View allAll Photos Tagged Ghanta
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Visit of Multan.
Visits:
-Tomb of Shah Rukn-e-Alam
-Mausoleum of Baha-ud-Din Zakaria
-Ghanta Ghar Clock Tower
-Shah Shams Tabriz Complex.
en.wikipedia.org/wiki/Mausoleums_of_Multan
en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam
en.wikipedia.org/wiki/Bahauddin_Zakariya
View of Multan.
Clock Tower.
Visits:
-Tomb of Shah Rukn-e-Alam
-Mausoleum of Baha-ud-Din Zakaria
-Ghanta Ghar Clock Tower
-Shah Shams Tabriz Complex.
en.wikipedia.org/wiki/Mausoleums_of_Multan
en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam
en.wikipedia.org/wiki/Bahauddin_Zakariya
Jodhpur, Clock Tower
Jodhpur is the second largest city in the Indian state of Rajasthan. It was formerly the seat of a princely state of the same name, the capital of the kingdom known as Marwar. Jodhpur is a popular tourist destination, featuring many palaces, forts and temples, set in the stark landscape of the Thar Desert. The city is known as the "Blue City" due to the vivid blue-painted houses around the Mehrangarh Fort.
Ghanta Ghar also known as the clock tower of Rajasthan was constructed by the Late Shri Sardar Singh Ji of Jodhpur.
(sources: en.wikipedia.org/wiki/Jodhpur and en.wikipedia.org/wiki/Ghanta_Ghar_%28Jodhpur%29)
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Interesting Chakrasamvara in Yab Yum
A rare twelve-armed and four faced form bronze figure of Chakrasamvara and Vajrayogini sat in Yab yum on a lotus throne, and its the fact that they are sat on the lotus throne that make this image rare as they are usually shown standing in alidhasana.
The couple very finely cast standing in embrace, she holding a skullcup and curved knife.
He is holding a vajra and ghanta in his principal hands, his radiating arms holding various other attributes.
Lovely deep brown patina.
Nepal/Tibet.
Material Bronze.
Age 19-20 century
Size 5" tall
Provenance, Treasures of Wisdoms private collection.
Comments most welcome.
About:
Chakrasamvara is sometimes called Heruka. The term Heruka is also be applied to all wrathful male deities of high-end tantra yoga. In Sanskrit Chakrasamvara means 'Born or arising from the Chakra'. The chakra refers to the wheel of life. Sometimes the deity is called 'Chakrasamvara' means "Binding the Chakra or controlling the Chakras. Chakrasamvara is a heruka which means a divine father energy & the two armed form of Chakrasamvara is often called Heruka. He is a principal meditational deity [Skt. Istha-devata especially of the Kagyu. The Chakrasamvara sadhana is in the mother class of the Anuttara Yoga Tantra. Their embrace symbolizes the union of wisdom and skillful means. They symbolize the sameness in the distinctions of relative truth and the non-distinctions of absolute truth. Chakrasaṃvara, the Wrathful Lord of the Wheel of Supreme Bliss, is one of the major meditational deities of the mother tantras.
Info internet.
