reputed to be over 2,000 years old. The city is also home to the gilded Shwedagon Pagoda — Myanmar's most sacred Buddhist pagoda. The mausoleum of the last Mughal Emperor is located in Yangon, where he had been exiled following the Indian Mutiny of 1857.
Yangon suffers from deeply inadequate infrastructure, especially compared to other major cities in Southeast Asia. Though many historic residential and commercial buildings have been renovated throughout central Yangon, most satellite towns that ring the city continue to be profoundly impoverished and lack basic infrastructure.
ETYMOLOGY
Yangon (ရန်ကုန်) is a combination of the two words yan (ရန်) and koun (ကုန်), which mean "enemies" and "run out of", respectively. It is also translated as "End of Strife". "Rangoon" most likely comes from the British imitation of the pronunciation of "Yangon" in the Arakanese language, which is [rɔ̀ɴɡʊ́ɴ].
HISTORY
EARLY HISTORY
Yangon was founded as Dagon in the early 11th century (c. 1028–1043) by the Mon, who dominated Lower Burma at that time. Dagon was a small fishing village centred about the Shwedagon Pagoda. In 1755, King Alaungpaya conquered Dagon, renamed it "Yangon", and added settlements around Dagon. The British captured Yangon during the First Anglo-Burmese War (1824–26), but returned it to Burmese administration after the war. The city was destroyed by a fire in 1841.
COLONIAL RANGOON
The British seized Yangon and all of Lower Burma in the Second Anglo-Burmese War of 1852, and subsequently transformed Yangon into the commercial and political hub of British Burma. Yangon is also the place where the British sent Bahadur Shah II, the last Mughal emperor, to live after the Indian Rebellion of 1857. Based on the design by army engineer Lt. Alexander Fraser, the British constructed a new city on a grid plan on delta land, bounded to the east by the Pazundaung Creek and to the south and west by the Yangon River. Yangon became the capital of all British-ruled Burma after the British had captured Upper Burma in the Third Anglo-Burmese War of 1885. By the 1890s Yangon's increasing population and commerce gave birth to prosperous residential suburbs to the north of Royal Lake (Kandawgyi) and Inya Lake. The British also established hospitals including Rangoon General Hospital and colleges including Rangoon University.
Colonial Yangon, with its spacious parks and lakes and mix of modern buildings and traditional wooden architecture, was known as "the garden city of the East." By the early 20th century, Yangon had public services and infrastructure on par with London.
Before World War II, about 55% of Yangon's population of 500,000 was Indian or South Asian, and only about a third was Bamar (Burman). Karens, the Chinese, the Anglo-Burmese and others made up the rest.
After World War I, Yangon became the epicentre of Burmese independence movement, with leftist Rangoon University students leading the way. Three nationwide strikes against the British Empire in 1920, 1936 and 1938 all began in Yangon. Yangon was under Japanese occupation (1942–45), and incurred heavy damage during World War II. The city was retaken by the Allies in May 1945.
Yangon became the capital of Union of Burma on 4 January 1948 when the country regained independence from the British Empire.
CONTEMPORARY YANGON
Soon after Burma's independence in 1948, many colonial names of streets and parks were changed to more nationalistic Burmese names. In 1989, the current military junta changed the city's English name to "Yangon", along with many other changes in English transliteration of Burmese names. (The changes have not been accepted by many Burmese who consider the junta unfit to make such changes, nor by many publications, news bureaus including, most notably, the BBC and foreign nations including the United Kingdom and United States.)
Since independence, Yangon has expanded outwards. Successive governments have built satellite towns such as Thaketa, North Okkalapa and South Okkalapa in the 1950s to Hlaingthaya,
Shwepyitha and South Dagon in the 1980s. Today, Greater Yangon encompasses an area covering nearly 600 square kilometres.
During Ne Win's isolationist rule (1962–88), Yangon's infrastructure deteriorated through poor maintenance and did not keep up with its increasing population. In the 1990s, the current military government's more open market policies attracted domestic and foreign investment, bringing a modicum of modernity to the city's infrastructure. Some inner city residents were forcibly relocated to new satellite towns. Many colonial-period buildings were demolished to make way for high-rise hotels, office buildings, and shopping malls, leading the city government to place about 200 notable colonial-period buildings under the Yangon City Heritage List in 1996. Major building programs have resulted in six new bridges and five new highways linking the city to its industrial back country. Still, much of Yangon remains without basic municipal services such as 24-hour electricity and regular garbage collection.
Yangon has become much more indigenous Burmese in its ethnic make-up since independence. After independence, many South Asians and Anglo-Burmese left. Many more South Asians were forced to leave during the 1960s by Ne Win's xenophobic government. Nevertheless, sizable South Asian and Chinese communities still exist in Yangon. The Anglo-Burmese have effectively disappeared, having left the country or intermarried with other Burmese groups.
Yangon was the centre of major anti-government protests in 1974, 1988 and 2007. The 1988 People Power Uprising resulted in the deaths of hundreds, if not thousands of Burmese civilians, many in Yangoon where hundreds of thousands of people flooded into the streets of the then capital city. The Saffron Revolution saw mass shootings and the use of crematoria in Yangoon by the Burmese government to erase evidence of their crimes against monks, unarmed protesters, journalists and students.
The city's streets saw bloodshed each time as protesters were gunned down by the government.
In May 2008, Cyclone Nargis hit Yangon. While the city had few human casualties, three quarters of Yangon's industrial infrastructure was destroyed or damaged, with losses estimated at US$800 million.
In November 2005, the military government designated Naypyidaw, 320 kilometres north of Yangon, as the new administrative capital, and subsequently moved much of the government to the newly developed city. At any rate, Yangon remains the largest city, and the most important commercial centre of Myanmar.
GEOGRAPHY
Yangon is located in Lower Burma (Myanmar) at the convergence of the Yangon and Bago Rivers about 30 km away from the Gulf of Martaban at 16°48' North, 96°09' East (16.8, 96.15). Its standard time zone is UTC/GMT +6:30 hours.
CLIMATE
Yangon has a tropical monsoon climate under the Köppen climate classification system. The city features a lengthy wet season from May through October where a substantial amount of rainfall is received; and a dry season from November through April, where little rainfall is seen. It is primarily due to the heavy rainfall received during the rainy season that Yangon falls under the tropical monsoon climate category. During the course of the year 1961 to 1990s, average temperatures show little variance, with average highs ranging from 29 to 36 °C and average lows ranging from 18 to 25 °C.
CITYSCAPE
Until the mid-1990s, Yangon remained largely constrained to its traditional peninsula setting between the Bago, Yangon and Hlaing rivers. People moved in, but little of the city moved out. Maps from 1944 show little development north of Inya Lake and areas that are now layered in cement and stacked with houses were then virtual backwaters. Since the late 1980s, however, the city began a rapid spread north to where Yangon International airport now stands. But the result is a stretching tail on the city, with the downtown area well removed from its geographic centre. The city's area has steadily increased from 72.52 square kilometres in 1901 to 86.2 square kilometres in 1940 to 208.51 square kilometres in 1974, to 346.13 square kilometres in 1985, and to 598.75 square kilometres in 2008.
ARCHITECTURE
Downtown Yangon is known for its leafy avenues and fin-de-siècle architecture. The former British colonial capital has the highest number of colonial period buildings in south-east Asia. Downtown Yangon is still mainly made up of decaying colonial buildings. The former High Court, the former Secretariat buildings, the former St. Paul's English High School and the Strand Hotel are excellent examples of the bygone era. Most downtown buildings from this era are four-story mix-use (residential and commercial) buildings with 4.3 m ceilings, allowing for the construction of mezzanines. Despite their less-than-perfect conditions, the buildings remain highly sought after and most expensive in the city's property market.
In 1996, the Yangon City Development Committee created a Yangon City Heritage List of old buildings and structures in the city that cannot be modified or torn down without approval. In 2012, the city of Yangon imposed a 50-year moratorium on demolition of buildings older than 50 years. The Yangon Heritage Trust, an NGO started by Thant Myint-U, aims to create heritage areas in Downtown, and attract investors to renovate buildings for commercial use.
A latter day hallmark of Yangon is the eight-story apartment building. (In Yangon parlance, a building with no elevators (lifts) is called an apartment building and one with elevators is called a condominium. Condos which have to invest in a local power generator to ensure 24-hour electricity for the elevators are beyond the reach of most Yangonites.) Found throughout the city in various forms, eight-story apartment buildings provide relatively inexpensive housing for many Yangonites. The apartments are usually eight stories high (including the ground floor) mainly because city regulations, until February 2008, required that all buildings higher than 23 m or eight stories to install lifts. The current code calls for elevators in buildings higher than 19 m or six stories, likely ushering in the era of the six-story apartment building. Although most apartment buildings were built only within the last 20 years, they look much older and rundown due to shoddy construction and lack of proper maintenance.
Unlike other major Asian cities, Yangon does not have any skyscrapers. Aside from a few high-rise hotels and office towers, most high-rise buildings (usually 10 stories and up) are "condos" scattered across prosperous neighbourhoods north of downtown such as Bahan, Dagon, Kamayut and Mayangon. The tallest building in Yangon, Pyay Gardens, is a 25-story condo in the city's north.
Older satellite towns such as Thaketa, North Okkalapa and South Okkalapa are lined mostly with one to two story detached houses with access to the city's electricity grid. Newer satellite towns such as North Dagon and South Dagon are still essentially slums in a grid layout. The satellite towns - old or new - receive little or no municipal services.
ROAD LAYOUT
Downtown Yangon's road layout follows a grid pattern, based on four types of roads:
Broad 49-m wide roads running west to east
Broad 30-m wide roads running south to north
Two narrow 9.1-m wide streets running south to north
Mid-size 15-m wide streets running south to north
The east-west grid of central was laid out by British military engineers Fraser and Montgomerie after the Second Anglo-Burmese War. The city was later developed by the Public Works Department and Bengal Corps of Engineers. The pattern of south to north roads is as follows: one broad 30 m wide broad road, two narrow streets, one mid-size street, two more narrow streets, and then another 30 m wide broad road. This order is repeated from west to east. The narrow streets are numbered; the medium and broad roads are named.
For example, the 30 m Lanmadaw Road is followed by 9.1 m-wide 17th and 18th streets then the medium 15 m Sint-Oh-Dan Road, the 30-foot 19th and 20th streets, followed by another 30 m wide Latha Road, followed again by the two numbered small roads 21st and 22nd streets, and so on.
The roads running parallel west to east were the Strand Road, Merchant Road, Maha Bandula (née Dalhousie) Road, Anawrahta (Fraser) Road, and Bogyoke Aung San (Montgomerie) Road.
PARKS AND GARDENS
The largest and best maintained parks in Yangon are located around Shwedagon Pagoda. To the south-east of the gilded stupa is the most popular recreational area in the city – Kandawgyi Lake. The 61-ha lake is surrounded by the 45-ha Kandawgyi Nature Park, and the 28-ha Yangon Zoological Gardens, which consists of a zoo, an aquarium and an amusement park. West of the pagoda towards the former Hluttaw (Parliament) complex is the 53-ha People's Square and Park, (the former parading ground on important national days when Yangon was the capital.) A few miles north of the pagoda lies the 15-ha Inya Lake Park – a favorite hangout place of Yangon University students, and a well-known place of romance in Burmese popular culture.
Hlawga National Park and Allied War Memorial at the outskirts of the city are popular day-trip destinations with the well-to-do and tourists.
Yangon Book Plaza, the first and biggest book shop in Myanmar was opened on February 26, 2017 on the fifth floor of Than Zay Market in Lanmadaw Township, Yangon.
ADMINISTRATION
Yangon is administered by the Yangon City Development Committee (YCDC). YCDC also coordinates urban planning. The city is divided into four districts. The districts combined have a total of 33 townships. The current mayor of Yangon is Maung Maung Soe. Each township is administered by a committee of township leaders, who make decisions regarding city beautification and infrastructure. Myo-thit (lit. "New Towns", or satellite towns) are not within such jurisdictions.
TRANSPORT
Yangon is Burma's main domestic and international hub for air, rail, and ground transportation.
AIR
Yangon International Airport, located 19 km from the centre, is the country's main gateway for domestic and international air travel. The airport has three terminals, known as T1, T2 and T3 which is also known as Domestic. It has direct flights to regional cities in Asia – mainly, Doha, Dubai, Dhaka, Kolkata, Hanoi, Ho Chi Minh City, Hong Kong, Tokyo, Beijing, Seoul, Guangzhou, Taipei, Bangkok, Kuala Lumpur, Kunming and Singapore. Although domestic airlines offer service to about twenty domestic locations, most flights are to tourist destinations such as Bagan, Mandalay, Heho and Ngapali, and to the capital Naypyidaw.
RAILWAYS
Yangon Central Railway Station is the main terminus of Myanmar Railways' 5,403-kilometre rail network whose reach covers Upper Myanmar (Naypyidaw, Mandalay, Shwebo), upcountry (Myitkyina), Shan hills (Taunggyi, Lashio) and the Taninthayi coast (Mawlamyaing, Dawei).
Yangon Circular Railway operates a 45.9-kilometre 39-station commuter rail network that connects Yangon's satellite towns. The system is heavily utilized by the local populace, selling about 150,000 tickets daily. The popularity of the commuter line has jumped since the government reduced petrol subsidies in August 2007.
BUSES AND CARS
Yangon has a 4,456-kilometre road network of all types (tar, concrete and dirt) in March 2011. Many of the roads are in poor condition and not wide enough to accommodate an increasing number of cars. The vast majority of Yangon residents cannot afford a car and rely on an extensive network of buses to get around. Over 300 public and private bus lines operate about 6,300 crowded buses around the city, carrying over 4.4 million passengers a day. All buses and 80% of the taxis in Yangon run on compressed natural gas (CNG), following the 2005 government decree to save money on imported petroleum. Highway buses to other cities depart from Dagon Ayeyar Highway Bus Terminal for Irrawaddy delta region and Aung Mingala Highway Bus Terminal for other parts of the country.
Motor transportation in Yangon is highly expensive for most of its citizens. As the government allows only a few thousand cars to be imported each year in a country with over 50 million people, car prices in Yangon (and in Burma) are among the highest in the world. In July 2008, the two most popular cars in Yangon, 1986/87 Nissan Sunny Super Saloon and 1988 Toyota Corolla SE Limited, cost the equivalent of about US$20,000 and US$29,000 respectively. A sports utility vehicle, imported for the equivalent of around US$50,000, goes for US$250,000. Illegally imported unregistered cars are cheaper – typically about half the price of registered cars. Nonetheless, car usage in Yangon is on the rise, a sign of rising incomes for some, and already causes much traffic congestion in highway-less Yangon's streets. In 2011, Yangon had about 300,000 registered motor vehicles in addition to an unknown number of unregistered ones.
Since 1970, cars have been driven on the right side of the road in Burma, as part of a military decree. However, as the government has not required left hand drive (LHD) cars to accompany the right side road rules, many cars on the road are still right hand drive (RHD) made for driving on the left side. Japanese used cars, which make up most of the country's imports, still arrive with RHD and are never converted to LHD. As a result, Burmese drivers have to rely on their passengers when passing other cars.
Within Yangon city limits, it is illegal to drive trishaws, bicycles, and motorcycles. Since February 2010, pickup truck bus lines have been forbidden to run in 6 townships of central Yangon, namely Latha, Lanmadaw, Pabedan, Kyauktada, Botahtaung and Pazundaung Townships. In May 2003, a ban on using car horns was implemented in six townships of Downtown Yangon to reduce noise pollution. In April 2004, the car horn ban was expanded to cover the entire city.
RIVER
Yangon's four main passenger jetties, all located on or near downtown waterfront, mainly serve local ferries across the river to Dala and Thanlyin, and regional ferries to the Irrawaddy delta. The 35-km Twante Canal was the quickest route from Yangon to the Irrawaddy delta until the 1990s when roads between Yangon and the Irrawaddy Division became usable year-round. While passenger ferries to the delta are still used, those to Upper Burma via the Irrawaddy river are now limited mostly to tourist river cruises.
DEMOGRAPHICS
Yangon is the most populous city by far in Burma although estimates of the size of its population vary widely. All population figures are estimates since no official census has been conducted in Burma since 1983. A UN estimate puts the population as 4.35 million in 2010 but a 2009 U.S. State Department estimate puts it at 5.5 million. The U.S. State Department's estimate is probably closer to the real number since the UN number is a straight-line projection, and does not appear to take the expansion of city limits in the past two decades into account. The city's population grew sharply after 1948 as many people (mainly, the indigenous Burmese) from other parts of the country moved into the newly built satellite towns of North Okkalapa, South Okkalapa, and Thaketa in the 1950s and East Dagon, North Dagon and South Dagon in the 1990s. Immigrants have founded their regional associations (such as Mandalay Association, Mawlamyaing Association, etc.) in Yangon for networking purposes. The government's decision to move the nation's administrative capital to Naypyidaw has drained an unknown number of civil servants away from Yangon.
Yangon is the most ethnically diverse city in the country. While Indians formed the slight majority prior to World War II, today, the majority of the population is of indigenous Bamar (Burman) descent. Large communities of Indians/South Asian Burmese and the Chinese Burmese exist especially in the traditional downtown neighborhoods. A large number of Rakhine and Karen also live in the city.
Burmese is the principal language of the city. English is by far the preferred second language of the educated class. In recent years, however, the prospect of overseas job opportunities has enticed
some to study other languages: Mandarin Chinese is most popular, followed by Japanese, and French.
RELIGIONS
The primary religions practiced in Yangon are Buddhism, Christianity, Hinduism, and Islam. Shwedagon Pagoda is a famous religious landmark in the city.
MEDIA
Yangon is the country's hub for the movie, music, advertising, newspaper and book publishing industries. All media is heavily regulated by the military government. Television broadcasting is off limits to the private sector. All media content must first be approved by the government's media censor board, Press Scrutiny and Registration Division.
Most television channels in the country are broadcast from Yangon. TV Myanmar and Myawaddy TV are the two main channels, providing Burmese-language programming in news and entertainment. Other special interest channels are MWD-1 and MWD-2, MRTV-3, the English-language channel that targets overseas audiences via satellite and via Internet, MRTV-4 and Channel 7 are with a focus on non-formal education programs and movies, and Movie 5, a pay-TV channel specializing in broadcasting foreign movies.
Yangon has three radio stations. Myanmar Radio National Service is the national radio service and broadcasts mostly in Burmese (and in English during specific times.) Pop culture oriented Yangon City FM and Mandalay City FM radio stations specialize in Burmese and English pop music, entertainment programs, live celebrity interviews, etc. New radio channels such as Shwe FM and Pyinsawaddy FM can also be tuned with the city area.
Nearly all print media and industries are based out of Yangon. All three national newspapers – two Burmese language dailies Myanma Alin (မြန်မာ့အလင်း) and Kyemon (ကြေးမုံ), and the English language The New Light of Myanmar — are published by the government. Semi-governmental The Myanmar Times weekly, published in Burmese and in English, is mainly geared for Yangon's expatriate community. Over twenty special interest journals and magazines covering sports, fashion, finance, crime, literature (but never politics) vie for the readership of the general populace.