Gatton Academy of Math & Science's Coach Cheryl Kirby-Stokes, David Suarez, Hasitha Ramisetti, Rithwik Ghanta, and Ngoc Nguyen of Bowling Green, KY, pose for a team during the 2019 National Science Bowl®, Thursday, April 25, 2019, in Washington, DC. Photo by Jack Dempsey, National Science Bowl®, Department of Energy, Office of Science
ak-ky-RAN-thees -- Greek: achyr (chaff); anthos (flower) ... Dave's Botanary
AS-per-uh -- rough ... Dave's Botanary
commonly known as: crocus stuff, crokars staff, devil's horsewhip, prickly chaff-flower • Assamese: অপমাগ apamaga, বনশোধ bonsodh, ওভতকাটা obhatakata , ওভটা গুটি obhota guti, ওভটাশোধ ovotasodh, উল্টিহট ultihot • Bengali: অপামার্গ apamarga, আপাং apang • Bodo: मोनामजारि mwnamzari • Garo: champang-michel • Gujarati: અઘેડો aghedo, અપામાર્ગ apamarga • Hajong: ultwa nengra • Hindi: अघाड़ा aghara, अपामार्ग apamarga, चिरचिरा chirchira, चिरचिटा chirchita, धानुष्का dhanushka, दुग्धिनिका dugdhinika, दुरभिग्रह durabhigrah, लटजीरा latjira, मधुकर madhukar, मयूर mayur, प्रत्यकपर्णी pratyakparni, प्रत्यकपुष्पी pratyakpushpi, तरुण tarun, उल्टा कांटा ulta kanta, वशीर vashir • Kachari: sam-songi • Kachchhi: કાંઢેરો આઘાડો kandero aghado • Kannada: ಉತ್ತರಾಣಿ uttarani • Karbi: non-phak-pe • Khasi: soh-byrthied • Koch: kachipha pan • Konkani: आघाडो aghado, ಕಾಂಟಮೊಗ್ರಿ kantamogri • Kuki: chik-kai-rek • Maithili: दतिवन dativan • Malayalam: വൻകടലാടി vankadalaadi • Manipuri: ꯈꯨꯖꯨꯝꯄꯦꯔꯦ khujumpere • Marathi: अघाडा aghada, अपामार्ग apamarga, खरमंजरी kharamanjari, किणी kini, सूराट suraat • Mizo: bu-chhawl, ui-hlo • Nepali: अकमारो akamaro, अपामार्ग apaamaarg, दतिवन datiwan, जम्दी jamdee, काली झार kaalee jhaar, उल्टो कुरो ulto kuro • Nyishi: torgom • Odia: ଆକୃତିଚ୍ଛତ୍ରା akrutichchhatra, ଅପାମାର୍ଗ apamarga, ଚମତ୍କାର chamatkara, ଧାମାର୍ଗବ dhamargaba, କେଶପର୍ଣ୍ଣୀ keshaparnni, ଖରମଞ୍ଜରୀ kharamanjari, କ୍ଷାରମଧ୍ଯ ksharamadhya, ପରାକ୍ପୁଷ୍ପୀ parakpushpi, ରକ୍ତ ବିନ୍ଦୁ rakta bindu, ରକ୍ତବିଟ୍ raktabit, ଶିଖୀ sikhi, ସ୍ଥୂଳ ମଞ୍ଜରୀ sthula manjari • Pali: मोरगु moragu • Punjabi: ਪੁੱਠ ਕੰਡਾ putth kanda • Rajasthani: आंधी झड़ा andhi jhara, लटजीरा latjira, मोडो कांटो modo kanto • Sanskrit: अधामार्गव adhamargava, अधोघण्टा adhoghanta, अध्वशल्य adhvashalya, आघाट aghata, आकृतिच्छत्त्रा akrticchattra, अक्षर akshara, अपामार्ग apamarga, चमत्कार chamatkara, धामार्गव dhamargava, धानुष्का dhanushka, दुरभिग्रह durabhigraha, घण्टा ghanta, गिरिकर्णिका girikarnika, काण्डीर kandira, करमण्डलिन् karamandalin, करम्भक karambhaka, कर्कटवल्ली karkatavalli, कर्कवल्ली karkavalli, कटुमञ्जरिका katumanjarika, केशपर्णी keshaparni, खरमञ्जरी kharamanjari, किणि kini, कीशपर्ण kishaparna, क्षारमध्य ksharamadhya, क्षवक kshavaka, कुब्ज kubja, लिङ्गवर्धिणी lingavardhini, मधुकर madhukara, महादिकटभी mahadikatabhi, महाशौण्डी mahashaundi, महाश्वेता mahashveta, मालाकण्ठ malakantha, मर्कटपिप्पली markatapippali, पाण्डुकण्टक pandukantaka, पङ्क्तिकण्टक panktikantaka, पराक्पुष्पी parakpushpi, पत्त्रिन् pattrin, प्रत्यक्पर्णी pratyakparni, प्रत्यक्पुष्पी pratyakpushpi, रक्तापामार्ग raktapamarga, शैखरिक shaikharika, शिखरिन् shikharin, शिरोवृत्तफल shirovrttaphala, स्फुलमञ्जरी sphulamanjari, स्थलमञ्जरी sthalamanjari, तृणशौण्डिका trnashaundika, वार vara, वशीर vashira • Santali: ᱪᱤᱯᱪᱤᱨᱤᱯ chipchirip • Tamil: ஆகாடம் akatam, அபாமார்க்கம் apamarkkam, நாயுரீஇ nay-urii, நாயுருவி nayuruvi • Telugu: అంటీశ antish, అపామార్గము apamaargamu, దుబ్బిన చెట్టు dubbinachettu, ప్రత్యక్పుష్పి pratyakpushpi, ఉత్తరేణు uttarenu • Tibetan: ཨ་པ་མ་རྒ a pa ma rga • Tulu: ಉತ್ತರಣೆ uttarane • Urdu: اگهاڙا aghara, چرچرا chirchira
botanical names: Achyranthes aspera L. ... synonyms & accepted infraspecifics listed at POWO, retrieved 19 October 2025
~~~~~ KNOWN DISTRIBUTION in INDIA ~~~~~
throughout mainland and her islands
Names compiled / updated at Names of Plants in India.