Access to foreign media is extremely difficult. Satellite television in Yangon, and in Burma, is very expensive as the government imposes an annual registration fee of one million kyats. Certain foreign newspapers and periodicals such as the International Herald Tribune and the Straits Times can be found only in a few (mostly downtown) bookstores. Internet access in Yangon, which has the best telecommunication infrastructure in the country, is slow and erratic at best, and the Burmese government implements one of the world's most restrictive regimes of Internet control. International text messaging and voice messaging was permitted only in August 2008.
COMMUNICATION
Common facilities taken for granted elsewhere are luxury prized items in Yangon and Burma. The price of a GSM mobile phone was about K1.1 million in August 2008. In 2007, the country of 55 million had only 775,000 phone lines (including 275,000 mobile phones), and 400,000 computers. Even in Yangon, which has the best infrastructure, the estimated telephone penetration rate was only 6% at the end of 2004, and the official waiting time for a telephone line was 3.6 years. Most people cannot afford a computer and have to use the city's numerous Internet cafes to access a heavily restricted Internet, and a heavily censored local intranet. According to official statistics, in July 2010, the country had over 400,000 Internet users, with the vast majority hailing from just two cities, Yangon and Mandalay. Although Internet access was available in 42 cities across the country, the number of users outside the two main cities was just over 10,000.
LIFESTYLE
Yangon's property market is the most expensive in the country and beyond the reach of most Yangonites. Most rent outside the centre and few can afford to rent such apartments. (In 2008, rents for a typical 60 to 70 m2 apartments in the centre and vicinity range between K70,000 and K150,000 and those for high end condos between K200,000 and K500,000.)
Most men of all ages (and some women) spend their time at ubiquitous tea-shops, found in any corner or street of the city. Watching European football (mostly English Premier League with occasional La Liga, Serie A, Bundesliga) matches while sipping tea is a popular pastime among many Yangonites. The average person stays close to his or her residential neighbourhood. The well-to-do tend to visit shopping malls and parks on weekends. Some leave the city on weekends for Chaungtha and Ngwesaung beach resorts in Ayeyarwady Division.
Yangon is also home to many pagoda festivals (paya pwe), held during dry-season months (November – March). The most famous of all, the Shwedagon Pagoda Festival in March, attracts thousands of pilgrims from around the country.
Yangon's museums are the domain of tourists and rarely visited by the locals.
Most of Yangon's larger hotels offer some kind of nightlife entertainment, geared towards tourists and the well-to-do Burmese. Some hotels offer traditional Burmese performing arts shows complete with a traditional Burmese orchestra. The pub scene in larger hotels is more or less the same as elsewhere in Asia. Other options include karaoke bars and pub restaurants in Yangon Chinatown.
Due to the problems of high inflation, the lack of high denomination notes, and the fact that many of the population do not have access to checks, or credit or debit cards, it is common to see citizens carrying a considerable amount of cash. (The highest denomination of Burmese currency kyat is 10 000 (~US$10.)) Credit cards are only rarely used in the city, chiefly in the more lavish hotels. Credit cards are also accepted in the major supermarket and convenience store chains.
SPORTS
As the city has the best sporting facilities in the country, most national-level annual sporting tournaments such as track and field, football, volleyball, tennis and swimming are held in Yangon. The 40,000-seat Aung San Stadium and the 32,000-seat Thuwunna Stadium are the main venues for the highly popular annual State and Division football tournament. Until April 2009, the now defunct Myanmar Premier League, consisted of 16 Yangon-based clubs, played all its matches in Yangon stadiums, and attracted little interest from the general public or commercial success despite the enormous popularity of football in Burma. Most Yangonites prefer watching European football on satellite TV. Teams such as Manchester United, Liverpool, Chelsea, Real Madrid, Barcelona, Bayern Munich and Manchester City are among the favorite European teams among the Yangonites. It remains to be seen whether the Myanmar National League, the country's first professional football league, and its Yangon-based club Yangon United FC will attract a sufficient following in the country's most important media market.
Yangon is also home to annual the Myanmar Open golf tournament, and the Myanmar Open tennis tournament. The city hosted the 1961 and 1969 South East Asian Games. During colonial times, cricket was played mostly by British officials in the city. First-class cricket was played in the city in January 1927 when the touring Marylebone Cricket Club played Burma and the Rangoon Gymkhana. Two grounds were used to host these matches, the BAA Ground and the Gymkhana Ground. These matches mark the only time Burma and Rangoon Gymkhana have appeared in first-class cricket, and the only time first-class cricket has been played in Burma. After independence cricket all but died out in the country.
Yangon has a growing population of skateboarders, as documented in the films Altered Focus: Burma and Youth of Yangon. German non-profit organization Make Life Skate Life has received permission from the Yangon City Development Committee to construct a concrete skatepark at Thakin Mya park in downtown, and plans to complete the park in November 2015.
ECONOMY
Yangon is the country's main centre for trade, industry, real estate, media, entertainment and tourism. The city represents about one fifth of the national economy. According to official statistics for FY 2010–2011, the size of the economy of Yangon Region was 8.93 trillion kyats, or 23% of the national GDP.
The city is Lower Burma's main trading hub for all kinds of merchandise – from basic food stuffs to used cars although commerce continues to be hampered by the city's severely underdeveloped banking industry and communication infrastructure. Bayinnaung Market is the largest wholesale centre in the country for rice, beans and pulses, and other agricultural commodities. Much of the country's legal imports and exports go through Thilawa Port, the largest and busiest port in Burma. There is also a great deal of informal trade, especially in street markets that exist alongside street platforms of Downtown Yangon's townships. However, on 17 June 2011, the YCDC announced that street vendors, who had previously been allowed to legally open shop at 3 pm, would be prohibited from selling on the streets, and permitted to sell only in their townships of residence, presumably to clean up the city's image. Since 1 December 2009, high-density polyethylene plastic bags have been banned by city authorities.
Manufacturing accounts for a sizable share of employment. At least 14 light industrial zones ring Yangon, directly employing over 150,000 workers in 4,300 factories in early 2010. The city is the centre of country's garment industry which exported US$292 million in 2008/9 fiscal year. More than 80 percent of factory workers in Yangon work on a day-to-day basis. Most are young women between 15 and 27 years of age who come from the countryside in search of a better life. The manufacturing sector suffers from both structural problems (e.g. chronic power shortages) and political.
problems (e.g. economic sanctions). In 2008, Yangon's 2500 factories alone needed about 120 MW of power; yet, the entire city received only about 250 MW of the 530 MW needed. Chronic power shortages limit the factories' operating hours between 8 am and 6 pm.
Construction is a major source of employment. The construction industry has been negatively affected by the move of state apparatus and civil servants to Naypyidaw, new regulations introduced in August 2009 requiring builders to provide at least 12 parking spaces in every new high-rise building, and the general poor business climate. As of January 2010, the number of new high-rise building starts approved in 2009–2010 was only 334, compared to 582 in 2008–2009.
Tourism represents a major source of foreign currency for the city although by south-east Asian standards the number of foreign visitors to Yangon has always been quite low - about 250,000 before the Saffron Revolution in September 2007. The number of visitors dipped even further following the Saffron Revolution and Cyclone Nargis. The recent improvement in the country's political climate has attracted an increasing number of businessmen and tourists. Between 300,000 and 400,000 visitors that went through Yangon International in 2011. However, after years of underinvestment, Yangon's modest hotel infrastructure - only 3000 of the total 8000 hotel rooms in Yangon are "suitable for tourists" - is already bursting at seams, and will need to be expanded to handle additional visitors. As part of an urban development strategy, a hotel zone has been planned in Yangon's outskirts, encompassing government- and military-owned land in Mingaladon, Hlegu and Htaukkyant Townships.
EDUCATION
Yangon educational facilities has a very high number of qualified teachers but the state spending on education is among the lowest of the world. Around 2007 estimate by the London-based International Institute for Strategic Studies puts the spending for education at 0.5% of the national budget. The disparity in educational opportunities and achievement between rich and poor schools is quite stark even within the city. With little or no state support forthcoming, schools have to rely on forced "donations" and various fees from parents for nearly everything – school maintenance to teachers' salaries, forcing many poor students to drop out.
While many students in poor districts fail to reach high school, a handful of Yangon high schools in wealthier districts such as Dagon 1, Sanchaung 2, Kamayut 2, Bahan 2, Latha 2, and TTC provide the majority of students admitted to the most selective universities in the country, highlighting the extreme shallowness of talent pool in the country. The wealthy bypass the state education system altogether, sending their children to private English language instruction schools such as YIEC or more widely known as ISM, or abroad (typically Singapore or Australia) for university education. In 2014, international schools in Yangon cost at least US$8,000 a year.
There are over 20 universities and colleges in the city. While Yangon University remains the best known (its main campus is a part of popular Burmese culture e.g. literature, music, film, etc.), the nation's oldest university is now mostly a graduate school, deprived of undergraduate studies. Following the 1988 nationwide uprising, the military government has repeatedly closed universities, and has dispersed most of undergraduate student population to new universities in the suburbs such as Dagon University, the University of East Yangon and the University of West Yangon. Nonetheless many of the country's most selective universities are still in Yangon. Students from around the country still have to come to study in Yangon as some subjects are offered only at its universities. The University of Medicine 1, University of Medicine 2, Yangon Technological University, University of Computer Studies and Myanmar Maritime University are the most selective in the country.
HEALTH CARE
The general state of health care in Yangon is poor. According to a 2007 estimate, the military government spends 0.4% of the national budget on health care, and 40% to 60% on defense. By the government's own figures, it spends 849 kyats (US$0.85) per person. Although health care is nominally free, in reality, patients have to pay for medicine and treatment, even in public clinics and hospitals. Public hospitals including the flagship Yangon General Hospital lack many of the basic facilities and equipment.
Wealthier Yangonites still have access to country's best medical facilities and internationally qualified doctors. Only Yangon and Mandalay have any sizable number of doctors left as many Burmese doctors have emigrated. The well-to-do go to private clinics or hospitals like Pun Hlaing International Hospital and Bahosi Medical Clinic. Medical malpractice is widespread, even in private clinics and hospitals that serve the well-to-do. In 2009 and 2010, a spate of high-profile deaths brought out the severity of the problem, even for the relatively well off Yangonites. The wealthy do not rely on domestic hospitals and travel abroad, usually Bangkok or Singapore, for treatment.
WIKIPEDIA
Strasbourg (/ˈstræzbɜrɡ/, French pronunciation: [stʁaz.buʁ, stʁas.buʁ]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is the capital and principal city of the Alsace region in north eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhin département. The city and the region of Alsace were historically Alemannic-speaking, hence the city's Germanic name.[5] In 2006, the city proper had 272,975 inhabitants and its urban community 467,375 inhabitants. With 759,868 inhabitants in 2010, Strasbourg's metropolitan area (only the part of the metropolitan area on French territory) is the ninth largest in France. The transnational Eurodistrict Strasbourg-Ortenau had a population of 884,988 inhabitants in 2008.[6]
Strasbourg is the seat of several European institutions, such as the Council of Europe (with its European Court of Human Rights, its European Directorate for the Quality of Medicines and its European Audiovisual Observatory) and the Eurocorps, as well as the European Parliament and the European Ombudsman of the European Union. The city is also the seat of the Central Commission for Navigation on the Rhine and the International Institute of Human Rights.[7]
Strasbourg's historic city centre, the Grande Île (Grand Island), was classified a World Heritage site by UNESCO in 1988, the first time such an honour was placed on an entire city centre. Strasbourg is immersed in the Franco-German culture and although violently disputed throughout history, has been a bridge of unity between France and Germany for centuries, especially through the University of Strasbourg, currently the second largest in France, and the coexistence of Catholic and Protestant culture. The largest Islamic place of worship in France, the Strasbourg Grand Mosque, was inaugurated by French Interior Minister Manuel Valls on 27 September 2012.[8]
Economically, Strasbourg is an important centre of manufacturing and engineering, as well as a hub of road, rail, and river transportation. The port of Strasbourg is the second largest on the Rhine after Duisburg, Germany.
Etymology and Names
The city's Gallicized name (Lower Alsatian: Strossburi, [ˈʃd̥rɔːsb̥uri]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is of Germanic origin and means "Town (at the crossing) of roads". The modern Stras- is cognate to the German Straße and English street, all of which are derived from Latin strata ("paved road"), while -bourg is cognate to the German Burg and English borough, all of which are derived from Proto-Germanic *burgz ("hill fort, fortress").
Geography
Strasbourg seen from Spot Satellite
Strasbourg is situated on the eastern border of France with Germany. This border is formed by the River Rhine, which also forms the eastern border of the modern city, facing across the river to the German town Kehl. The historic core of Strasbourg however lies on the Grande Île in the River Ill, which here flows parallel to, and roughly 4 kilometres (2.5 mi) from, the Rhine. The natural courses of the two rivers eventually join some distance downstream of Strasbourg, although several artificial waterways now connect them within the city.
The city lies in the Upper Rhine Plain, at between 132 metres (433 ft) and 151 metres (495 ft) above sea level, with the upland areas of the Vosges Mountains some 20 km (12 mi) to the west and the Black Forest 25 km (16 mi) to the east. This section of the Rhine valley is a major axis of north-south travel, with river traffic on the Rhine itself, and major roads and railways paralleling it on both banks.
The city is some 400 kilometres (250 mi) east of Paris. The mouth of the Rhine lies approximately 450 kilometres (280 mi) to the north, or 650 kilometres (400 mi) as the river flows, whilst the head of navigation in Basel is some 100 kilometres (62 mi) to the south, or 150 kilometres (93 mi) by river.
Climate
In spite of its position far inland, Strasbourg's climate is classified as Oceanic (Köppen climate classification Cfb), with warm, relatively sunny summers and cold, overcast winters. Precipitation is elevated from mid-spring to the end of summer, but remains largely constant throughout the year, totaling 631.4 mm (24.9 in) annually. On average, snow falls 30 days per year.
The highest temperature ever recorded was 38.5 °C (101.3 °F) in August 2003, during the 2003 European heat wave. The lowest temperature ever recorded was −23.4 °C (−10.1 °F) in December 1938.
Strasbourg's location in the Rhine valley, sheltered from the dominant winds by the Vosges and Black Forest mountains, results in poor natural ventilation, making Strasbourg one of the most atmospherically polluted cities of France.[10][11] Nonetheless, the progressive disappearance of heavy industry on both banks of the Rhine, as well as effective measures of traffic regulation in and around the city have reduced air pollution.
Prehistory
The first traces of human occupation in the environs of Strasbourg go back many thousands of years.[16] Neolithic, bronze age and iron age artifacts have been uncovered by archeological excavations. It was permanently settled by proto-Celts around 1300 BC. Towards the end of the third century BC, it developed into a Celtic township with a market called "Argentorate". Drainage works converted the stilthouses to houses built on dry land.[17]
From Romans
The Romans under Nero Claudius Drusus established a military outpost belonging to the Germania Superior Roman province at Strasbourg's current location, and named it Argentoratum. (Hence the town is commonly called Argentina in medieval Latin.[18]) The name "Argentoratum" was first mentioned in 12 BC and the city celebrated its 2,000th birthday in 1988. "Argentorate" as the toponym of the Gaulish settlement preceded it before being Latinized, but it is not known by how long. The Roman camp was destroyed by fire and rebuilt six times between the first and the fifth centuries AD: in 70, 97, 235, 355, in the last quarter of the fourth century, and in the early years of the fifth century. It was under Trajan and after the fire of 97 that Argentoratum received its most extended and fortified shape. From the year 90 on, the Legio VIII Augusta was permanently stationed in the Roman camp of Argentoratum. It then included a cavalry section and covered an area of approximately 20 hectares. Other Roman legions temporarily stationed in Argentoratum were the Legio XIV Gemina and the Legio XXI Rapax, the latter during the reign of Nero.
The centre of Argentoratum proper was situated on the Grande Île (Cardo: current Rue du Dôme, Decumanus: current Rue des Hallebardes). The outline of the Roman "castrum" is visible in the street pattern in the Grande Ile. Many Roman artifacts have also been found along the current Route des Romains, the road that led to Argentoratum, in the suburb of Kœnigshoffen. This was where the largest burial places were situated, as well as the densest concentration of civilian dwelling places and commerces next to the camp. Among the most outstanding finds in Kœnigshoffen were (found in 1911–12) the fragments of a grand Mithraeum that had been shattered by early Christians in the fourth century. From the fourth century, Strasbourg was the seat of the Bishopric of Strasbourg (made an Archbishopric in 1988). Archaeological excavations below the current Église Saint-Étienne in 1948 and 1956 unearthed the apse of a church dating back to the late fourth or early fifth century, considered to be the oldest church in Alsace. It is supposed that this was the first seat of the Roman Catholic Diocese of Strasbourg.
The Alemanni fought the Battle of Argentoratum against Rome in 357. They were defeated by Julian, later Emperor of Rome, and their King Chonodomarius was taken prisoner. On 2 January 366, the Alemanni crossed the frozen Rhine in large numbers to invade the Roman Empire. Early in the fifth century, the Alemanni appear to have crossed the Rhine, conquered, and then settled what is today Alsace and a large part of Switzerland.
In the fifth century Strasbourg was occupied successively by Alemanni, Huns, and Franks. In the ninth century it was commonly known as Strazburg in the local language, as documented in 842 by the Oaths of Strasbourg. This trilingual text contains, alongside texts in Latin and Old High German (teudisca lingua), the oldest written variety of Gallo-Romance (lingua romana) clearly distinct from Latin, the ancestor of Old French. The town was also called Stratisburgum or Strateburgus in Latin, from which later came Strossburi in Alsatian and Straßburg in Standard German, and then Strasbourg in French. The Oaths of Strasbourg is considered as marking the birth of the two countries of France and Germany with the division of the Carolingian Empire.[19]
A major commercial centre, the town came under the control of the Holy Roman Empire in 923, through the homage paid by the Duke of Lorraine to German King Henry I. The early history of Strasbourg consists of a long conflict between its bishop and its citizens. The citizens emerged victorious after the Battle of Oberhausbergen in 1262, when King Philip of Swabia granted the city the status of an Imperial Free City.
Around 1200, Gottfried von Straßburg wrote the Middle High German courtly romance Tristan, which is regarded, alongside Wolfram von Eschenbach's Parzival and the Nibelungenlied, as one of great narrative masterpieces of the German Middle Ages.
A revolution in 1332 resulted in a broad-based city government with participation of the guilds, and Strasbourg declared itself a free republic. The deadly bubonic plague of 1348 was followed on 14 February 1349 by one of the first and worst pogroms in pre-modern history: over a thousand Jews were publicly burnt to death, with the remainder of the Jewish population being expelled from the city.[20] Until the end of the 18th century, Jews were forbidden to remain in town after 10 pm. The time to leave the city was signalled by a municipal herald blowing the Grüselhorn (see below, Museums, Musée historique);.[21] A special tax, the Pflastergeld (pavement money), was furthermore to be paid for any horse that a Jew would ride or bring into the city while allowed to.[22]
Construction on Strasbourg Cathedral began in the twelfth century, and it was completed in 1439 (though, of the towers, only the north tower was built), becoming the World's Tallest Building, surpassing the Great Pyramid of Giza. A few years later, Johannes Gutenberg created the first European moveable type printing press in Strasbourg.
In July 1518, an incident known as the Dancing Plague of 1518 struck residents of Strasbourg. Around 400 people were afflicted with dancing mania and danced constantly for weeks, most of them eventually dying from heart attack, stroke or exhaustion.
In the 1520s during the Protestant Reformation, the city, under the political guidance of Jacob Sturm von Sturmeck and the spiritual guidance of Martin Bucer embraced the religious teachings of Martin Luther. Their adherents established a Gymnasium, headed by Johannes Sturm, made into a University in the following century. The city first followed the Tetrapolitan Confession, and then the Augsburg Confession. Protestant iconoclasm caused much destruction to churches and cloisters, notwithstanding that Luther himself opposed such a practice. Strasbourg was a centre of humanist scholarship and early book-printing in the Holy Roman Empire, and its intellectual and political influence contributed much to the establishment of Protestantism as an accepted denomination in the southwest of Germany. (John Calvin spent several years as a political refugee in the city). The Strasbourg Councillor Sturm and guildmaster Matthias represented the city at the Imperial Diet of Speyer (1529), where their protest led to the schism of the Catholic Church and the evolution of Protestantism. Together with four other free cities, Strasbourg presented the confessio tetrapolitana as its Protestant book of faith at the Imperial Diet of Augsburg in 1530, where the slightly different Augsburg Confession was also handed over to Charles V, Holy Roman Emperor.
After the reform of the Imperial constitution in the early sixteenth century and the establishment of Imperial Circles, Strasbourg was part of the Upper Rhenish Circle, a corporation of Imperial estates in the southwest of Holy Roman Empire, mainly responsible for maintaining troops, supervising coining, and ensuring public security.
After the invention of the printing press by Johannes Gutenberg around 1440, the first printing offices outside the inventor's hometown Mainz were established around 1460 in Strasbourg by pioneers Johannes Mentelin and Heinrich Eggestein. Subsequently, the first modern newspaper was published in Strasbourg in 1605, when Johann Carolus received the permission by the City of Strasbourg to print and distribute a weekly journal written in German by reporters from several central European cities.
From Thirty Years' War to First World War
The Free City of Strasbourg remained neutral during the Thirty Years' War 1618-1648, and retained its status as a Free Imperial City. However, the city was later annexed by Louis XIV of France to extend the borders of his kingdom.
Louis' advisors believed that, as long as Strasbourg remained independent, it would endanger the King's newly annexed territories in Alsace, and, that to defend these large rural lands effectively, a garrison had to be placed in towns such as Strasbourg.[23] Indeed, the bridge over the Rhine at Strasbourg had been used repeatedly by Imperial (Holy Roman Empire) forces,[24] and three times during the Franco-Dutch War Strasbourg had served as a gateway for Imperial invasions into Alsace.[25] In September 1681 Louis' forces, though lacking a clear casus belli, surrounded the city with overwhelming force. After some negotiation, Louis marched into the city unopposed on 30 September 1681 and proclaimed its annexation.[26]
This annexation was one of the direct causes of the brief and bloody War of the Reunions whose outcome left the French in possession. The French annexation was recognized by the Treaty of Ryswick (1697). The official policy of religious intolerance which drove most Protestants from France after the revocation of the Edict of Nantes in 1685 was not applied in Strasbourg and in Alsace, because both had a special status as a province à l'instar de l'étranger effectif (a kind of foreign province of the king of France). Strasbourg Cathedral, however, was taken from the Lutherans to be returned to the Catholics as the French authorities tried to promote Catholicism wherever they could (some other historic churches remained in Protestant hands). Its language also remained overwhelmingly German: the German Lutheran university persisted until the French Revolution. Famous students included Goethe and Herder.
The Duke of Lorraine and Imperial troops crossing the Rhine at Strasbourg during the War of the Austrian Succession, 1744
During a dinner in Strasbourg organized by Mayor Frédéric de Dietrich on 25 April 1792, Claude Joseph Rouget de Lisle composed "La Marseillaise". The same year François Christophe Kellermann, a child of Strasbourg was appointed the head of the Mosel Army. He led his company to victory at the battle of Valmy and saved the young French republic. He was later appointed Duke of Valmy by Napoléon in 1808.
During this period Jean-Baptiste Kléber, also born in Strasbourg, led the French army to win several decisive victories. A statue of Kléber now stands in the centre of the city, at Place Kléber, and he is still one of the most famous French officers. He was later appointed Marshal of France by Napoléon.
Strasbourg's status as a free city was revoked by the French Revolution. Enragés, most notoriously Eulogius Schneider, ruled the city with an increasingly iron hand. During this time, many churches and monasteries were either destroyed or severely damaged. The cathedral lost hundreds of its statues (later replaced by copies in the 19th century) and in April 1794, there was talk of tearing its spire down, on the grounds that it was against the principle of equality. The tower was saved, however, when in May of the same year citizens of Strasbourg crowned it with a giant tin Phrygian cap. This artifact was later kept in the historical collections of the city until it was destroyed by the Germans in 1870 during the Franco-Prussian war.[27]
In 1805, 1806 and 1809, Napoléon Bonaparte and his first wife, Joséphine stayed in Strasbourg.[28] In 1810, his second wife Marie Louise, Duchess of Parma spent her first night on French soil in the palace. Another royal guest was King Charles X of France in 1828.[29] In 1836, Louis-Napoléon Bonaparte unsuccessfully tried to lead his first Bonapartist coup in Strasbourg.
During the Franco-Prussian War and the Siege of Strasbourg, the city was heavily bombarded by the Prussian army. The bombardment of the city was meant to break the morale of the people of Strasbourg.[30] On 24 and 26 August 1870, the Museum of Fine Arts was destroyed by fire, as was the Municipal Library housed in the Gothic former Dominican church, with its unique collection of medieval manuscripts (most famously the Hortus deliciarum), rare Renaissance books, archeological finds and historical artifacts. The gothic cathedral was damaged as well as the medieval church of Temple Neuf, the theatre, the city hall, the court of justice and many houses. At the end of the siege 10,000 inhabitants were left without shelter; over 600 died, including 261 civilians, and 3200 were injured, including 1,100 civilians.[31]
In 1871, after the end of the war, the city was annexed to the newly established German Empire as part of the Reichsland Elsass-Lothringen under the terms of the Treaty of Frankfurt. As part of Imperial Germany, Strasbourg was rebuilt and developed on a grand and representative scale, such as the Neue Stadt, or "new city" around the present Place de la République. Historian Rodolphe Reuss and Art historian Wilhelm von Bode were in charge of rebuilding the municipal archives, libraries and museums. The University, founded in 1567 and suppressed during the French Revolution as a stronghold of German sentiment,[citation needed] was reopened in 1872 under the name Kaiser-Wilhelms-Universität.
Strasbourg in the 1890s.
A belt of massive fortifications was established around the city, most of which still stands today, renamed after French generals and generally classified as Monuments historiques; most notably Fort Roon (now Fort Desaix) and Fort Podbielski (now Fort Ducrot) in Mundolsheim, Fort von Moltke (now Fort Rapp) in Reichstett, Fort Bismarck (now Fort Kléber) in Wolfisheim, Fort Kronprinz (now Fort Foch) in Niederhausbergen, Fort Kronprinz von Sachsen (now Fort Joffre) in Holtzheim and Fort Großherzog von Baden (now Fort Frère) in Oberhausbergen.[32]
Those forts subsequently served the French army (Fort Podbielski/Ducrot for instance was integrated into the Maginot Line[33]), and were used as POW-camps in 1918 and 1945.
Two garrison churches were also erected for the members of the Imperial German army, the Lutheran Église Saint-Paul and the Roman Catholic Église Saint-Maurice.
1918 to the present
A lost, then restored, symbol of modernity in Strasbourg : a room in the Aubette building designed by Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp.
Following the defeat of the German empire in World War I and the abdication of the German Emperor, some revolutionary insurgents declared Alsace-Lorraine as an independent Republic, without preliminary referendum or vote. On 11 November 1918 (Armistice Day), communist insurgents proclaimed a "soviet government" in Strasbourg, following the example of Kurt Eisner in Munich as well as other German towns. French troops commanded by French general Henri Gouraud entered triumphantly in the city on 22 November. A major street of the city now bears the name of that date (Rue du 22 Novembre) which celebrates the entry of the French in the city.[34][35][36] Viewing the massive cheering crowd gathered under the balcony of Strasbourg's town hall, French President Raymond Poincaré stated that "the plebiscite is done".[37]
In 1919, following the Treaty of Versailles, the city was annexed by France in accordance with U.S. President Woodrow Wilson's "Fourteen Points" without a referendum. The date of the assignment was retroactively established on Armistice Day. It is doubtful whether a referendum in Strasbourg would have ended in France's favour since the political parties striving for an autonomous Alsace or a connection to France accounted only for a small proportion of votes in the last Reichstag as well as in the local elections.[38] The Alsatian autonomists who were pro French had won many votes in the more rural parts of the region and other towns since the annexation of the region by Germany in 1871. The movement started with the first election for the Reichstag; those elected were called "les députés protestataires", and until the fall of Bismarck in 1890, they were the only deputies elected by the Alsatians to the German parliament demanding the return of those territories to France.[39] At the last Reichstag election in Strasbourg and its periphery, the clear winners were the Social Democrats; the city was the administrative capital of the region, was inhabited by many Germans appointed by the central government in Berlin and its flourishing economy attracted many Germans. This could explain the difference between the rural vote and the one in Strasbourg. After the war, many Germans left Strasbourg and went back to Germany; some of them were denounced by the locals or expelled by the newly appointed authorities. The Saverne Affair was vivid in the memory among the Alsatians.
In 1920, Strasbourg became the seat of the Central Commission for Navigation on the Rhine, previously located in Mannheim, one of the oldest European institutions. It moved into the former Imperial Palace.
When the Maginot Line was built, the Sous-secteur fortifié de Strasbourg (fortified sub-sector of Strasbourg) was laid out on the city's territory as a part of the Secteur fortifié du Bas-Rhin, one of the sections of the Line. Blockhouses and casemates were built along the Grand Canal d'Alsace and the Rhine in the Robertsau forest and the port.[40]
Between the German invasion of Poland on 1 September 1939 and the Anglo-French declaration of War against the German Reich on 3 September 1939, the entire city (a total of 120,000 people) was evacuated, like other border towns as well. Until the arrival of the Wehrmacht troops mid-June 1940, the city was, for ten months, completely empty, with the exception of the garrisoned soldiers. The Jews of Strasbourg had been evacuated to Périgueux and Limoges, the University had been evacuated to Clermont-Ferrand.
After the ceasefire following the Fall of France in June 1940, Alsace was annexed to Germany and a rigorous policy of Germanisation was imposed upon it by the Gauleiter Robert Heinrich Wagner. When, in July 1940, the first evacuees were allowed to return, only residents of Alsatian origin were admitted. The last Jews were deported on 15 July 1940 and the main synagogue, a huge Romanesque revival building that had been a major architectural landmark with its 54-metre-high dome since its completion in 1897, was set ablaze, then razed.[41]
In September 1940 the first Alsatian resistance movement led by Marcel Weinum called La main noire (The black hand) was created. It was composed by a group of 25 young men aged from 14 to 18 years old who led several attacks against the German occupation. The actions culminated with the attack of the Gauleiter Robert Wagner, the highest commander of Alsace directly under the order of Hitler. In March 1942, Marcel Weinum was prosecuted by the Gestapo and sentenced to be beheaded at the age of 18 in April 1942 in Stuttgart, Germany. His last words will be: "If I have to die, I shall die but with a pure heart". From 1943 the city was bombarded by Allied aircraft. While the First World War had not notably damaged the city, Anglo-American bombing caused extensive destruction in raids of which at least one was allegedly carried out by mistake.[42] In August 1944, several buildings in the Old Town were damaged by bombs, particularly the Palais Rohan, the Old Customs House (Ancienne Douane) and the Cathedral.[43] On 23 November 1944, the city was officially liberated by the 2nd French Armoured Division under General Leclerc. He achieved the oath that he made with his soldiers, after the decisive Capture of Kufra. With the Oath of Kuffra, they swore to keep up the fight until the French flag flew over the Cathedral of Strasbourg.
Many people from Strasbourg were incorporated in the German Army against their will, and were sent to the eastern front, those young men and women were called Malgré-nous. Many tried to escape from the incorporation, join the French Resistance, or desert the Wehrmacht but many couldn't because they were running the risk of having their families sent to work or concentration camps by the Germans. Many of these men, especially those who did not answer the call immediately, were pressured to "volunteer" for service with the SS, often by direct threats on their families. This threat obliged the majority of them to remain in the German army. After the war, the few that survived were often accused of being traitors or collaborationists, because this tough situation was not known in the rest of France, and they had to face the incomprehension of many. In July 1944, 1500 malgré-nous were released from Soviet captivity and sent to Algiers, where they joined the Free French Forces. Nowadays history recognizes the suffering of those people, and museums, public discussions and memorials have been built to commemorate this terrible period of history of this part of Eastern France (Alsace and Moselle). Liberation of Strasbourg took place on 23 November 1944.
In 1947, a fire broke out in the Musée des Beaux-Arts and devastated a significant part of the collections. This fire was an indirect consequence of the bombing raids of 1944: because of the destruction inflicted on the Palais Rohan, humidity had infiltrated the building, and moisture had to be fought. This was done with welding torches, and a bad handling of these caused the fire.[44]
In the 1950s and 1960s the city was enlarged by new residential areas meant to solve both the problem of housing shortage due to war damage and that of the strong growth of population due to the baby boom and immigration from North Africa: Cité Rotterdam in the North-East, Quartier de l'Esplanade in the South-East, Hautepierre in the North-West. Between 1995 and 2010, a new district has been built in the same vein, the Quartier des Poteries, south of Hautepierre.
In 1958, a violent hailstorm destroyed most of the historical greenhouses of the Botanical Garden and many of the stained glass windows of St. Paul's Church.
In 1949, the city was chosen to be the seat of the Council of Europe with its European Court of Human Rights and European Pharmacopoeia. Since 1952, the European Parliament has met in Strasbourg, which was formally designated its official 'seat' at the Edinburgh meeting of the European Council of EU heads of state and government in December 1992. (This position was reconfirmed and given treaty status in the 1997 Treaty of Amsterdam). However, only the (four-day) plenary sessions of the Parliament are held in Strasbourg each month, with all other business being conducted in Brussels and Luxembourg. Those sessions take place in the Immeuble Louise Weiss, inaugurated in 1999, which houses the largest parliamentary assembly room in Europe and of any democratic institution in the world. Before that, the EP sessions had to take place in the main Council of Europe building, the Palace of Europe, whose unusual inner architecture had become a familiar sight to European TV audiences.[45] In 1992, Strasbourg became the seat of the Franco-German TV channel and movie-production society Arte.
In 2000, a terrorist plot to blow up the cathedral was prevented thanks to the cooperation between French and German police that led to the arrest in late 2000 of a Frankfurt-based group of terrorists.
On 6 July 2001, during an open-air concert in the Parc de Pourtalès, a single falling Platanus tree killed thirteen people and injured 97. On 27 March 2007, the city was found guilty of neglect over the accident and fined €150,000.[46]
In 2006, after a long and careful restoration, the inner decoration of the Aubette, made in the 1920s by Hans Arp, Theo van Doesburg, and Sophie Taeuber-Arp and destroyed in the 1930s, was made accessible to the public again. The work of the three artists had been called "the Sistine Chapel of abstract art".
Architecture
Strasbourg, Cathedral of Our Lady
The city is chiefly known for its sandstone Gothic Cathedral with its famous astronomical clock, and for its medieval cityscape of Rhineland black and white timber-framed buildings, particularly in the Petite France district or Gerberviertel ("tanners' district") alongside the Ill and in the streets and squares surrounding the cathedral, where the renowned Maison Kammerzell stands out.
Notable medieval streets include Rue Mercière, Rue des Dentelles, Rue du Bain aux Plantes, Rue des Juifs, Rue des Frères, Rue des Tonneliers, Rue du Maroquin, Rue des Charpentiers, Rue des Serruriers, Grand' Rue, Quai des Bateliers, Quai Saint-Nicolas and Quai Saint-Thomas. Notable medieval squares include Place de la Cathédrale, Place du Marché Gayot, Place Saint-Étienne, Place du Marché aux Cochons de Lait and Place Benjamin Zix.
Maison des tanneurs.
In addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Étienne, partly destroyed in 1944 by Allied bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[49] the Gothic Église protestante Saint-Pierre-le-Jeune with its crypt dating back to the seventh century and its cloister partly from the eleventh century, the Gothic Église Saint-Guillaume with its fine early-Renaissance stained glass and furniture, the Gothic Église Saint-Jean, the part Gothic, part Art Nouveau Église Sainte-Madeleine, etc. The Neo-Gothic church Saint-Pierre-le-Vieux Catholique (there is also an adjacent church Saint-Pierre-le-Vieux Protestant) serves as a shrine for several 15th-century wood worked and painted altars coming from other, now destroyed churches and installed there for public display. Among the numerous secular medieval buildings, the monumental Ancienne Douane (old custom-house) stands out.
The German Renaissance has bequeathed the city some noteworthy buildings (especially the current Chambre de Commerce et d'Industrie, former town hall, on Place Gutenberg), as did the French Baroque and Classicism with several hôtels particuliers (i.e. palaces), among which the Palais Rohan (1742, now housing three museums) is the most spectacular. Other buildings of its kind are the "Hôtel de Hanau" (1736, now the city hall), the Hôtel de Klinglin (1736, now residence of the préfet), the Hôtel des Deux-Ponts (1755, now residence of the military governor), the Hôtel d'Andlau-Klinglin (1725, now seat of the administration of the Port autonome de Strasbourg) etc. The largest baroque building of Strasbourg though is the 150 m (490 ft) long 1720s main building of the Hôpital civil. As for French Neo-classicism, it is the Opera House on Place Broglie that most prestigiously represents this style.