Rooftop decorations - Jodhpur.
The Clock Tower (Ghanta Ghar) also illuminated, seen in the distance.
Commonly known as " Ghanta Ghar" or Clock Tower in Hyderabad, Sindh, the Naval Rai Market Clock Tower was built in 1914. It is the ending point of Shahi Bazar that starts from the main gate of Pakka Fort. It is early morning so it is relatively calm.
Kandakarnan[(vernacular Ghanta Karnan , Ghanta (bells) and Karna (ears)] was a great devotee of Lord Shiva. For him Lord Shiva was the only God. He hung bells in his ears to prevent him from hearing Lord Vishnu's name being said. Hence he was called Kandakarnan. The story highlights the relation and unity of both the Gods, Saivism (followers of Lord Shiva) and Vaishnavism (followers of Lord Vishnu) and explains that there should be no racism among the religion. It brings out the poignant theme that all forms of Gods are manifestations of the same God.
This artwork is a figure of Vajradhara that is mostly made out of silver and has the dimensions of 16.5 × 10 × 7.6 cm. Originating from Southern Tibet in the 15th Century, this depiction of Vajradhara shows him holding both a bell and a thunderbolt while sitting in a meditating manner. This piece is a Gift of Marilynn B. Alsdorf and the reference number is 2014.1031. This image is in the public domain.
www.artic.edu/artworks/148390/vajradhara-buddha-seated-ho...
Naroshankar Temple :
Situated in Panchavati area, on the bank of river Godavari fondly called as anga by Nasikites - is Naroshankar Temple of Rameshwar built by Naroshankar Rajebahaddur in 1747. The architectural style of thetemple is called Maya style. It is one of the most beautiful pieces of temple architecture of the 18th century. The main temple is on a platform. Rather than inside of the temple, sculpture on the outer part is stunning. It has rows of striking designs. One layer is of decorative lacework. The next one is that of peacocks holding bead garlands. In four directions are statues of the saints in Padmasana one holding rosary, the other one a holy book - they are all scholars. Some of thestatues are deformed - their hands are broken. There is also an assembly of animals - tigers,monkeys, elephants etc. This depicts that Hindu culture is not limited only to human beings but also has relation with birds, animals, trees, and nature in general. The temple is surrounded by 11 feet fortification. In its four corners are umbrellas - called Meghadambari or Barasati. One of them was washed away by Godavari floods and only three are existing presently. The fortification also centres a Bell house in the front part. The famous bell,called Naroshankar Bell is fixed there. The bell is a victory memorial over Portuguese. The Maratha Ruler Bajirao Peshwa’s younger brother Chimaji Appa won the fort of Vasai against Portuguese. The famous knight of Peshwas - Mr Naroshankar Rajebahaddur played a critical role in this war. After winning the fort, Vasai Portuguese Church bell was removed, marched on elephant till Nashik with great celebration and offered to Naroshankar as a medal - an award for his bravery. It is made of bronze, with six feet diameter. The year engraved on it is 1921. The bell jingle can be heard up to 5 miles, it is said. This bell and its ringing is so famous that a phrase is coined after it in Marathi. If a woman is talking in a very high pitch, she is called Naroshankarachi ghanta(BELL)Recently renovation of the bell is undertaken by the Municipal Corporation of Nasik.