Strasbourg also offers high-class eclecticist buildings in its very extended German district, the Neustadt, being the main memory of Wilhelmian architecture since most of the major cities in Germany proper suffered intensive damage during World War II. Streets, boulevards and avenues are homogeneous, surprisingly high (up to seven stories) and broad examples of German urban lay-out and of this architectural style that summons and mixes up five centuries of European architecture as well as Neo-Egyptian, Neo-Greek and Neo-Babylonian styles. The former imperial palace Palais du Rhin, the most political and thus heavily criticized of all German Strasbourg buildings epitomizes the grand scale and stylistic sturdiness of this period. But the two most handsome and ornate buildings of these times are the École internationale des Pontonniers (the former Höhere Mädchenschule, girls college) with its towers, turrets and multiple round and square angles[50] and the École des Arts décoratifs with its lavishly ornate façade of painted bricks, woodwork and majolica.[51]
Notable streets of the German district include: Avenue de la Forêt Noire, Avenue des Vosges, Avenue d'Alsace, Avenue de la Marseillaise, Avenue de la Liberté, Boulevard de la Victoire, Rue Sellénick, Rue du Général de Castelnau, Rue du Maréchal Foch, and Rue du Maréchal Joffre. Notable squares of the German district include: Place de la République, Place de l'Université, Place Brant, and Place Arnold
As for modern and contemporary architecture, Strasbourg possesses some fine Art Nouveau buildings (such as the huge Palais des Fêtes and houses and villas like Villa Schutzenberger and Hôtel Brion), good examples of post-World War II functional architecture (the Cité Rotterdam, for which Le Corbusier did not succeed in the architectural contest) and, in the very extended Quartier Européen, some spectacular administrative buildings of sometimes utterly large size, among which the European Court of Human Rights building by Richard Rogers is arguably the finest. Other noticeable contemporary buildings are the new Music school Cité de la Musique et de la Danse, the Musée d'Art moderne et contemporain and the Hôtel du Département facing it, as well as, in the outskirts, the tramway-station Hoenheim-Nord designed by Zaha Hadid.
Place Kléber
The city has many bridges, including the medieval and four-towered Ponts Couverts that, despite their name, are no longer covered. Next to the Ponts Couverts is the Barrage Vauban, a part of Vauban's 17th-century fortifications, that does include a covered bridge. Other bridges are the ornate 19th-century Pont de la Fonderie (1893, stone) and Pont d'Auvergne (1892, iron), as well as architect Marc Mimram's futuristic Passerelle over the Rhine, opened in 2004.
The largest square at the centre of the city of Strasbourg is the Place Kléber. Located in the heart of the city's commercial area, it was named after general Jean-Baptiste Kléber, born in Strasbourg in 1753 and assassinated in 1800 in Cairo. In the square is a statue of Kléber, under which is a vault containing his remains. On the north side of the square is the Aubette (Orderly Room), built by Jacques François Blondel, architect of the king, in 1765–1772.
Parks
The Pavillon Joséphine (rear side) in the Parc de l'Orangerie
The Château de Pourtalès (front side) in the park of the same name
Strasbourg features a number of prominent parks, of which several are of cultural and historical interest: the Parc de l'Orangerie, laid out as a French garden by André le Nôtre and remodeled as an English garden on behalf of Joséphine de Beauharnais, now displaying noteworthy French gardens, a neo-classical castle and a small zoo; the Parc de la Citadelle, built around impressive remains of the 17th-century fortress erected close to the Rhine by Vauban;[52] the Parc de Pourtalès, laid out in English style around a baroque castle (heavily restored in the 19th century) that now houses a small three-star hotel,[53] and featuring an open-air museum of international contemporary sculpture.[54] The Jardin botanique de l'Université de Strasbourg (botanical garden) was created under the German administration next to the Observatory of Strasbourg, built in 1881, and still owns some greenhouses of those times. The Parc des Contades, although the oldest park of the city, was completely remodeled after World War II. The futuristic Parc des Poteries is an example of European park-conception in the late 1990s. The Jardin des deux Rives, spread over Strasbourg and Kehl on both sides of the Rhine opened in 2004 and is the most extended (60-hectare) park of the agglomeration. The most recent park is Parc du Heyritz (8,7 ha), opened in 2014 along a canal facing the hôpital civil.
The Thar Desert, also known as the Great Indian Desert or Marusthali (Land of the dead), is a large, arid region in the northwestern part of the Indian subcontinent that forms a natural boundary between India and Pakistan. It is the world's 9th largest subtropical desert. This desert spreads over about 2,340,000 km2, with 85% in India and the remaining part in Pakistan. It covers more than 2,000,000 km2 in Rajasthan and extends into Gujarat, Punjab, and Haryana.
GEOGRAPHY
The Thar Desert extends between the Aravalli Hills in the north-east, the Great Rann of Kutch along the coast and the alluvial plains of the Indus River in the west and north-west. Most of the desert is covered by huge shifting sand dunes that receive sediments from the alluvial plains and the coast. The sand is highly mobile due to strong winds occurring before the onset of the monsoon. The Luni River is the only river integrated into the desert. Rainfall is limited to 100–500 mm per year, mostly falling from July to September.
Salt water lakes in the Thar Desert include the Sambhar, Kuchaman, Didwana in Rajasthan and Kharaghoda in Gujarat. These lakes receive rain water during monsoon and evaporate during the dry season. The salt is derived by the weathering of rocks in the region.
DESERTIFICATION CONTROL
The soil of the Thar Desert remains dry for much of the year and is prone to wind erosion. High velocity winds blow soil from the desert, depositing some on neighboring fertile lands, and causing shifting sand dunes within the desert. Sand dunes are stabilised by erecting micro-windbreak barriers with scrub material and subsequent afforestation of the treated dunes with seedlings of shrubs such as phog, senna, castor oil plant and trees such as gum acacia, Prosopis juliflora and lebbek tree. The 649 km long Indira Gandhi Canal brings fresh water to the Thar Desert. It was conceived to halt spreading of the desert to fertile areas.
There are few local tree species suitable for planting in the desert, which are slow growing. Therefore, exotic tree species were introduced for plantation. Many species of Eucalyptus, Acacia, Cassia and other genera from Israel, Australia, US, Russia, Zimbabwe, Chile, Peru and Sudan have been tried in Thar Desert. Acacia tortilis has proved to be the most promising species for desert afforestation and the jojoba is another promising species of economic value found suitable for planting in these areas.
PROTECTED AREAS
There are several protected areas in the Thar Desert:
in Pakistan:
the Nara Desert Wildlife Sanctuary covers 6,300 km2;
the Rann of Kutch Wildlife Sanctuary.
in India:
the Desert National Park covers 3,162 km2 and represents the Thar Desert ecosystem, it includes 44 villages. Its diverse fauna includes the great Indian bustard (Chirotis nigricaps), blackbuck, chinkara, fox, Bengal fox, wolf, and caracal. Seashells and massive fossilized tree trunks in this park record the geological history of the desert;
the Tal Chhapar Sanctuary covers 7 km2 and is an Important Bird Area. It is located in the Churu District, 210 km from Jaipur, in the Shekhawati region. This sanctuary is home to a large population of blackbuck, fox and caracal such as partridge and sand grouse;
Jalore Wildlife Sanctuary is a privately owned sanctuary 130 km from Jodhpur, where Asiatic wildcat, leopard, jirds, desert fox and herds of Indian gazelle live.
BIODIVERSITY
FAUNA
Stretches of sand in the desert are interspersed by hillocks and sandy and gravel plains. Due to the diversified habitat and ecosystem, the vegetation, human culture and animal life in this arid region is very rich in contrast to the other deserts of the world. About 23 species of lizard and 25 species of snakes are found here and several of them are endemic to the region.
Some wildlife species, which are fast vanishing in other parts of India, are found in the desert in large numbers such as the blackbuck (Antilope cervicapra), chinkara (Gazella bennettii) and Indian wild ass (Equus hemionus khur) in the Rann of Kutch. They have evolved excellent survival strategies, their size is smaller than other similar animals living in different conditions, and they are mainly nocturnal. There are certain other factors responsible for the survival of these animals in the desert. Due to the lack of water in this region, transformation of the grasslands into cropland has been very slow. The protection provided to them by a local community, the Bishnois, is also a factor. Other mammals of the Thar Desert include a subspecies of red fox (Vulpes vulpes pusilla) and the caracal.
The region is a haven for 141 species of migratory and resident birds of the desert. One can see eagles, harriers, falcons, buzzards, kestrel and vultures. There are short-toed eagles (Circaetus gallicus), tawny eagles (Aquila rapax), greater spotted eagles (Aquila clanga), laggar falcons (Falco jugger) and kestrels. There are also a number of reptiles.
The Indian peafowl is a resident breeder in the Thar region. The peacock is designated as the national bird of India and the provincial bird of the Punjab (Pakistan). It can be seen sitting on khejri or pipal trees in villages or Deblina.
VEGETATION
The natural vegetation of this dry area is classed as Northwestern thorn scrub forest occurring in small clumps scattered more or less openly. Density and size of patches increase from west to east following the increase in rainfall. The natural vegetation of the Thar Desert is composed of the following tree, shrub and herb species:
trees and shrubs: Acacia jacquemontii, Balanites roxburghii, Ziziphus zizyphus, Ziziphus nummularia, Calotropis procera, Suaeda fruticosa, Crotalaria burhia, Aerva javanica, Clerodendrum multiflorum, Leptadenia pyrotechnica, Lycium barbarum, Grewia tenax, Commiphora mukul, Euphorbia neriifolia, Cordia sinensis, Maytenus emarginata, Capparis decidua, Mimosa hamata
herbs and grasses: Ochthochloa compressa, Dactyloctenium scindicum, Cenchrus biflorus, Cenchrus setigerus, Lasiurus scindicus, Cynodon dactylon, Panicum turgidum, Panicum antidotale, Dichanthium annulatum, Sporobolus marginatus, Saccharum spontaneum, Cenchrus ciliaris, Desmostachya bipinnata, Eragrostis species, Ergamopagan species, Phragmites species, Tribulus terrestris, Typha species, Sorghum halepense, Citrullus colocynthis
The endemic floral species include Calligonum polygonoides, Prosopis cineraria, Acacia nilotica, Tamarix aphylla, Cenchrus biflorus.
PEOPLE
The Thar Desert is the most densely populated desert in the world, with a population density of 83 people per km2. In India, the inhabitants comprise Hindus, Muslims, and Sikhs. In Pakistan, inhabitants include Sindhis and Kolhis.
About 40% of the total population of Rajasthan live in the Thar Desert. The main occupation of the people is agriculture and animal husbandry. A colourful culture rich in tradition prevails in this desert. The people have a great passion for folk music and folk poetry.
Jodhpur, the largest city in the region, lies in the scrub forest zone. Bikaner and Jaisalmer are located in the desert proper. A large irrigation and power project has reclaimed areas of the northern and western desert for agriculture. The small population is mostly pastoral, and hide and wool industries are prominent.
The desert's part in Pakistan also has a rich multifaceted culture, heritage, traditions, folk tales, dances and music due to its inhabitants who belong to different religions, sects and castes.
THAR IN ANCIENT LITERATURE
The Indian epics describe this region as Lavanasagara (Salt-ocean). The Ramayana mentions Lavanasagara (the Salt-ocean) when Rama goes to attack Lanka with the army of vanaras. Rama uses his agneyashtra-amogha to dry up the sea named drumakulya situated on north of Lavanasagara. A fresh water source named Pushkar surrounded by Marukantara was created.
According to Jain cosmology, Jambūdvīpa is at the centre of Madhyaloka, or the middle part of the universe, where the humans reside. Jambūdvīpaprajñapti or the treatise on the island of roseapple tree contains a description of Jambūdvīpa and life biographies of Ṛṣabha and King Bharata. Jambūdvīpa continent is surrounded by ocean Lavanoda (Salt-ocean).
The Sarasvati River is one of the chief Rigvedic rivers mentioned in ancient Hindu texts. The Nadistuti hymn in the Rigveda (10.75) mentions the Sarasvati between the Yamuna in the east and the Sutlej in the west, and later Vedic texts like Tandya and Jaiminiya Brahmanas as well as the Mahabharata mention that the Sarasvati dried up in a desert.
Most scholars agree that at least some of the references to the Sarasvati in the Rigveda refer to the Ghaggar-Hakra River, while the Helmand River is often quoted as the locus of the early Rigvedic river. Whether such a transfer of the name has taken place, either from the Helmand to the Ghaggar-Hakra, or conversely from the Ghaggar-Hakra to the Helmand, is a matter of dispute.
There is also a small present-day Sarasvati River (Sarsuti) that joins the Ghaggar.
The Mahabharata mentions the Kamyaka Forest situated on the western boundary of the Kuru Kingdom (Kuru Proper + Kurujangala), on the banks of the Saraswati River.[clarification needed] It lay to the west of the Kurukshetra plain. It contained within it a lake called the Kamyaka lake (2,51). Kamyaka forest is mentioned as being situated at the head of the Thar desert, near the lake Trinavindu (3,256). The Pandavas, on their way to exile in the woods, left Pramanakoti on the banks of the Ganges and went towards Kurukshetra, travelling in a western direction, crossing the rivers Yamuna and Drishadvati. They finally reached the banks of the Saraswati River.[clarification needed] There they saw the forest of Kamyaka, the favourite haunt of ascetics, situated on a level and wild plain on the banks of the Saraswati (3-5,36) abounding in birds and deer (3,5). There the Pandavas lived in an ascetic asylum (3,10). It took 3 days for Pandavas to reach the Kamyaka forest, setting out from Hastinapura, on their chariots (3,11).
In the Rigveda we also find mention of a River named Aśvanvatī along with river Drishadvati. Some scholars consider both Saraswati and Aśvanvatī the same river.
The human habitations on the banks of rivers Saraswati and Drishadvati had shifted to the east and south directions prior to Mahabharata period. During those days The present day Bikaner and Jodhpur areas were known as Kurujangala and Madrajangala provinces.
The Desert National Park, Jaisalmer has a collection of fossils of animals and plants of 180 million years old.
DESERT ECONOMY
AGRICULTURE
The Thar is one of most heavily populated desert areas in the world and the main occupations of people living here are agriculture and animal husbandry. Agriculture is not a dependable proposition in this area - after the rainy season, at least 33% of crops fail. Animal husbandry, trees and grasses, intercropped with vegetables or fruit trees, is the most viable model for arid, drought-prone regions. The region faces frequent droughts. Overgrazing due to high animal populations, wind and water erosion, mining and other industries result in serious land degradation.
The agricultural production is mainly from the Kharif crops. The Kharif crops are the crops that are grown in the summer season and are seeded in the months of June and July. These crops are harvested in the months of September and October and include bajra, pulses such as guar, jowar (Sorghum vulgare), maize (zea mays), sesame and groundnuts. In past few decades the development of canals, tube wells etc. has changed crop pattern. Now the desert districts in Rajasthan have started producing rabi crops like wheat, mustard, cumin seed etc.The people have started to grow cash crops too.
Thar region of Rajasthan is the main opium producer and consumer area. There are mainly two crop seasons. The water for irrigation comes from wells and tanks from underlying water sources deep below the surface. The Indira Gandhi Canal irrigates northwestern Rajasthan. The Government of India has started a centrally sponsored scheme under the title of Desert Development Programme based on watershed management with the objective to check spreading of desert and improve the living condition of people in desert.
LIVESTOCK
n the last 15–20 years, the Rajasthan desert has seen many changes, including a manifold increase of both the human and animal population. Animal husbandry has become popular due to the difficult farming conditions. At present, there are ten times more animals per person in Rajasthan than the national average, and overgrazing is also a factor affecting climatic and drought conditions.
A large number of farmers in Thar desert depend on animal husbandry for their livelihood. Cows, buffalos, sheep, goats, camels, and oxen consists of major cattle population. Barmer district has the highest cattle population out of which sheep and goats are in majority. Some of the best breeds of bullocks such as Kankrej (Sanchori) and Nagauri are from desert region.
Thar region of Rajasthan is the biggest wool-producing area in India. Chokla, Marwari, Jaisalmeri, Magra, Malpuri, Sonadi, Nali and Pungal breeds of sheep are found in the region. Of the total wool production in India, 40-50% comes from Rajasthan. The sheep-wool from Rajasthan is considered best for carpet making industry in the world. The wool of Chokla breed of sheep is considered of superior quality. The breeding centres have been developed for Karakul and Merino sheep at Suratgarh, Jaitsar and Bikaner. Some important mills for making Woolen thread established in desert area are: Jodhpur Woolen Mill, Jodhpur; Rajasthan Woolen Mill, Bikaner and India Woolen Mill, Bikaner. Bikaner is the biggest mandi (market place) of wool in Asia.
The live stock depends for grazing on common lands in villages. During famine years in the desert the nomadic rebari people move with large herds of sheep and camel to the forested areas of south Rajasthan or nearby states like Madhya Pradesh for grazing the cattle.
The importance of animal husbandry can be understood from the organization of large number of cattle fairs in the region. Cattle fairs are normally named after the folk-deities. Some of major cattle fairs held are Ramdevji cattle fair at Manasar in Nagaur district, Tejaji cattle fair at Parbatsar in Nagaur district, Baldeo cattle fair at Merta city in Nagaur district, Mallinath cattle fair at Tilwara in barmer district. Live stock is very important to the Thar desert people.
AGROFORESTRY
Forestry has an important part to play in the amelioration of the conditions in semi-arid and arid lands. If properly planned, forestry can make an important contribution to the general welfare of the people living in desert areas. The living standard of the people in the desert is low. They can not afford other fuels like gas, kerosene etc. Fire wood is their main fuel, of the total consumption of wood about 75 percent is firewood. The forest cover in desert is low. Rajasthan has a forest area of 31150 km2. which is about 9% of the geographical area. The forest area is mainly in southern districts of Rajasthan like Udaipur and Chittorgarh. The minimum forest area is in Churu district only 80 km2. Thus the forest is insufficient to fulfill the needs of firewood and grazing in desert districts. This diverts the much needed cattledung from the field to the hearth. This in turn results into the decrease in agricultural production. Agroforestry model is best suited to the people of desert. Some Institutes have done good work in Agroforestry.
The scientists of Central Arid Zone Research Institute (CAZRI), have successfully developed and improved dozens of traditional and non-traditional crops/fruits, such as Ber trees (like plums) that produce much larger fruits than before (lemon-size) and can thrive with minimal rainfall. These trees have become a profitable option for farmers. One example from a case study of horticulture showed that in situation of budding in 35 plants of Ber and Guar (Gola, Seb & Mundia variety developed in CAZRI), using only one hectare of land, yielded 10,000 kg. of Ber and 250 kg. of Guar, which translates into double or even triple profit.
Arid Forest Research Institute, (AFRI) situated at Jodhpur is another national level institute in the region. It is one of the institutes of the Indian Council of Forestry Research and Education ( ICFRE ) working under the Ministry of Environment & Forests, Govt. of India. The Objective of the Institute is to carry out scientific research in forestry in order to provide technologies to increase the vegetative cover and to conserve the biodiversity in the hot arid and semi arid region of Rajasthan, Gujarat and Dadara & Nagar Haveli union territory.
The most important tree species in terms of providing a livelihood in Thar desert communities is Prosopis cineraria.
Prosopis cineraria provides wood of construction class. It is used for house-building, chiefly as rafters, posts scantlings, doors and windows, and for well construction water pipes, upright posts of Persian wheels, agricultural implements and shafts, spokes, fellows and yoke of carts. It can also be used for small turning work and tool-handles. Container manufacturing is another important wood-based industry, which depends heavily on desert-grown trees.
Prosopis cineraria is much valued as a fodder tree. The trees are heavily lopped particularly during winter months when no other green fodder is available in the dry tracts. There is a popular saying that death will not visit a man, even at the time of a famine, if he has a Prosopis cineraria, a goat and a camel, since the three together are some what said to sustain a man even under the most trying condition. The forage yield per tree varies a great deal. On an average, the yield of green forage from a full grown tree is expected to be about 60 kg with complete lopping having only the central leading shoot, 30 kg when the lower two third crown is lopped and 20 kg when the lower one third crown is lopped. The leaves are of high nutritive value. Feeding of the leaves during winter when no other green fodder is generally available in rain-fed areas is thus profitable. The pods have a sweetish pulp and are also used as fodder for livestock.
Prosopis cineraria is most important top feed species providing nutritious and highly palatable green as well as dry fodder, which is readily eaten by camels, cattle, sheep and goats, constituting a major feed requirement of desert livestock. Locally it is called Loong. Pods are locally called sangar or sangri. The dried pods locally called Kho-Kha are eaten. Dried pods also form rich animal feed, which is liked by all livestock. Green pods also form rich animal feed, which is liked by drying the young boiled pods. They are also used as famine food and known even to prehistoric man. Even the bark, having an astringent bitter taste, was reportedly eaten during the severe famine of 1899 and 1939. Pod yield is nearly 1.4 quintals of pods/ha with a variation of 10.7% in dry locations.
Prosopis cineraria wood is reported to contain high calorific value and provide high quality fuel wood. The lopped branches are good as fencing material. Its roots also encourage nitrogen fixation, which produces higher crop yields.
Tecomella undulata is one more tree species, locally known as Rohida, which is found in Thar Desert regions of northwest and western India. It is another important medium sized tree of great use in Agroforestry, that produces quality timber and is the main source of timber amongst the indigenous tree species of desert regions. The trade name of the tree species is Desert teak or Marwar teak.
Tecomella undulata is mainly used as a source of timber. Its wood is strong, tough and durable. It takes a fine finish. Heartwood contains quinoid. The wood is excellent for firewood and charcoal. Cattle and goats eat leaves of the tree. Camels, goats and sheep consume flowers and pods.
Tecomella undulata plays an important role in the ecology. It acts as a soil-binding tree by spreading a network of lateral roots on the top surface of the soil. It also acts as a windbreak and helps in stabilizing shifting sand dunes. It is considered as the home of birds and provides shelter for other desert wildlife. Shade of tree crown is shelter for the cattle, goats and sheep during summer days.
Tecomella undulata has medicinal properties as well. The bark obtained from the stem is used as a remedy for syphilis. It is also used in curing urinary disorders, enlargement of spleen, gonorrhoea, leucoderma and liver diseases. Seeds are used against abscess.
ECOTOURISM
Desert safaris on camels have become increasingly popular around Jaisalmer. Domestic and international tourists frequent the desert seeking adventure on camels for anything from a day to several days. This ecotourism industry ranges from cheaper backpacker treks to plush Arabian night style campsites replete with banquets and cultural performances. During the treks tourists are able to view the fragile and beautiful ecosystem of the Thar desert. This form of tourism provides income to many operators and camel owners in Jaisalmer as well as employment for many camel trekers in the desert villages nearby. But also people from various parts of the world come here to see pushkar mela and oasis.
INDUSTRY
Rajasthan is pre-eminent in quarrying and mining in India. The Taj Mahal was built with white marble mined from Makrana in Nagaur district. The state is the second largest source of cement in India. It has rich salt deposits at Sambhar. Jodhpur sandstone is mostly used in monuments, important buildings, residential buildings, and such. This stone is termed "chittar patthar". Jodhpur has also got mines of red stone locally known as ghatu patthar used in construction. Sandstone is found in Jodhpur and Naguar districts. Jalore is biggest centre of granite processing units.
Lignite coal deposits are there at places Giral, Kapuradi, Jalipa, Bhadka in Barmer district; Plana, Gudha, Bithnok, Barsinghpur, Mandla Charan, Raneri Hadla in Bikaner district and Kasnau, Merta, Lunsar etc., in Nagaur district. Lignite based Thermal power plant has been established at Giral in Barmer district. Jindal group is working on 1080 Megawatt power project in private sector at village Bhadaresh in Barmer district. "Neweli Lignite Barsinghpur Project" is in progress to establish two thermal power units of capacity 125 megawatts each at Barsinghpur in Bikaner district. Reliance Energy is working on establishing power generation through underground gasification technique in Barmer district with an outlay of about 30 billion rupees.
There is large storage of good quality petroleum in Jaisalmer and Barmer districts. The main places with deposits of petroleum are Baghewal, Kalrewal, and Tawariwal in Jaisalmer district and Gudha Malani area in Barmer district. Barmer district has started petroleum production on commercial scale.
Barmer district is in the news due to its large oil basin. The British exploration company Cairn Energy started production of oil on a large scale. Mangala, Bhagyam and Aishwariya are the major oil fields in the district. This is India's biggest oil discovery in 22 years. This promises to transform the local economy, which has long suffered from the harshness of the desert.
The Government of India initiated departmental exploration for oil in 1955-56 in the Jaisalmer area, Oil India Limited's discovered natural gas in 1988 in the Jaisalmer basin. Also known for their fine leather messenger bags made from wild camels native to the area.
The Thar desert seems an ideal place for generation of electricity from wind power. According to an estimate Rajasthan state has got a potential of 5500 Megawatt wind power generation as such it is in the priority of the state govt. Rajasthan State Power Corporation has established its first wind power based power plant at Amarsagar in Jaisalmer district. Some leading companies in the field are working on establishing wind mills in Barmer, Jaisalmer and Bikaner districts. Solar energy also has a great potential in this region as most of the days during a year are cloud free. Solar energy based plant has been established at Bhaleri in Churu district to convert hard water into drinking water.
SALT WATER LAKES
There are a number of salt water lakes in Thar desert. These are Sambhar, Pachpadra, Tal Chhapar, Falaudi and Lunkaransar where Sodium chloride salt is produced from salt water. The Didwana lake produces Sodium Sulphate salt. Ancient Archaeological evidences of habitations have been recovered from Sambhar and Didwana lakes which shows their antiquity and historical importance.
WATER & HOUSING IN THE DESERT
Water scarcity plays an important role in shaping life in all parts of Thar. Natural (tobas) or man-made (johads), both types of small, intermittent ponds, are often the only source of water for animals and humans in the true desert areas. The lack of a constant water supply causes much of the local population to live as nomads. Most human settlements are found near the two seasonal streams of the Karon-Jhar hills. Potable groundwater is also rare in the Thar desert. Supplies are often sour due to dissolved minerals, and are only available deep underground. Wells that successfully bear sweet water attract nearby settlement, but are difficult to dig, possibly claiming the lives of the well-diggers.
According to 1980 housing census in Pakistan, there were 241,326 housing units of one or two very small rooms. The degree of crowding was six persons per housing unit and three persons per room. For most of the housing units (approximately 76 per cent), the main construction material of outer walls is unbaked bricks whereas wood is used in 10 per cent and baked bricks or stones with mud bonding in 8 per cent housing units. A large number of families still live in jhugis or huts which are housing units formed with straws and thin wood-sticks. The wind storm proves these jhugis unsustainable all the times. But the poverty leaves no other option to these jhugiwalas (people living in jhugis).
The river Luni is the only natural water source that drains inside a lake in the desert. It originates in the Pushkar valley of the Aravalli Range, near Ajmer and ends in the marshy lands of Rann of Kutch in Gujarat, after travelling a distance of 530 km. The Luni flows through part of Ajmer, Barmer, Jalor, Jodhpur, Nagaur, Pali, and Sirohi districts and Mithavirana Vav Radhanpur region of Banaskantha North Gujarat. Its major tributaries are the Sukri, Mithri, Bandi, Khari, Jawai, Guhiya and Sagi from the left, and the Jojari River from the right.
The Ghaggar is another intermittent river in India, flowing during the monsoon rains. It originates in the Shivalik Hills of Himachal Pradesh and flows through Punjab and Haryana to Rajasthan; just southwest of Sirsa, Haryana and by the side of talwara jheel in Rajasthan, this seasonal river feeds two irrigation canals that extend into Rajasthan. It terminates in Hanumangarh district.
The Rajasthan Canal system is the major irrigation scheme of the Thar Desert and is conceived to reclaim it and also to check spreading of the desert to fertile areas. It is world's largest irrigation which is being extended in an attempt to make the desert arable. It runs south-southwest in Punjab and Haryana but mainly in Rajasthan for a total of 650 kilometers and ends near Jaisalmer, in Rajasthan. After the construction of the Indira Gandhi Canal, irrigation facilities were available over an area of 6770 km² in Jaisalmer district and 37 km² in Barmer district. Irrigation had already been provided in an area of 3670 km² in Jaisalmer district. The canal has transformed the barren deserts of this district into rich and lush fields. Crops of mustard, cotton, and wheat now flourish in this semi-arid western region replacing the sand there previously.
Besides providing water for agriculture, the canal will supply drinking water to hundreds of people in far-flung areas. As the second stage of work on the canal progresses rapidly, there is hope that it will enhance the living standards of the people of the state.
DESERT FOR RECREATION
Thar Desert provides the recreational value in terms of desert festivals organized every year. Rajasthan desert festivals are celebrated with great zest and zeal. This festival is held once a year during winters. Dressed in brilliantly hued costumes, the people of the desert dance and sing haunting ballads of valor, romance and tragedy. The fair has snake charmers, puppeteers, acrobats and folk performers. Camels, of course, play a stellar role in this festival, where the rich and colorful folk culture of Rajasthan can be seen.
Camels are an integral part of the desert life and the camel events during the Desert Festival confirm this fact. Special efforts go into dressing the animal for entering the spectacular competition of the best-dressed camel. Other interesting competitions on the fringes are the moustache and turban tying competitions, which not only demonstrate a glorious tradition but also inspire its preservation. Both the turban and the moustache have been centuries old symbols of honor in Rajasthan.
Evenings are meant for the main shows of music and dance. Continuing till late into the night, the number of spectators swells up each night and the grand finale, on the full moon night, takes place by silvery sand dunes.
WIKIPEDIA
From the anime Shingeki No Bahamut Genesis. She put a helluva lot of work into this as did I in post-production. All the green items (necklace and pauldrons) had LEDs and were glowing.
Edit: I wasn't 100% happy with the skin texture on her chest as I had blended and clone-copied away the body-sock she was wearing in order to make it look like she just walked out of the anime. So I re-edited her chest area to smooth out the blending I did and add back in some skin texture.
Cosplayer: whatthehaps
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
forming a bud. Still very cool and cloudy today, raining now.
must bring inside before Temps reach 30' F
Palace of Fine Arts. Testing the Lomography Color film.
I remember that day. It was cold but sunny. I was stunned by the beauty of the place.
I made this card to showcase the "Brea ornament" die, here it is used as a skirt in a dress form, from memory Box, for the new 2014 release.and use of the new stencils, to see how to use this die in other forms visit my blog:
stampingwithbibiana.blogspot.com/2014/01/3-projects-with-...
This series was a departure from my usual shoot style. I was looking to capture and highlight the contrast in the 3 key elements of form, texture and flow. That is, the natural form of the model, the abstract textures of the rock and the flow of the water. We were both pretty happy with how the shots turned out in the end!
Legal form limited liability company
Founded in 1876
Seat Vienna
Management families Gürtler and Winkler
Sector Hotels
Websitewww.sacher.com
Seen The Hotel Sacher from Albertina square (another pictures you can see by clicking at the end of page!)
The Hotel Sacher is located in the 1st district of Vienna Inner City behind the Vienna State Opera. Famous specialty of the house is the original Sacher Cake. The hotel is a member of Leading Hotels of the World.
Story
Anna Maria Sacher
On the grounds of the demolished Carinthian Gate Theatre, directly opposite the newly opened Imperial and Royal Court Opera, was built a Maison Meublé. The restaurateur Eduard Sacher acquired the on a Renaissance palace modeled house and opened 1876 the Hotel de l'Opera with restaurant. The son of Franz Sacher, the inventor of the Sacher Cake, however, had already made a name for himself as a restaurateur and renamed the house quickly into Hotel Sacher.
He married in 1880 the 21-year-old Anna Fuchs who henceforth cooperated in the hotel and quickly took over the business, because her husband's health deteriorated. 1892 died Eduard, and Anna Sacher ran now the hotel as a so-called widow operation. The at that time extremely emancipated woman who always could be seen with cigar and her beloved French Bulldogs (in Vienna: "Sacher-Bullys"), ran the operation with strictness, but also with kindness. So she kept already then a company health insurance fund for her employees.
From the outset, the Sacher was one of the best addresses in the city and was in 1871 for the wine and delicatessen trade appointed kuk Purveyor. This privilege was granted after the death of Eduard Sacher his widow Anna once again. Before the visit of the opera one enjoyed the exquisite cuisine, people met in the legendary booths, and even high-ranking representatives from politics used the always discreet house for meetings. The exclusive hotel was already a social institution. But the economically difficult years after the First World War left its mark on the house too.
Shortly before her death in 1930, Anna Sacher withdrew from the leadership. Only after her death came to be known that the hotel was heavily in debt and from the former assets not much was left. 1934, eventually it came to bankruptcy.
The attorney Hans Gürtler, his wife Poldi and the hotelier couple Josef and Anna Siller acquired the now run-down house and renovated it extensively: Everything had been adapted to modern needs, from the heating system as well as the electrics and running hot and cold water in all rooms. From now on the earned money always should flow back into the house. For the first time, the Sacher Cake not only in its own premises was offered for human consumption but also sold on the street.
The house increasingly became again the meeting place for the society. But the annexation of Austria by Nazi Germany in 1938 brought this to an abrupt end. Now Swastika flags waved in front of the hotel. During the Second World War but the house remained largely spared from damage. Immediately after the liberation of Vienna it was occupied by Soviet troops, the first district of Vienna around the hotel but was soon administered by the Allies together and got so for six years in British hands.
1951 the families Siller and Gürtler got back their possessions. Josef Siller had yet died in 1949. Again the hotel had to be renovated extensively. So also new gastronomic localities emerged in Sacher. Hans Gürtler also laid the foundation for the art collection of the 19th century. Died in 1962 Anna Siller and the hotel went entirely into the possession of the Gürtler family. In 1967 the company obtained the National Award and since then the company is allowed to use the federal coat of arms in business transactions. The son of Hans Gürtler, Rolf, in 1970 took over operations but he died shortly thereafter in an accident after which he was succeeded by his son Peter Gürtler. This one also took over in 1989 the Hotel Österreichischer Hof in Salzburg. This one was later renamed into Hotel Sacher Salzburg. Since his death in 1990 his 1983 divorced from him wife Elisabeth Gürtler runs with her daughter Alexandra the family enterprise.
2006 was the building which in its building structure altogether consists of six townhouses under the direction of the architectural firm Frank & Partners thermally completely renovated and the roof extension in which a spa was housed provided with a striking bright aluminum roof.
Offer
The Hotel Sacher at night
As a member of the hotel industry association The Leading Hotels of the World, which ensures quality control in the five-star hotel industry sector, the Hotel Sacher is one of the best addresses in Austria. Since the expansion of 2006, it also meets the criteria of a Leading Spa.
In the house there is the restaurant Anna Sacher, the Red Bar, the Blue Bar, the Confiserie, Cafe Sacher and the Sacher Corner. The café was in 2004 awarded the Golden Coffee Bean by Jacobs.
Also in the building, but not as a part of the hotel, is the former kuk Court purveyor and Chamber supplier Wilhelm Jungmann & Neffe.
Since 1999, the Original Sacher-Torte is produced in its own production site in Vienna Simmering (11th district), from where it is exported to the whole world. After a decades-long dispute with the imperial confectioner Demel, only the dessert made by Sacher may decorate itself with the title "Original". The Sachertorte is imitated by many coffee houses, bakeries and confectioneries.
Known guests
Main entrance of the hotel in the evening
The house in Philarmoniker street welcomed numerous prominent guests. Anna Sacher had a photo gallery of her guests in her boudoir. The signatures she embroidered herself all on a tablecloth. Right in the middle of all them, the one of Emperor Franz Joseph.
Crowned heads, statesmen, diplomats and politicians lodged in Sacher: Edward VIII, Wallis Simpson, Elizabeth II, Prince Philip, Prince Rainier, Princesse Grace, John F. Kennedy, Kofi Annan and many others...
Due to its close proximity to the Opera House, of course also many artists were among the guests: Herbert von Karajan, Leonard Bernstein, Leo Slezak, Plácido Domingo, José Carreras and Rudolf Nureyev. Music critic Marcel Prawy lived until his death in 2003 even as a permanent guest at the Sacher.
Graham Greene got here the idea for the screenplay of the film The Third Man. A British officer told him about the underground passages of Vienna, whereupon Greene immediately in the bar wrote down the first ideas.
The role in the Sissi films Romy Schneider owed her similarity with the bust of the Empress, who stands in the hotel and was noticed by director Ernst Marischka. During filming, she lived with her mother Magda Schneider in Sacher.
To an unusual press conference invited in April 1969 John Lennon and Yoko Ono to the Sacher. They held one of their legendary "Bagism" actions in their hotel room before representatives of the press (including André Heller, who reported for the Ö3 Musicbox) in order to voice their ideas of world peace.
Traditionally, all the suites are named after operas and composers (eg La Traviata, Carmen, Idomeneo, The Magic Flute, Madame Butterfly, Nabucco, Rigoletto, Leonard Bernstein etc.). The new suites on the top floor of the house bear the names of contemporary operas, such as Lulu and Billy Budd.
Hotel Sacher in film and on stage
The Hotel Sacher has been immortalized in numerous films and stage plays.
Hotel Sacher, 1939
In German-speaking countries, the hotel became also by the television series Hi - Hotel Sacher ... Portier! with Fritz Eckhardt popular.
Rechtsform GmbH
Gründung 1876
Sitz Wien
Leitung Familien Gürtler und Winkler
Branche Hotels
Websitewww.sacher.com
Das Hotel Sacher vom Albertinaplatz aus gesehen
Das Hotel Sacher befindet sich im 1. Wiener Gemeindebezirk Innere Stadt hinter der Wiener Staatsoper. Bekannte Spezialität des Hauses ist die Original Sachertorte. Das Hotel ist Mitglied der Leading Hotels of the World.
Geschichte
Anna Maria Sacher
Auf dem Grundstück des abgerissenen Kärntnertortheaters, direkt gegenüber der neu eröffneten k.u.k. Hofoper, wurde eine Maison meublé errichtet. Der Gastronom Eduard Sacher erwarb das einem Renaissance-Palast nachempfundene Haus und eröffnete 1876 das Hotel de l'Opera mit Restaurant. Der Sohn von Franz Sacher, dem Erfinder der Sachertorte, hatte sich aber bereits als Gastronom selbst einen Namen gemacht und benannte das Haus schnell in Hotel Sacher um.