Visit of Multan.
Tombs.
Visits:
-Tomb of Shah Rukn-e-Alam
-Mausoleum of Baha-ud-Din Zakaria
-Ghanta Ghar Clock Tower
-Shah Shams Tabriz Complex.
en.wikipedia.org/wiki/Mausoleums_of_Multan
en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam
en.wikipedia.org/wiki/Bahauddin_Zakariya
Objets essentiels de la symbolique bouddhiste : la Cloche (bell, ghanta, drilbou ou dilbu) et le Vajra ou Diamant (thunderbolt, dorjé ou dorjey)
La cloche symbolise la connaissance de la vacuité (pôle féminin), elle est associée au Vajra qui est le symbole de la Compassion (pôle masculin)
Tibet
XVIIIè siècle
Don H.G. Beasley, Esq
British Museum (Londres)
Catalogue du musée
Multan is considered as one of the ancient and historical city of the world famous for the tombs and shrines of Sufis and Oliya-e-ikrams. Multan is generally known as the “city of Sufis”, city of saints and also it is honored as “Madina Tul Oliya.” The very first name of the city which is available in the ancient books is Mooltan. The Multan is also famous for its sweets mangoes in all over the world. The city is full of masques and tombs; also the historical bazaars and many handcrafted products are available which is usually made by camel skins.
The people of Multan are sweet like cotton and mangoes because of the very huge production of cotton and mangoes in Multan. The Multan is also famous for its Sohan Halwa and its franchises are also in the European countries. The cotton of Multan is also famous in all over the world that’s why the cotton industry is much flourished in Multan. This is all due to the reason that Multan is situated on the bend created by five rivers of Punjab, the province of
Mahishasuramardhini Mandapa (Cave Temple; also known as Yampuri) is an example of Indian rock-cut architecture dating from the late 7th century, of the Pallava dynasty. It is a rock-cut cave temple located on a hill, near a lighthouse, along with other caves in Mamallapuram. It is the one of the finest testimonials of ancient Vishwakarma Sthapathis (Vishwakarma sculpture). Mamallapuram, also popularly known as Mahabalipuram, is a small village to the south of Chennai, in the state of Tamil Nadu, India. The temple is part of the Group of Monuments at Mahabalipuram, a UNESCO World Heritage Site inscribed in 1984. This Cave Temple has many interesting architectural features of which three exquisitely carved reliefs on the cave walls of three sanctums are prominent. One is of Vishnu reclining on the seven hooded serpent, Adisesha, another of Durga, the main deity of the cave temple slaying the buffalo headed demon Mahishasura, and the third sanctum also has a sculpture of Vishnu. The cave also depicts many scenes from the Puranas (Hindu mythology stories in Sanskrit dating from the 5th century AD).
LEGEND
According to legend, Durga killed the demon Mahishasura, who was considered unconquerable. Hence, following his slaying, she was given the title Mahishasuramardhini (conqueror of Mahisha). The granite-carved cave temple depicts the goddess Mahishasuramardhini, considered an incarnation of the goddess Durga, and is named after her as "Mahishasuramardhini Cave Temple". The cave's interior relief depicts this battle. The goddess is shown riding a lion, her several arms holding a bow and arrow, pursuing the retreating Mahisha with his followers.
HISTORY
The cave is dated to the period of king Narasimhavarman Mahamalla (630–668 AD) of the Pallava dynasty, after whom the town is also named. The cave architecture is also said to be a continuation of the great religious themes that were carved in Western India. The cave reflects a transitional style of architecture in its columns mounted on seated lions and frescoes carved on the walls inside the cave which evolved during the rule of Pallava kings Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla. This style was continued by Mamalla's son Parameshvaravarman I. Historical research has also confirmed that Mahabalipuram town came to be established only after it was named after Mamalla and the caves and rathas are all attributed to his reign during the year 650 AD.