Er heiratete 1880 die 21-jährige Anna Fuchs, die fortan im Hotel mitarbeitete und schnell die Geschäfte übernahm, da sich der Gesundheitszustand ihres Mannes verschlechterte. 1892 starb Eduard, und Anna Sacher führte nun das Hotel als sogenannten Witwenbetrieb. Die nach damaligen Verhältnissen äußerst emanzipierte Frau, die stets mit Zigarre und ihren geliebten Französischen Bulldoggen (in Wien: „Sacher-Bullys“) anzutreffen war, führte den Betrieb mit Strenge, aber auch mit Güte. So unterhielt sie bereits damals eine Betriebskrankenkasse für ihre Angestellten.
Von Anfang an zählte das Sacher zu den besten Adressen in der Stadt und wurde 1871 für den Wein- und Delikatessenhandel zum k.u.k. Hoflieferant ernannt. Dieses Privileg wurde nach dem Tod von Eduard Sacher seiner Witwe Anna noch einmal verliehen. Vor der Oper genoss man die exquisite Küche, man traf sich in den legendären Séparées, und auch hochrangige Vertreter aus der Politik nutzten das stets diskrete Haus für Besprechungen. Das exklusive Hotel war bereits eine gesellschaftliche Institution. Doch gingen auch die wirtschaftlich schwierigen Jahre nach dem Ersten Weltkrieg nicht spurlos an dem Haus vorüber.
Kurz vor ihrem Tod im Jahr 1930 zog sich Anna Sacher aus der Führung zurück. Erst nach ihrem Tod wurde bekannt, dass das Hotel hoch verschuldet war und von dem einstigen Vermögen nicht viel übrig war. 1934 kam es schließlich zum Konkurs.
Der Anwalt Hans Gürtler, seine Frau Poldi und das Hotelierehepaar Josef und Anna Siller erwarben das mittlerweile heruntergekommene Haus und sanierten es umfangreich: Von der Heizungsanlage über die Elektrik und fließendem Kalt- und Warmwasser in allen Zimmern wurde alles den modernen Bedürfnissen angepasst. Von nun an sollte das verdiente Geld stets zurück in das Haus fließen. Erstmals wurde auch die Sachertorte nicht nur in den eigenen Räumen zum Verzehr angeboten, sondern auch an der Straße verkauft.
Das Haus wurde zunehmend wieder zum Treffpunkt für die Gesellschaft. Doch der Anschluss Österreichs an Hitler-Deutschland 1938 setzte dem ein jähes Ende. Hakenkreuzfahnen wehten nun vor dem Hotel. Während des Zweiten Weltkriegs blieb das Haus aber weitgehend von Beschädigungen verschont. Direkt nach der Befreiung Wiens war es von sowjetischen Soldaten besetzt, der Wiener erste Bezirk um das Hotel wurde aber bald von den Alliierten gemeinsam verwaltet und geriet so sechs Jahre lang in britische Hände.
1951 erhielten die Familien Siller und Gürtler ihren Besitz zurück. Josef Siller war bereits 1949 gestorben. Wiederum musste das Hotel umfangreich saniert werden. So entstanden auch neue gastronomische Lokalitäten im Sacher. Hans Gürtler legte auch den Grundstock für die Kunstsammlung des 19. Jahrhunderts. 1962 starb Anna Siller, und das Hotel ging gänzlich in den Besitz der Familie Gürtler über. Im Jahr 1967 erhielt das Unternehmen die Staatliche Auszeichnung und darf seither das Bundeswappen im Geschäftsverkehr verwenden. Der Sohn Rolf Gürtler übernahm 1970 die Geschäfte, kam aber kurz darauf bei einem Unfall ums Leben, worauf ihm sein Sohn Peter Gürtler nachfolgte. Dieser übernahm 1989 auch das Hotel Österreichischer Hof in Salzburg. Dieses wurde später in Hotel Sacher Salzburg umbenannt. Seit seinem Tod 1990 führt seine von ihm 1983 geschiedene Frau Elisabeth Gürtler-Mauthner mit ihrer Tochter Alexandra das Familienunternehmen.
2006 wurde das Gebäude, das sich in seiner Bausubstanz aus insgesamt sechs Stadthäusern zusammensetzt, unter der Leitung des Architekturbüros Frank & Partner thermisch generalsaniert, und der Dachausbau, in dem ein Spa-Bereich untergebracht wurde, mit einem auffallenden hellen Aluminiumdach versehen.
Angebot
Das Hotel Sacher bei Nacht
Als Mitglied des Hotellerieverbands The Leading Hotels of the World, das eine Qualitätskontrolle im Fünfsternehotellerie-Sektor sicherstellt, gehört das Hotel Sacher zu den besten Adressen Österreichs. Seit dem Ausbau 2006 erfüllt es auch die Kriterien eines Leading Spa.
Im Haus befinden sich das Restaurant Anna Sacher, die Rote Bar, die Blaue Bar, die Confiserie, das Café Sacher und das Sacher Eck. Das Café wurde 2004 mit der Goldenen Kaffeebohne von Jacobs ausgezeichnet.
Ebenfalls im Gebäude, aber nicht als ein Teil des Hotels, befindet sich der ehemalige k.u.k. Hof- und Kammerlieferant Wilhelm Jungmann & Neffe.
Seit 1999 wird die Original Sacher-Torte in einer eigenen Produktionsstelle in Wien Simmering hergestellt, von wo sie auch in die ganze Welt exportiert wird. Nach einem jahrzehntelangen Rechtsstreit mit der k.u.k Zuckerbäckerei Demel darf sich nur das Dessert aus dem Hause Sacher mit dem Prädikat „Original“ schmücken. Die Sachertorte wird von vielen Kaffeehäusern, Bäckereien und Konditoreien imitiert.
Bekannte Gäste
Haupteingang des Hotels am Abend
Zahlreiche prominente Gäste zählte das Haus in der Philharmonikerstraße. Anna Sacher hatte in ihrem Boudoir eine Fotogalerie ihrer Gäste. Die Unterschriften stickte sie selbst allesamt auf einem Tischtuch nach. Ganz in der Mitte die des Kaisers Franz Joseph.
Gekrönte Häupter, Staatsmänner, Diplomaten und Politiker logierten im Sacher: Edward VIII., Wallis Simpson, Elisabeth II., Prinz Philip, Fürst Rainier, Gracia Patricia, John F. Kennedy, Kofi Annan und viele mehr.
Durch die unmittelbare Nähe des Opernhauses gehörten natürlich auch viele Künstler zu den Gästen: Herbert von Karajan, Leonard Bernstein, Leo Slezak, Plácido Domingo, José Carreras und Rudolf Nurejew. Der Musikkritiker Marcel Prawy wohnte bis zu seinem Tod 2003 sogar als Dauergast im Sacher.
Graham Greene erhielt hier die Idee zum Drehbuch des Films Der dritte Mann. Ein britischer Offizier erzählte ihm von den unterirdischen Gängen Wiens, worauf Greene sofort in der Bar die ersten Ideen aufschrieb.
Ihre Rolle in den Sissi-Filmen verdankte Romy Schneider ihrer Ähnlichkeit mit der Büste der Kaiserin, die im Hotel steht und dem Regisseur Ernst Marischka aufgefallen war. Während der Dreharbeiten wohnte sie mit ihrer Mutter Magda Schneider im Sacher.
Zu einer ungewöhnlichen Pressekonferenz luden im April 1969 John Lennon und Yoko Ono ins Sacher. Sie hielten eine ihrer legendären „Bagism“-Aktionen in ihrem Hotelzimmer vor Pressevertretern (darunter André Heller, der für die Ö3-Musicbox berichtete) ab, um ihre Vorstellungen des Weltfriedens kundzutun.
Traditionsgemäß sind alle Suiten des Hauses nach Opern und Komponisten benannt (z.B. La Traviata, Carmen, Idomeneo, Die Zauberflöte, Madame Butterfly, Nabucco, Rigoletto, Leonard Bernstein etc.). Die neuen Suiten im Dachgeschoss des Hauses tragen die Namen von zeitgenössischen Opern, beispielsweise Lulu und Billy Budd benannt.
Hotel Sacher im Film und auf der Bühne
Das Hotel Sacher ist in zahlreichen Filmen und Bühnenstücken verewigt worden.
Hotel Sacher, 1939
Im deutschsprachigen Raum wurde das Hotel auch durch die Fernsehserie Hallo – Hotel Sacher … Portier! mit Fritz Eckhardt populär.
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
Photo by Greg Shine, BLM
Redmond Caves is a site featuring five caves formed by volcanic flows of molten lava from the Newberry Caldera. Located inside the Redmond city limits, the site is managed by the Bureau of Land Management in partnership with the City of Redmond and is a unique site where visitors can learn about geology, wildlife, and past human use.
The five caves were created from the collapse of a single lava tube. While some caving groups have given the individual caves names, most academic and archaeological groups refer to the caves by number.
Cave 1: The largest cave opening, with the highest roof, located in the center of the site.
Cave 2: A very small and shallow entrance tube that is present as a surface feature, located to the northwest of Cave 1
Cave 3: A long section of lava tube, with a southern and northern opening.
Cave 4: A short section of lava tube with very low ceiling, located at the south end of the site, visible from Airport Avenue.
Cave 5: A very small and shallow cave opening, located immediately east of Cave 4.
The largest opening (Cave 1) enters a fairly deep and expansive cave, while Cave 3 has two openings joined by a narrow, but easily passable connection.
Caves 1, 3, and 4 are accessible and have deep, sandy soils, with scattered boulders and ceiling blocks.
The caves are a great place to explore today, and archaeological evidence and oral tradition point to human use of the caves for at least 6,000 years.
Visitors are asked to respect the caves and the land surrounding them as a natural park, and to avoid artifact collecting, trash dumping, woodcutting or adding graffiti to the cave walls and entrances.
The Prineville BLM will be managing the Redmond Caves area for foot traffic only with parking and an entrance on SW Airport Way.
The area is flat and covered with scattered juniper trees, sagebrush and rabbitbrush. Visitors to the area can take a short, 3/4 - 1/2 mile hike around the parcel and explore the five caves.
Redmond Caves have been listed as "Significant" under the Federal Caves Resources Protection Act due to their cultural, recreational, biological, and educational values.
Given the unique historical, cultural, wildlife, and geological values of the site, visitors should practice "leave no trace ethics" when visiting the site.
This 40-acre parcel is managed for education and interpretive use, and prohibits the following activities to help protect the caves:
•Motorized and mechanized vehicles;
•Campfires in the entire Redmond Caves Area, including the caves;
•Overnight use, except under permit;
•Placement of physical geocaches;
•Paintball use;
•All firearm discharge;
•All rockhounding and collection of decorative stone;
•Painting, marking, or otherwise defacing the caves and surrounding rocks;
•Digging and excavating;
•Use of fireworks or other pyrotechnic devices within the caves;
•Dogs or other animals within the caves;
•No smoking within the caves.
These caves are preserved in their natural state; therefore, inherent risks exist that require precautions:
•Always watch for rattlesnakes.
•Leave word with someone stating what cave you will be visiting and an approximate return time.
•Take three dependable sources of light.
•Wear sturdy shoes that protect the ankle and have non-leather, non-skid, non-marking soles.
•Gloves and kneepads may be necessary and/or useful in some caves.
•Wear a helmet to protect against low ceilings.
•Take someone with you when you enter a cave—don't go alone.
Over the past fifty years, proposals for the use of the site have been creative and diverse. At the height of the Cold War, the caves were proposed for use as a fallout shelter in the event of an atomic attack; farmers from Madras looked at the site as a possible mushroom farm; and, the Deschutes County Historical Society even received a proposal to develop their offices in the caves themselves.
In the mid-1990s, the Prineville BLM and City of Redmond formed a partnership to cooperatively manage the Redmond Caves site. This partnership was central to funding archaeological surveys and other site surveys to support management decisions for the area.
In 2005, the BLM completed the Upper Deschutes Resource Management Plan, which provides objectives for managing the Redmond Cave area, including:
•Protecting and maintaining the biologic, cultural, and geologic features of the caves;
•Working with the City of Redmond to pursue the development of the area into a natural community park and to interpret the important features of the area; and
•Providing recreation appropriate to management of the caves through the use of marked foot trails, designated parking and fencing.
Redmond Caves is located on the northern end of the Newberry lava plain between the Crooked and Deschutes Rivers. As part of the high desert, the hot and dry character of the area influenced how native human populations and local wildlife used the caves and the surrounding lands. While the rivers represented access to vital resources, trails between the two rivers passed near the Redmond Caves site, and the caves likely provided a cool, but short-term, stop-over for travelers.
Based on available information, this pattern of use seems to have persisted for the last 5000-7000 years. Formal archaeological excavations have provided a glimpse into the caves' use, with evidence of hunting and gathering through the remains of stone, bone, shell and textile artifacts.
In 1941, Robert Heizer of the University of Oregon, conducted partial excavations inside the caves. His discoveries included items like obsidian and chert flakes, dart points, arrow points, a mano (a hand-held stone for grinding), a sandal fragment, and several pieces of animal bone.
The scale of volcanic activity in Central Oregon is very large. The flows that created Redmond Caves came from Newberry Caldera over the past 2 million years. Newberry is a shield volcano located 35 miles away, and is the largest such volcano in the lower 48 states. Redmond Caves is just one portion of a system that stretches through eastern Bend, across BLM-managed lands east of State Highway 97 and into Redmond. A 1963 BLM mineral report mentions that local residents entered a cave on private property to the northeast of the site, crawled in a southwest direction, and exited one of the caves on the BLM parcel.
The BLM has led several field trips to the caves with members and elders of the Confederated Tribes of the Warm Springs Reservation of Oregon (CTWSRO), Burns Paiute, and Klamath Tribes. Recollections of a few of the elders are as follows:
•According to Delbert Frank, Sr. and Geraldine Jim of CTWSRO, the area around Redmond is referred to in the Sahaptin language as P'oosh P'oosh for the number of juniper trees in the area.
•As young people, some of the elders recalled camping in the vicinity of the caves when their parents were working at nearby potato fields, while attending the rodeo, or traveling from one point to another off reservation.
•Some elders remember a shallow layer of water on the cave floor and to keep them from potential danger, their parents told them that water babies and other malevolent spirits lived there. Some of the elders confided that despite their parent's warnings, they went into the caves anyway!
In 2002, the BLM and the City of Redmond authorized the University of Oregon (Field School) to conduct a multi-year archeological project at Redmond Caves. This work included surveys of the entire 40-acre parcel, with the discovery of numerous prehistoric sites and a few historic period refuse scatters. Over the course of several seasons of work, archeological excavation was done inside the caves. Cultural items identified and recorded included:
•Projectile points (arrowheads);
•Fresh water and marine shells (Olivella and Dentalium);
•Bifaces and edge-modified flakes;
•Cordage, shell, bone and stone disc beads, and bone needles, awls, and hooks;
•Ochre;
•Tools such as an Elkhorn digging stick handle, a milling stone, and stone mortar;
•Large amounts of naturally and culturally deposited animal bones (the later resulting from food consumption by early human inhabitants);
•Obsidian from the site was analyzed through X-ray fluorescence, identifying where the stone originated.
Based on the testing, obsidian tools at the site came from the following locations:
Obsidian Cliffs - 33 miles
McKay Butte - 37 miles
Newberry Volcano - 36 miles
Spodue Mountain - 114 miles
Quartz Mountain - 45 miles
The Field School sent a sagebrush sandal fragment found in Redmond Caves in the 1940s for radiocarbon dating, which showed that it is roughly 1700 to 1900 years old. The sandal is a multiple warp type sandal, which is one of styles of sandal with the widest geographic and temporal distribution in the Northern Great Basin.
In 1938, J.M. Valentine collected a holotype (the individual organism used in naming and describing a new species and usually preserved afterward) of the Charlotte's False Scorpion (Parobisium charlotteae) from Redmond Caves. This false scorpion is in the family Neobisiidae, which contains over 200 named species of false scorpions.
Pseudoscorpions are very small (usually less than 4 millimeters) and generally beneficial. Their prey includes moth larvae, carpet beetle larvae, booklice, mites, and small flies.
The Museum of the Moon was still supposed to be on. Or, to be more accurate, I had not checked that it was still on, but would be a good excuse to return to Rochester for the first time in over a decade.
Last time here I took seven or so shots, I was hoping to improve on that.
But, as I was to find, the Moon moved out on Wednesday, so there was just the cathedral to look at and record, and I pretty much had the cathedral to myself.
There was a service in the chancel, so that and the Quire were out of bounds for a while, but once over I was given the nod I could go in.
How do you describe a cathedral? Especially one as grand and old as Rochester?
From the west, the cathedral doesn't look too big, but there is a viewing place from the High Street that shows the cathedral to be a large and complicated building.
Inside the nave is huge, with the organ towering over the altar. Through the doorway into the quire and the sanctuary beyond, and all the while, above the white vaulted ceiling reached from the high walls and columns.
All around the walls are memorials to the great and good of Kent, some tombs too. The step leading from the aisles to the sanctuary are worn down by the millions of feet that have climbed them over the centuries.
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The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)
The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]
Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.
The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]
Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]
In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]
The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]
In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.
Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his
Gundulf's church
Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.
Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.
In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]
During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.
Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]
The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.
Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.
The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.
The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.
The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.
There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.
The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.
The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]
The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]
In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]
In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.
Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.
The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.
Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]
The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]
To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.
The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]
On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.
he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]
The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]
The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.
The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.
The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.
he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.
The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.
The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.
The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.
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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
www.dabasformumebeles.lv - natures form wood tables
Nature form furniture - Unique furniture and design elements:
Harijs Stradiņš - a craftsman working with natural shape wood processing, has been designing furniture and other interior design elements since 1997 selecting the best parts of the tree from top to root. In his works Harijs uses such materials as stone, glass, hammered works, fabric, clay and other natural materials to be able to make common design for a particular room.
Мебель природных форм - Уникальная мебель и элементы дизайна:
С 1997 года мастер по обработке природных форм дерева Харий Cтрадиньш, работая с деревом, изпользует его с корня до верхушки, отбирая самые интерессные части для создания своей мебели и елементов дизайна. Думая об общем дизайне помещения, в своих работах Xaрий изпользует также камень, ковку, лён, стекло, глину и другие природные елементы.
Dabas formu mēbeles - Unikālas mēbeles un dizaina elementi:
Kopš 1997. gada dabiska koka formu apstrādes meistars Harijs Stradiņš sadarbojas ar koku, kā dabas elementu, mēbeļu un dizaina elementu radīšanā, izmantojot to pēc iespējas pilnīgi (no saknes līdz gaotnei). Domājot par telpas kopējā dizaina risinājumu, savos darbos Harijs Stradiņš izmanto arī akmeni, stiklu, metālkalumus, audumu, mālu un citus dabas elementus.
COPYRIGHT - Creative Commons Attribution-Noncommercial-No Derivative Works:
- This image is licensed under Creative Commons, this means you can use it on your site (blog) if you credit the author (or authors website).
The Sri Ranganathaswamy Temple or Thiruvarangam Tamil : திருவரங்கம் is a Hindu temple dedicated to Ranganatha, a reclining form of Hindu deity, Vishnu located in Srirangam, Tiruchirapalli, Tamil Nadu, India . Constructed in the Dravidian style of architecture, this temple is glorified in the Thiviya Pirabandham, the early medieval Tamil literature canon of the Alvar saints from the 6th to 9th centuries AD and is counted among the 108 Divya Desams dedicated to Vishnu. The temple follows Thenkalai tradition of worship.