GEOGRAPHY
Mahishasura Mardhini Cave or Mantapa is situated on the top of a hill range along with other caves in Mahabalipuram town, on the Coromandel Coast of the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district, it is approximately 58 km from Chennai city (previously, Madras) and about 32 km from Chingelpet. A lighthouse is located beside it. A structural temple of the 8th century called the Olakkannesvara Temple (mistakenly called a Mahishasura temple) is situated near this cave at a vantage location which provides scenic views of Mamallapuram. The area is a high security zone as there is a nuclear power station a few kilometers to the south; hence, photography is prohibited.
LAYOUT
The cave shrine faces east and has three chambers. Its internal dimensions are 9.8 m in length, 4.6 m in width, and 3.8 m in height. There is frontal projection of the main central chamber when compared to the two chambers which flank it. In the front façade of the cave are 10 horseshoe-shaped windows which are kudus on the cornice; these are unfinished carvings. The cornice also depicts carvings of five gable-roofed semi-complete shrines. The façade has four carved pillars and two pilasters at the ends, which are part of the façade and are carved in the traditional Pallava architectural style. The central chamber is fronted by a small mukhamandapa (entrance porch), which has two carved pillars with lion bases in the Pallava style.
ARCHITECTURE
The mandapa is one of the most important caves in Mahabalipuram. It is dedicated to the goddess Mahishasuramardini, who is considered an incarnation of the goddess Durga. The mandapa is carved into the granite rock face of a hill. The verandah cut at the cave entrance, long and calumniated, has a composition of three chambers; the central chamber entrance depicts guardians (dwarapalas) on the flanks. The back wall of the central chamber features a carving of a Somaskanda panel; this panel is carved with images of Shiva and his consort Parvathi in their regal dress, each wearing a crown known as kirita-mukuta and other ornamentation, with their son Skanda seated between them. This panel also shows the carving of Nandi (bull), Shiva's mount (Vahana). Chandesa, an ardent devotee of Shiva, is carved to the left of the carved images of the trinity gods Shiva, Brahma, and Vishnu, who are shown standing behind the main image of Shiva and Parvathi. The carving of the trinity gods gives the impression that they are pleased with the seated couple of Shiva, his consort and their son. In the individual depiction, Brahma is carved with four heads and four hands, with the upper hands holding a water vessel and akshamala; the lower right hand is shown raised in an appreciative gesture to Shiva, while the left hand is in a kataka mudra. Vishnu's carving is also depicted with four hands; chakra and shankha are held in his upper hands, with the lower left hand showing a gesture of appreciation to Shiva, and the lower right hand held up in a kataka mudra. The image of Surya (Sun) is carved on the top part of the panel, between Brahma and Vishnu. A separate Brahma panel carving appears on the back wall of the left chamber, while the right chamber is repeated with a panel of Shiva that, according to the opinion of archaeologists, was originally meant to host a panel of Vishnu. Another interpretation mooted for the dominance of Shiva panels in this cave is that the religious leaning of the Kings who ruled at that time changed from Vaishnavism to Shavisim. Additionally, the Somaskanda panel in this cave is of a different architectural composition than similar panels carved in Dharmaraja Ratha, the Shore Temple, and the Atiranachanda Cave. Archeologists suggest the panel here was created during the reign of Rajasimha.
The north wall in the cave contains a relief depicting the battle scene of the two adversaries, goddess Durga and the demon buffalo-headed Mahishasura. This panel symbolizes the triumph of good over evil. The carving is considered one of the best creations of the Pallava period. In the war scene, Durga appears with eight hands riding a fierce-looking lion. She is holding a khadga (sword), dhanush (bow), bana (arrows), ghanta (bell) in her four right hands; her four left hands display pasa, sankha, and dagger. An attendant holds a chatra (parasol) over Durga's head. She is in the battlefield with her army of female warriors and ganas (dwarfs). She is shown attacking, with arrows, the demon Mahisha, causing him to retreat with his followers. Mahishasura is armed with a gada (club).