It is one of the most illustrious Vaishnava temples in South India rich in legend and history. Its location, on an island in Cauvery river, has rendered it vulnerable to natural disasters as well as the rampaging of invading armies – Muslim and European – which repeatedly commandeered the site for military encampment. The main entrance, known as the Rajagopuram (the royal temple tower), rises from the base area of around 13 cents (around 5720 sq ft) and goes up to 72 m, moving up in eleven progressively smaller tiers. The annual 21 day festival conducted during the Tamil month of Margazhi (December–January) attracts 1 million visitors. Srirangam temple is often listed as the largest functioning Hindu temple in the world, the still larger Angkor Wat being the largest existing temple. The temple occupies an area of 631,000 m² with a perimeter of 4,116m making it the largest temple in India and one of the largest religious complexes in the world.
LEGEND
Sriranga Mahathmiyam is the compilation of religious accounts of the temple which detail the origins of its greatness. According to it, Lord Rama, himself an Avatar of Vishnu, worshiped the idol for a long time, and when he returned victoriously from Sri Lanka after destroying Ravana, he gave it to King Vibhishana as a token of appreciation for the latter's support for Rama against his own brother, Ravana. When Vibhishana was going via Trichy en route to Sri Lanka, the deity wanted to stay in Srirangam. Ranganatha, captivated by the devotion of a King called Dharma Varma, who was doing penance to have Lord Ranganatha to permanently stay Srirangam, stayed put, promising to cast his benign glance eternally on Lanka. Hence it is that the deity (in a reclining posture) faces South.
HISTORY
The temple is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):
However, archaeological inscriptions are available only from the 10th century AD. The inscriptions in the temple belong to the Chola, Pandya, Hoysala and Vijayanagar dynasties who successively swayed the destinies of the Tiruchirapalli district. They range in date between the 9th and 16th centuries and are registered by the ephigraphical society.
The location where the Ranganathan idol was placed was later covered by an overgrowth of deep forests, due to disuse. After a very long time, a Chola king, chasing a parrot, accidentally found the idol. He then established the Ranganathaswamy temple as one of the largest temple complexes in the world.
According to historians, most dynasties that ruled the South - Cholas, Pandiyas, Hoysalas, Nayaks - assisted with renovation and in the observance of the traditional customs. Even during periods of internal conflicts amongst these dynasties, utter importance was given to the safety and maintenance of these temples. It is said that a Chola king presented the temple with a golden serpent couch. Some historians identify this king with Rajamahendra Chola, supposedly the son of Rajendra Chola II. But it is of interest to note that he never figures in the latter's inscriptions, neither in the 4th year (that shows various members of the family going on rampage in different regions) nor in the 9th year (that shows only one member of the second generation).
During the period of invasion by Malik Kafur and his forces in 1310–1311, the idol of the deity was stolen and taken to Delhi. In a daring exploit, devotees of Srirangam ventured to Delhi and enthralled the emperor with their histrionics. Moved by their talent, the emperor was pleased to gift them the presiding deity of Srirangam, which was requested by the performers. Things took a drastic turn immediately. Surathani, his daughter, had fallen in love with the deity and followed him to Srirangam. She prostrated herself to the God in front of the sanctum sanctorum and is believed to have attained the heavenly abode immediately. Even today, a painting of "Surathani" (known as Thulukha Nachiyar in Tamil) can be seen in her shrine near the Arjuna Mandap adjacent to the sanctum sanctorum for whom, chappathis (wheat bread) are made daily. The kalyana utsavam or wedding of Lord Ranganathar with Surathani is performed with great pomp every year.
Having assumed that the magical power of the deity had killed his daughter, there was a more severe second invasion to Srirangam in 1323 AD. The presiding deity was taken away before the Malik Kafur's troops reached Srirangam by a group led by the vaishnavite Acharaya (Guru), Pillai Lokacharyar, who died en route to Tirunelveli in Tamil Nadu. The Goddess Ranganayaki was taken in another separate procession. Swami Vedanta Desika, instrumental in planning the operations during the siege of the temple, closed the sanctum sanctorum of the temple with bricks, after the processions of the presiding deities had left, thereby protected the temple for generations to come. 13,000 Sri Vaishnavas, the people of Srirangam, laid down their lives in the fierce battle to ensure that the institution was protected. In the end, Devadasis, the danseuse of Srirangam, seduced the army chief, to save the temple.
After nearly six decades, the presiding deity returned to Srirangam and the same Swami Vedanta Desika, who had built a brick wall in front of the sanctum sanctorum, broke it open. The deity and the priestly wardens wandered southwards towards Madurai, then northeast towards Kerala, Mysore, Tirunarayanapuram, and finally in the hills of Tirumala Tirupati, where they remained until their reinstatement in 1371.
The Orlov diamond of 189.62 carats (37.924 g), is a large diamond that is part of the collection of the Diamond Fund of the Moscow Kremlin. The origin of this resplendent relic – described as having the shape and proportions of half a hen's egg. This diamond and a similar gem served as the eyes of the deity in the temple. Legends hold that a French soldier who had deserted during the Carnatic wars in Srirangam. Mention of the 2nd Carnatic war that was fought in Srirangam disguised himself as a Hindu convert and stole it in 1747.
ARCHITECTURE
The temple is enclosed by 7 concentric walls (termed prakarams (outer courtyard) or mathil suvar) with a total length of 32,592 feet or over six miles. This temple has 21 gopurams (towers), 39 pavilions, fifty shrines, Ayiram kaal mandapam (a hall of 1000 pillars) and several small water bodies inside. The space within the outer two prakarams (outer courtyard) is occupied by several shops, restaurants and flower stalls. Non-Hindus are allowed up to the second prakaram (outer courtyard) but not inside the gold topped sanctum sanctorum.
SHRINES
The vimanam (shrine over the sanctum sanctorum), the Ranga vimana is shaped like omkara (om symbol) and is plated with gold. Sri Ranganthar reclines on Adisesha, the coiled serpent. Images of Vibhishana, Brahma, Hanuman, Garuda, the symbols of Vishnu – conch and discuss are seen inside the sanctum. Ranganayaki shrine is in the second precinct of the temple. The common reference to the goddess is padi thaanda pathni, meaning lady who doesn't cross the boundaries of ethics. Literally, the festival deity of Ranganayaki also does not come out of the shrine and it is Ranganthar who visits Ranganayaki. There are three images of Ranganayaki within the sanctum.
The complex houses shrines of dozens of forms of Vishnu including Chakkarathazhwar, Narasimha, Rama, Hayagreeva and Gopala Krishna. There are separate shrines for Ranganayaki and the major saints in the Vaishnava tradition, including Ramanuja. The Venugopala shrine in the south-west corner of the fourth enclosure of the temple is the work of Chokkanatha Nayak. An inscription of 1674 specifies this Nayak king as the patron. The exterior of the vimana and attached mandap (hall) have finely worked pilasters with fluted shafts, double capitals and pendant lotus brackets. Sculptures are placed in the niches of three sides of the sanctuary walls; maidens enhance the walls in between. The elevation is punctuated with secondary set of pilasters that support shallow eaves at different levels to cap larger and smaller recesses. The sanctuary is crowned in the traditional fashion with a hemisphrical roof. The double-curved eaves of the entrance porch on the east side are concealed in a later columned hall. Dhanvantari, a great physician of ancient India is considered to be an incarnation of Vishnu – there is a separate shrine of Dhanvantari within the temple.
HALLS
The Hall of 1000 pillars (actually 953) is a fine example of a planned theatre-like structure and opposite to it, "Sesha Mandap", with its intricacy in sculpture, is a delight. The 1000-pillared hall made of granite was constructed in the Vijayanagara period (1336–1565) on the site of the old temple. The pillars consists of sculptures of wildly rearing horses bearing riders on their backs and trampling with their hoofs upon the heads of rampant tigers, seem only natural and congruous among such weird surroundings. The great hall is traversed by one wide aisle in the centre for the whole of its greater length, and intersected by transepts of like dimension running across at right angles. There still remain seven side aisles on each side, in which all the pillars are equally spaced out. The Garuda Madapa (hall of the legendary bird deity of Vishnu, garuda) located on the south side of the third enclosure is another Nayak addition. Courtly portrait sculptures, reused from an earlier structure, are fixed to the piers lining the central aisle. A free-standing shrine inside the hall contains a large seated figure of garuda; the eagle-headed god faces north towards the principal sanctum. The Kili mandapa (Hall of parrot) is located next to the Ranganatha shrine, in the first enclosure of the temple. Elephant balustrades skirt the access steps that ascend to a spacious open area. This is bounded by decorated piers with rearing animals and attached colonettes in the finest 17th-century manner. Four columns in the middle define a raised dais; their shafts are embellished with undulating stalks. The most artistically interesting of the halls that the Nayaks added to the complex is the Sesha Mandap on the east side of the fourth enclosure. The hall is celebrated for the leaping animals carved on to the piers at its northern end.
GOPURAMS
There are 21 gopurams (tower gateways), among which the towering 236-feet Rajagopuram (shrine of the main gateway) is the second tallest temple tower in Asia. The 73m high 13- tiered rajagopuram was built in 1987 by Ahobila Mutt and dominates the landscape for miles around, while the remaining 20 gopurams were built between the 14th and 17th centuries. The gopurams have pronounced projections in the middle of the long sides, generally with openings on each of the successive levels. The Vellai gopura (white tower) on the east side of the fourth enclosure has a steep pyramidal superstructure that reaches a height of almost 44m.
The structure of the rajagopuram remained incomplete at the base ('kalkaram', 17 meters high), for over 400 years. Started during the reign of Achyuta Deva Raya of Vijayanagar, the construction was given up after the king's death and apparently was not resumed owing to some political preoccupations or crisis. The Rajagopuram (the main gopuram) did not reach its current height of 73 m. until 1987, when the 44th Jeer of Ahobila Mutt initiated the process with the help of philanthropists and others. The whole structure was constructed in a span of eight years. The Rajagopuram was consecrated on 25 March 1987. The length and breadth at the base of the Rajagopuram is 166 feet and 97 feet, while the length and breadth at the top is 98 feet and 32 feet. Befitting the gargantuan dimensions of the structure, every one of the 13 glistening copper 'kalasams' atop the tower weighs 135 kg and measures 3.12m (height) by 1.56m (diameter).
ADMINISTRATION AND VISIT
The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu. An Executive officer appointed by the Board manages the temple along with Sri Azhagiya Manavala Perumal Temple, Pundarikakshan Perumal Temple at Thiruvellarai, Sri Vadivazhagiya Nambi Perumal Temple and Mariamman Temple at Anbil. There are three trustees and a chairman for the board of trustees. Annadhanam scheme, which provides free food to devotees, is implemented in the temple by the Board. Under the scheme, free food is offered to two hundred devotees every day in the temple and the expenditure is fully funded by the contributions from devotees.
FESTIVALS
The temple celebrates annual festival for almost 250 days a calendar year and Srirangam translates to cosmic stage or cosmic arena during the utsavam (festivals).
VAIKUNTA EKADESHI
Pagal Pathu (10 day time) and Ra Pathu (10 day night time) festival is celebrated in the month of Margazhi (December–January) for twenty days. The first ten days are referred as Pagal-Pathu (10 day day time festival) and the second half as Ra Pathu (10 day night-time festival). The first day of Ra pathu is Vaikunta Ekadashi. The eleventh day of each fortnight in Tamil calendar is called ekadesi and the holiest of all ekadesis as per vaishnavite tradition is the Vaikunta Ekadashi. Nammazhwar, one of the 12 azhwars, is believed to have ascended to vaikuntam (the heavenly abode of Vishnu) on this day. The devotion of the 9th-century poet, Nammazhwar, and his perceived ascent to heaven are enacted annually. During the festival, through song and dance, this place is affirmed to be Bhoologa Vaikunta(heaven on earth). Araiyar Sevai is a divine colloquim of araiyars, who recite and enact Nalayara Divya Prabanda, the 4000 verses of azhwars (Vaishnavite poets of the 7th–10th century). Araiyars are born to Araiyar tradition most prevalent in Sri Vaishnava families in Srirangam, Alwar Thirunagari and Srivilliputhur. The tradition of Araiyar Sevai was started by Nathamuni, a 10th-century Vaishnavite who compiled the works of azhwars. It is believed as per Hindu mythology that 33 crores of gods come down to witness the event. The festival deity is brought to the 1000-pillared hall on the morning of Vaikunta Ekadashi through the Paramapada Vasal (gate to paradise). Lakhs of pilgrims rush to enter it after the gate is opened and the deity passes through it as it is believed that one who enters here will reach vaikuntam (heaven) after death. The gate is open only during the ten days of Pagal Pathu (10 day day-time festival). On the last day of the festival, the poet Nammazhwar is said to be given salvation. The performance is enacted by priests and images in the temple depicts Nammazhwar as reaching heaven and getting liberation from the cycle of life and death. At that point, a member from the crowd of devotees, who are witnessing this passion play, goes up to the centre stage and requests Vishnu to return Nammazhwar to humanity, so that his words and form in the temple will continue to inspire and save the devotees. Following this performance of the salvation of Nammazhwar, the cantors are taken in procession round the temple.
JYESTABISHEKA
The annual gold ornament cleaning festival is called Jyestabisheka (first of anointing) and is celebrated during the Tamil month of aani (June–July). The idols of all deities are abluted with water brought in large vessels of gold and silver.
Brahmotsavam
Brahmotsavam (Prime festival) is held during the Tamil month of Panguni (March–April). The preliminaries like ankurapuranam, rakshabandanam, bherira thanam, dhrajarohanam and the sacrificial offerings in the yagasala are gone through as usual. The processions go round the Chitrai street in the evenings. On the second day, the deity is taken to a garden inside the temple. The deity is taken in a palanquin through the river Cauvery to a village on the opposite shore namely Jiyarpuram on the third day.
OTHER FESTIVALS
The annual temple chariot festival, called Rathothsavam is celebrated during the Tamil month of thai (January–February) and the processional deity, utsavar is taken round the temple in the temple car. Chitra Poornima is a festival based on the mythological incident of Gaj-graha (elephant crocodile). The elephant suffered in the jaws of crocodile and god rescued the elephant. Vasanthothsavam is celebrated during the Tamil month of vaikasi (May–June) which according to inscriptions is celebrated from 1444 AD.
COMPOSERS
Ranganathaswamy temple is the only one out of the 108 temples that was sung in praise by all the Azhwars(Divine saints of Tamil Bhakthi movement), having a total of 247 pasurams (divine hymns) against its name. Acharyas (guru) of all schools of thought – Advaita, Vishistadvaita and Dvaita recognise the immense significance the temple, regardless of their affiliation.
Nalayira Divya Prabhandam is a collection of 4000 hymns sung by twelve azhwars saints spread over 300 years (from the late 6th to 9th century AD) and collected by Nathamuni (910–990 AD). Divya Desams refer to 108 Vishnu temples that are mentioned in Nalayira Divya Prabandham. 105 of these are located in India, 1 in Nepal, while 2 are located outside of the Earthly realms. Divya in Tamil language indicates premium and Desam indicates place or temple. Periyalvar begins the decad on Srirangam with two puranic stories according to which Krishna restored to life the son of his guru Santipini and the children of a brahmin. Thondaradippodi Alvar and Thiruppaana Alvar have sung exclusively on Ranganatha. Andal attained Sri Ranganatha on completion of her Thiruppavai (a composition of 30 verses) in Srirangam. In total there are 247 hymns of the 4000 Pasurams dedicated to Ranganthar deity of this temple. Except Madhurakavi Alvar, all the other eleven azhwars have created Mangalasasanam (praise) about the Ranganathar in Srirangam. Out of 247, 35 are by Periyalvar, 10 by Aandaal, 31 by Kulasekara Alvar, 14 by Thirumalisai Alvar, 55 by Thondaradippodi Alvar, 10 by Thiruppaan Alvar, 73 by Thirumangai Alvar, one by Poigai Alvar,4 by Bhoothathalvar, two by Peyalvar and twelve by Nammalvar.
Kambar is a 12th-century Tamil poet who composed Kamba Ramayanam, a work inspired from the epic, Valmiki Ramayana. He is believed to have come to the temple to get the approval of his work from scholars. The Jain scholar Tirunarungundam honoured the work and it resulted in Tamil and Sanskrit scholars approving the work. The open hall where he recited his verse lies close to the Ranganayaki shrine within the temple.
Some of the religious works like Sri Bhashyam by Ramanuja, Sriranga Gadhyam by Vaikunta Gadhyam and Saranagadhi Gadhyam (Gadhyathrayam) by Ramanuja, Sri Renganathashtakam by Adi Shankaracharya, Paduka Sahasram by Swami Vedanta Desika, Rengaraja Stavam and Gunaratnakosham by Sri Parasar bhattar, Rengaraja Sthothram by Kurathazhwar, Bhagavaddhyana Sopnam and Abheethi Stavam by Swami Vedanta Desika are works that were exclusively composed in praise of Srirangam temple.
RELIGIOUS SIGNIFICANCE
The term Kovil is generally used in Tamil to signify any temple, for many Vaishnavas the term Kovil exclusively refers to this temple, indicating its extreme importance for them (for saivas and all other Tamil people the term kovil refers to Thillai Natarajar Golden Shrine (Chidambaram Temple)). The presiding deity Ranganathar is praised in many names by his devotees, including Nam Perumal (our god in Tamil), Azhagiya Manavaalan (beautiful groom in Tamil).
The temple is considered in the Alwar traditions as one of the eight Sywayambu Kshetras of Vishnu where presiding deity is believed to have manifested on its own. Seven other temples in the line are Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Naimisaranya, Pushkar and Badrinath Temple in North India.
Ramanuja was a theologian, philosopher, and scriptural exegete. He is seen by Śrīvaiṣṇavas as the third and most important teacher (ācārya) of their tradition (after Nathamuni and Yamunacharya), and by Hindus in general as the leading expounder of Viśiṣṭādvaita, one of the classical interpretations of the dominant Vedanta school of Hindu philosophy. Ramanuja renounced his family life and went to Srirangam to occupy the pontificate – Srirangam became the stronghold of him and his disciples. The doctrine of Vishishtadvaita philosophy, Sri Bhashyam was written and later compiled by him over a period of time. During his stay in Srirangam, he is said of have written "Gadhya Thrayam", which is recited in the temple during the ninth day (Panguni Uttaram) of the festival of Adi brahmotsavam. The temple is a center for the Vishishtadvaita school where Sanskrit Vedas and Tamil works are preached and taught with great reverence. He attained divinity in Srirangam. His Thaan-ana Thirumeni (the symbolic body) is preserved and offered prayers even today after eight centuries. The disciples of Ramanuja got his permission to install three metallic images, one each at Sriperumpudur, Melkote and the third, at Srirangam. The shrine is found in the fourth prakaram (outer courtyard) of the temple and the idol is preserved in the temple by applying saffron and camphor every six months in a ritualistic style. He is found seated in the Padmasana (yogic sitting posture), depicting the Gnyana-Mudrai (symbol of knowledge) with his right palm. "Kovil Ozhugu" is a codification of all temple practices, religious and administrative, shaped and institutionalised by Sri Ramanuja after receiving the due rights from Sri Thiruvarangathamudanar. A stone inscription to this effect is installed in the Arya patal vasal (main gate before the first precinct).
Pancharanga Kshetrams (also called Pancharangams, meaning the "five Rangams or Ranganathas") is a group of five sacred Hindu temples, dedicated to Ranganatha, a form of the god Vishnu, on the banks of the Kaveri River. The five Pancharanga Kshetrams in the order of their successive locations, on the banks of the Kaveri River are: The Srirangapatnam called the Adi Ranga, the first temple on the banks of the Kaveri River from the upstream side; the Sri Ranganathaswamy Temple at Srirangam known as Adya Ranga (the last temple), Appalarangam or Koviladi at Tiurppernagar in Tamil Nadu, Parimala Ranganatha Perumal Temple or Mayuram at Indalur, Mayiladuthurai and Vatarangam at Sirkazhi. The Sarangapani temple at Kumbakonam is mentioned in place of Vatarangam in some references.
WIKIPEDIA
Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".
The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.
Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.
ETYMOLOGY
The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).
In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".
HISTORY
According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:
The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.
Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.
In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.
In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.
In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.
A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."
Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.
MAIN SIGHTS
Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.
Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.
JANTAR MANTAR
The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.
RAMNAGAR FORT
The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.
GHATS
Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.
Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".
The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.
The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.
TEMPLES
Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.
Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.
The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.
There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.
While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.
Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.
The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.
The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.
RELIGION
HINDUISM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
ISLAM
Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.
As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.
In 2001, Hindus made up approximately 84% of the population of Varanasi District.
OTHERS
At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.
Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.
Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.
Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.
Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.
RELIGIOUS FESTIVALS
On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.
Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.
The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.
The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.
Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.
Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.
Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.
Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.
WIKIPEDIA
Reseña de Bailes Tipicos de Bolivia
Las danzas propiamente originarias se distinguen a primera vista por el empleo de plumas y cueros de animales en la vestimenta. De estas las danzas que quedan son las siguientes: Kachua, cintakaniris, sicuris, choqquelas, chiriguanos,pallapallas, qquenaqquenas, lichihuayus, chunchus, callahuadas, llameros, huitiquis, liphis, cañeros, cullahuas, tarkafucus, salquis, pacpacu, tairari, etc.
La Kachua fue una danza del amor. La ejecutaba la juventud soltera de ambos sexos, formando una gran rueda de personas que giraban de uno a otro lado, en la cual cada varon seguido por la moza con quien mantenia realciones amorosas, al verificarse los rapidos y generales movimientos de la rueda, bailaba a su vez con ella, agarrandola, algunos momentos, de la mano y otros enganchandola del brazo y haciendola dar vueltas aisladas, pero sin desprenderse del circulo comun ni alterar su orden. Los instrumentos mas usados en la kachua y el cintakaniris son flautas y tambores tocados solo a ratos, porque mas se rigen en sus movimientos coreograficos por el canto.
Los Sicuris o sopladores de zampoña son de tres clases: los suri-sicuris, los laquitas y los sulka-sicuris o yungueños. Los primeros llevan enormes plumeros sobre la cabeza en forma de paraguas adornados el centro por plumas de colores; visten pollerines de Genero blanco almidonado y planchado; sobre las espaldas les cubre diagonalmente un paño blanco. La musica es variada y es indudablemente una de las mejores y mas armoniosas del folklore boliviano.
Los laquitas llevan sombreros adornados de plumas, paños de colores sobre la espalda y tocan cuatro clases de zampoñas de gran tamaño de una sola fila. Son de numero indefinido y los preside un hombre que conduce sobre la cabeza un condor disecado con las alas extendidas (antiguamente); su musica es entusiasta.
Los Sulka-sicuris o yungueños visten ponchos vistosos y su mejor traje, tocan zampoñas de una sola fila de ocho flautas, y cajas pequeñas en forma de tambores; su musica es alegre, de ritmo vivo y energico. En estas danzas particularmente los suri-sicuris, las mujeres se presentan vestidas de chaquetillas de merino de colores y polleras de castilla, la cabeza con cintas y chaquiras, y en la mano derecha un pañuelo que se agita a menudo. La musica de los sicuris llamada ayarichi se destaca por sus notas variadas y su armoniosa ejecucion. En el canton de Italaque, de la antigua provincia Muñecas, se encuentran los mejores musicos de ese orden.
Los choqquelas llevan un cuero curtido de vicuña sobre la espalda, adornandose las extremidades con horlas de colores y pedazos de cintas. Visten pollerines de lienzo blanco, almidonados y encarrujados; la copa de los sombreros esta rodeada de plumas, unas veces blancas y otras rosadas. Dos o tres bailarines llevan colgados de las manos zorros y vicuñas disecadas, los que hacen representar en los intermedios.
Los lichihuayus, que anualmente bailan por la fiesta de Santiago en la region de Oruro, tocan la qquena y se compone cada grupo de seis o diez personas, vestidos con polleras blancas, una chaqueta de terciopelo bordada con lentejuelas y un sombrero plano que remata en un penacho de plumas.
Los llameros se diferencias por su traje, compuesto de un ponchillo matizado de diversos colores y guarnecido con flecos, de calcetas de lana blanca, que se las colocan como polainas, de un sombrero de copa aplastado por sus costados y terminado en punta. Se cubren el rostro con una mascara de yeso de aspecto agradable, en la cual la boca esta figurada en actitud de silbar. A cada varon sigue en el baile una moza con la rueca en la mano y un ovillo de hilo prendido al pecho en ademan de hilar. Los hombres a medida que bailan acostumbran agitar y hacer sonar la honda que traen consigo, aparentando espantar o arrear llamas. La musica es ejecutada con qquena, tocada con cierta dulzura, que se hace escuchar con agrado.
Con el nombre de chunchus, se conocia un baile establecido en epoca remotas por los indigenas del tropico sojuzgados por los kollas, que venian atavidos segun su costumbre a las fiestas de estos. Posteriormente les imitaron los kollas, cubriendose el cuerpo de plumas y simulando acciones propias de aquellos. Los bailarines llevaban flechas que descargaban segun la exigencia de la musica. Ultimamente han sustituido el uniforme de plumas con sayas de terciopelo cortas, de varios colores, bordadas con hilos de oro y plata y recargas de lentejuelas. Esta danza es propia de Tarija y es aun posible verla en la fiesta de San Roque.
Los callahuayas, se distinguen por las bolsas elegantes y grandes que traen bajo el brazo. Eran estas provenientes del ayllu de los curanderos y herbolarios del dominio kolla. Llevan sombreros comunes adornados con flores. El cuerpo cubierto de una camisa almidonada de genero blanco. La espalda y el pecho cruzados por bandas anchas, bordadas y acondicionadas en direcciones opuestas; encima de las bandas levan dos bolsas, cubiertas de monedas antiguas.
En varias de las danzas anteriores habia un actor que desempeñaba el papel comico con el nombre de kusillo o sea mono, haciendo cabriolas y visajes. El kusillo anima el buen humor de los danzantes, haciendo reir con frecuencia a los espectadores con sus dichos picarescos y las licencias que se toma. Ademas en las fiestas habia otro personaje bajo cuya autoridad se desenvolvian bailarines y concurrentes, era el brujo; y a falta de este el anciano mas caracterizado de la marca o pueblo.
Remontandonos a investigar el origen de estos bailes, considerados como propios de la raza, se nota que cada cual emana de la necesidad de venerar al animal u objeto material, bajo cuya proteccion se pone el ayllu (comunidad), y a quien suponia deber su existencia. Asi los qquenaqquenas, danza exclusivamente kolla, llevaban el cuero de tigre en señal de que provenian de el sus antepasados y de que, al usar esa piel se hacian invulnerables; los choqquelas se conceptuaban protegidos de la vicuña y el zorro, y se tendia a imitar la ligereza de la una y la estucia del ultimo. Los sicuris (baile kolla) era dedicado al suri y al condor, aves que entre ellos simbolizan la tormenta y la fuerza. Cada ayllu observa el uso de totems, segun la tradicion que tenian en su origen, pero el dios comunmente acatado por todos los ayllus kollas, fue el titi o tigre; por eso el cuero de este animal sagrado, rara vez dejaba de ser parte de sus disfraces en alguna forma. El baile entre los indigenas no constituia una simple diversion, tenia por objeto recordar su pasado y rendir culto a sus dioses penantes.
Algunas representaciones, a cual mas grotesca, tambien fueron introducidas por los españoles e impuestas a los indigenas. Como ejemplo esta la "mojiganga" que llamaban Juan de la Coba, se componia de tres negros vestidos con sacos y bonetes encarnados cabalgados en mulas o asnos, con timbales cubiertos de trapos del mismo color. Una multitud de muchachos andrajosos, de negros y sambos de mayor edad, hacian el acompañamiento con desordenada griteria. Entre Juan de la Coba y el pueblo habia una especie de dialogo compuesto de palabras toscas e indecentes.
De las muchas danzas implantadas en el regimen colonial, que han sobrevivido al tiempo, se distinguen la conocida con el nombre de huaca-tocoris o sea toros bailadores y los tinti caballos. El uniforme del huaca-tocoris consiste en un cuero de toro disecado sobre un fuste de madera, que tiene la forma de este animal, con una abertura circular en el lomo, por donde se introduce la persona y se sujeta a la cintura. Por delante va un indigena con la cara pintada de hollin, vestido de pantalon blanco; en una mano empuña una espada de madera y con la otra agita un pañuelo. Esta danza es la caricatura vulgar y ruda de la corrida de toros. La musica es monotona y estridente.
Los tinti caballos llevan fustes de caballitos de yeso, por cuyo centro se introduce un bailarin. Con una una mano agarra una campañilla y con la otra un pañuelo que segun las circunstancias las dan aplicacion. Siguen a los huaca-tocoris, con quiene forman la supuesta y burlesca cuadrilla de toreros.
Los danzantes es un baile en el que los bailarines se cubren las cabezas de grandes y pesados cascos de yeso, pintados de colores caprichosos. Se bailaba en Achacachi, en la fiesta de san Pedro. Este baile debio ser una derivacion de los Gigantones.
La diablada es una danza compuesta de individuos disfrazados todos ellos de diablos, con trajes vistosos y bordados con hilos de oro y plata, mascaras que representan figuras pintadas de vivos colores, y con grandes espuelas en los pies. Los grupos suelen constar de muchos miembros en cuyo centro domina el que esta disfrazado de arcangel San Miguel. Cuando mas soberbios y pagados de si mismos andan los diablos, se presenta San Miguel, reta a Satanas, lo humilla y lo abate; lo hace contemplar en el espejo que lleva consigo su rostro horroroso; luego se ponen a bailar juntos en una danza llena de satisfaccion y contento. Es un baile que encierra un simbolismo religioso propio del caracter y preocupacion de los españoles. La diablada tiene algo de satira porque refleja la rebeldia de los mitayos mineros contra la opresion y conquista española y la danza fue asi utilizada para expresar sus ansias de libertad. Su musica tiene cierto aire marcial pero esta llena de vitalidad. En la ciudad de Oruro es donde este baile se manifiesta con todo su esplendor.
Imitando y ridiculizando a la vez, el porte, vanidad y fanfarroneria de los soldados castellanos, los indigenas inventaron el baile de los ppakkacoches. En Oruro se llamaba palampas.
Los catripullis se diferencian por su indumento especial, formado por una saya de genero blanco almidonado y encarrujado, de una camisa del mismo genero y un pañuelo de madras verde que les cruza diagonalmente por la espalda. Sobre la cabeza llevan un casco de carton o lata. Bailan formando circulos, en cuyo centro hay dos indigenas disfrazados de negro y negra (con la cara pintada con betun), que hacen gracias y divierten a los demas.
Las danzas mestizas en las que predominan una mezcla de caracteristicas de bailes y notas indigenas con las extrañas venidas de afuera, como el misti-sicuris, compuesta de dos filas de bailarines, vestidos de chaquetas y pantalon corto, ambas piezas confeccionadas de generos de color, sombrero de falda ancha con plumas y toquilla de color. Tocan zampoñas; su musica es cadenciosa e impresiona agradablemente.
Las danzas indigenas cuando llegan a ser adoptadas por los mestizos son transformadas por completo en su indumento y aun en su musica. Algunos como los auqui-auquis se ponen grandes sombreros de paja tejida, con desproporcionadas faldas y caretas con lengua, barba balanca y rubia. Asi cada una de estas danzas se distingue por su traje, su musica y su significado.
Los hombres de color introducidos en el coloniaje en calidad de esclavos, tuvieron varios bailes peculiares. De estos, solo queda el tundiques y mururatas, que han llegado a popularizarse mucho. El vestido esta compuesto de un pantalon y saco de genero blanco y llevan en las manos dos pedazos de maderas, talladas y condentaduras apropiadas para producir un sonido aspero con el roce de ambas partes, y cascabeles en los pies. Entonan canciones que acompasan con el movimiento de los cascabeles y sonido de las maderas. Cantan y bailan con mucho donaire y mimica ritmica, sin perder un momento el compas
A los bailes españoles la influencia indigena les hizo adquirir nuevas formas y nuevas figuras, de mayor movimiento y de mas alegres cambios como en el Fandango, del que se derivaron el Khaluyu, la celebre Mecapaqueña.
El Khaluyu, como baile es distinto del huayñu , aunque la musica es semejante. La Mecapaqueña y el Khaluyu difieren un poco. La ultima es de menos figuras que la otra, pero mas animada y de mas constante zapateo. La Mecapaqueña fue el baile predilecto de la sociedad paceña y su nombre viene de haberse originado y ejecutado en el pueblo de Mecapaca, a donde en determinadas estaciones del año se retiraban las familias paceñas a descansar.
Actualmente la mecapaqueña ha sido olvidada y se le ha sustituido con un baile de extremados movimientos que ha tomado todas las figuras de la Cuadrilla francesa, son los movimientos y el compas del huayñu criollo.
De los numerosos bailes populares, que en otros tiempos se acostumbraban, solo tres han sobrevivido: el bailecito, el huayñu y la cueca . Los demas como los morenos mistti-sicuris y los auqui-auquis, son una derivacion de las danzas indigenas, con mezcla de figuras y vestimenta apropiada para su representacion y se desenvuelven al aire libre, en hileras y con movimientos agiles. Los tres primeros son ejecutados siempre al son de instrumentos de cuerda, acompañados estos de cantos o de flautas. La musica bailable mestiza se halla dominada por una profunda tristeza, en estos bailes se agita zapateando y se hace contorsiones con el cuerpo.
En el bailecito se colocan frente a frente hombre y mujer a una distancia apropiada, en seguida se mueve la pareja agitando los pañuelos, haciendo contorsiones con el cuerpo y diferentes pasos con los pies; dan dos vueltas enteras primero, dos medias vueltas despues y terminan la danza con una vuelta entera, en la que los movimientos de los danzantes son mas desenvueltos y animados por el jaleo y expresiones de aplauso de los concurrentes, por el furioso rasguear de la guitarra y por el entusiasmo de los cantores en levantar la voz.
El huayñu ha sido propiamente el baile originario de los indigenas. Lo ejecutaban en los intermedios de las demas danzas enfrentandose un hombre y una mujer en el centro de los bailarines que hacian rueda. Esta forma personal de bailar se llama huayñusiña. Actualmente se da el nombre de huayñu a una singular mezcla de las antiguas danzas denominadas agua de nieve, moza mala, bolero, en ciertas figuras y en otras se nota la influencia manifiesta de la muñcira gallega. Todas estas figuras han sido arregladas a la manera de ser y al tono del gusto nacional.
El huayñu lo bailan por parejas de hombres y mujeres colocadas en la misma forma que la anterior danza. Comienza por una vuelta entera, en seguida se para uno de los dos, mientras el otro comienza a danzar solo frente a su pareja el tiempo que considere necesario. Al terminar la figura la agarra de ambas manos y le hace dar una vuelta. Despues la pareja que ha permanecido quieta ejecuta a su vez otra figura distinta a la anterior y asi sucesivamente se van cambiando las figuras, cuidando que no se repitan . Es una danza de extremados movimientos en que las jovenes hacen excitantes quiebres de cintura y hacen diferentes pasos mientras se contonean y mueven los brazos.
La cueca fue el baile de preferencia de las clases aristocratas, durante el coloniaje y en los primeros años de la republica. Se enfrenta la pareja, suena la musica y comienza en canto; los bailarines avanzan y retroceden agitando los pañuelos. El hombre con una mano en la cadera y con otra batiendo el pañuelo acosa a su pareja; esta se hace la indiferente y baila seguida de aquel que continua asediandola. Dan vueltas enteras y medias vueltas, zapatenado y haciendo girar el hombre su pañuelo por sobre la cabeza de la mujer, o lo baja al nivel de sus rodillas. El hombre despliega toda su habilidad, redobla su donaire, ondula, zapatea hasta que la bailarina se para en medio de los palmoteos. El hombre hinca la rodilla a los pies de la mujer y termina el baile.
Otra danza al aire libre es la de los morenos o morenada , notable por el costoso traje que llevan. Este se compone de casaca de terciopelo de color, profusamente bordado con hilos de oro y de plata; chaleco y pantalon corto, igualmente bordados; medias de seda, calzado de charol, peluca y sombrero adornado con plumas.
Leaving the clothes outside the window to air-dry is a Chinese specialty. I didn’t use to think much of it until I have traveled the world and noticed that no one else does this except people in Hong Kong.
So many people does this that metal racks are often built in on the building itself. If the building does not come with a rack to hang anything, people in Hong Kong will hack their way out to crate racks themselves.
Pictured here is the facade of a public housing development in Hong Kong. You can see that several households have decided to create their own outdoor structures. Drying clothes outside the window requires some skills though—it is easy to lose clothes this way, and clearly one of the towels (or tshirt?) has fallen to the floor below.
These outside hanging racks are not unique to public housing either, they are seen everywhere. In more affluent neighbourhoods the racks are usually installed outside of the maids’ quarters.
Crazyisgood. Hong Kong Specialty.
# SML Data
+ Date: 2013-02-08 11:10:48 GMT+0800
+ Dimensions: 5087 x 3391
+ Exposure: 1/400 sec at f/5.6
+ Focal Length: 280 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + EF 1.4x Extender III
+ GPS: 22°25'16" N 114°13'33" E
+ Location: 中國香港馬鞍山錦豐苑J座錦蘭閣 中国香港马鞍山锦丰苑J座锦兰阁 Kam Fung Court Block J Kam Lan House, Ma On Shan, Hong Kong, China
+ Serial: SML.20130208.7D.21399
+ Workflow: Lightroom 4
+ Series: 形 Forms, Crazyisgood
“窗外晾杉 Drying Clothes Outside the Window” / 香港公共屋邨建築之形 Hong Kong Public Housing Architecture Forms / SML.20130208.7D.21399
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