On the southern face of the cave, there is a panel of Vishnu in an Anantasayana mudra, a reclining posture, lying on the bed of a serpent. He is shown with two hands holding the coil of the five-headed serpent known as Adisesha, which forms a cover over Vishbu's head. Madhu and Kaitabha, the two demons, are carved near Vishnu's feet in an attacking mode, armed with a gada (mace). The demons are in a position of retreat, as Adisesha hisses at them with flames emerging from its hoods. Vishnu, unconcerned, is patting Adisesha to pacify him. Also shown in the panel are the two ganas (dwarfs). Dwarfs are Vishnu's ayudhapurushas (as his personified weapons); the male gana is known as shankha or Panchajanya, and the female gana is Vishnu's gada Kaumodaki. Also seen in the panel, at its lower end, are three figures; his chakra (discus) is Sudarshana in ayudha-purusha form, Nandaka on the right is his khadga (sword), and the female figure is Bhudevi, also as ayudha-purusha.
WIKIPEDIA
Siddhesvara Siva Temple is located inside the Kapilesvara temple precinct, Kapilesvara village, Old Town, Bhubaneswar. It was built in the 15th century AD. The temple is facing east and the presiding deity of the temple is a Siva lingam within a circular yonipitha, which is made of laterite. The cella of vimana is measuring 1.55 square m. The temple is made of sandstone and totally renovated one. It is under the care of Kapilesvara Temple Trust Board.
HISTORIC SIGNIFICANCE
According to the local priest this temple was constructed during the rule of Kapilendra Deva
CULTURAL SIGNIFICANCE
Sankranti, Jalasayi ceremony etc.
PHYSICAL DESCRIPTION
SURROUNDING
The temple is surrounded by Kapilesvara compound wall on its northern side at a distance of 4.20 m., Radhakrishna temple on its eastern side at a distance of 6 m.
ARCHITECTURAL FEATURES
The temple stands on a low platform measuring 3.50 square m with a height of 0.38 m. On plan, the temple has a vimana and a frontal porch measuring 3.55 m x 3.00 m.The vimana is 3.00 square m and the frontal porch is 0.40 m. On elevation, the temple is in pidha order with bada, gandi and mastaka. Bada is of five mouldings measuring 1.68 m. Gandi with three receding tiers measure 1.20 m. The mastaka consisting of beki, ghanta, amalaka, khapuri, kalasa and ayudha measure 0.80 m. From pabhaga to mastaka the total height of the temple is 3.68 m. The temple is a renovated one.
RAHA NICHE & PARSVA DEVATAS
The raha niches measure 0.33 m x 0.25 m x 0.18 m. The northern raha niche houses a four armed image of Goddess Parvati holding trident in her upper left hand and nagapasa in her upper right hand. The other two hands are in abhaya and varada mudra crowned with karanda mukuta. On the right side of the pedestal is the lion mount. The western raha niche enshrines a four armed standing Kartikeya. The image is holding arrow in his upper right hand and bow in his upper left hand. The major right hand is in the form of abhaya mudra, and cock in his major left hand. The image is also wearing karanda mukuta, Yanjopabita and necklace. The southern raha niche enshrines four armed image of Ganesa standing over a lotus pedestal. He is holding broken tusk in his major right hand and modaka patra in his major left hand, mace in his upper left hand and akshamala/ rosary in his upper right hand.Kalingan style of architecture is featured in the construction.
DECORATIVE FEATURES
Door jambs: The doorjambs are decorated with three vertical bands that measure 1.50 m in length x 0.90 m in width. Lintel: The lintel measures 1.30 m.
STATE OF PRESERVATION
Fair, Due to recent renovation. It was repaired by Odisha State Archaeology under X & XI Finance Commission Award.
WIKIPEDIA
In the heart of the old city where bustling Sardar Market lies in the shadow of the old clock tower, Ghanta Ghar. The tower was built by Maharaja Sardar Singh (1880-1911), after whom the market is named.
" Yoko Ono
IMAGINE PEACE: Think PEACE, Act PEACE, Spread PEACE.
Live Auction
Can it!!!
Vipp 70th Anniversary Auction at Design Within Reach
A Benefit for DIFFA: Design Industries Foundation Fighting AIDS "
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
Danish design company Vipp is celebrating its 70th anniversary this October by hosting Can It!!! - a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion.
PUBLIC VIEWING AND BIDDING, OCTOBER 15 – 28
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
PARTICIPATING DESIGNERS
Ami James, Avi Adler, Calvin Klein, Camilla Stærk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves Béhar/Fuseproject.
For more information call DIFFA @ 212-727-3100
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH
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(between Spring St & Prince St)
New York, NY 10012
(212) 475-0001
Hours:
Monday-Saturday
11am-7pm
Sunday
12pm-6pm
" Yoko Ono
IMAGINE PEACE: Think PEACE, Act PEACE, Spread PEACE.
Live Auction
Can it!!!
Vipp 70th Anniversary Auction at Design Within Reach
A Benefit for DIFFA: Design Industries Foundation Fighting AIDS "
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
Danish design company Vipp is celebrating its 70th anniversary this October by hosting Can It!!! - a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion.
PUBLIC VIEWING AND BIDDING, OCTOBER 15 – 28
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
PARTICIPATING DESIGNERS
Ami James, Avi Adler, Calvin Klein, Camilla Stærk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves Béhar/Fuseproject.
For more information call DIFFA @ 212-727-3100
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH
110 Greene St
(between Spring St & Prince St)
New York, NY 10012
(212) 475-0001
Hours:
Monday-Saturday
11am-7pm
Sunday
12pm-6pm
Gully Boy | Apna Time Aayega | Dance Cover | Ranveer Singh | Divine | Apna Time Aayega Gully Boy | Apna Time Aayega | Dance Cover | Ranveer Singh | Divine | Apna Time Aayega Lo Doston Apna Time Aagya ! Dekho Mazze Uthao Aur Comment Section Mein Zaroor Btao Kaisi Lagi Video ! Also Please like The video , Share it Among Your friends and Family and Subscribe To My Channel for More Amazing Dance Covers and Routines ! DANCER : AR Rakib & Be Biplob Biplob Youtube Channel : www.youtube.com/channel/UCboAZCtpKEwIkhbAUdHFvsg Song Credit : Excel Entertainment and Tiger Baby Present An Excel Entertainment production Composer – Dub Sharma & DIVINE Singer – Ranveer Singh Lyrics – DIVINE & Ankur Tewari Produced By – Dub Sharma Programming – Dub Sharma Backing Vocals – DIVINE Studio – Purple Haze Studios Mixing Engineer – Dub Sharma Mastered by Graeme Durham at The Exchange UK. Music Supervisor – Ankur Tewari DOP – Jay Oza ▼ Follow Me on Social▼ 🌐 Facebook : bit.ly/2zQaM3j 🌐 Facebook Page bit.ly/2j3gc3a 🌐 Twitter : :https://twitter.com/CrockxzRakib 🌐 Instagram : bit.ly/2zQaMAl 🌐 Google Plus : bit.ly/2j5asWB Lyrics: Uth ja apni raakh se Tu ud ja ab talaash mein Parwaaz dekh parwaane ki Aasmaan bhi sar uthaayega Aayega Apna Time Aayega Meray jaisa shaana lala tujhe na mil paayega Yeh shabdon ka jwaala meri bediyyan pighlaayega Jitna toonay boya hai tu Utna hee toh khaayega Aisa mera khwaab hai jo Darr ko bhi sataayega Zinda mera khwaab Kaise tu dafnaayega Ab hauslay se jee ne de Ab khauf nahin hai seenay mein Har raastay ko cheerengay Hum kaamyaabi chheenengay Sab kuch mila paseenay se Matlab bana ab jeene mein Kyon? Kyonki apna time aayega, Tu nanga hi toh aaya hai kya ghanta le kar jaayega. Apna time aayega x3 Tu nanga hi toh aaya hai kya ghanta le kar jaayega. Apna time aayega x3 Tu nanga hi toh aaya hai kya… Kissi ka haath Nahin tha sar par yahaan par aaya khud ki mehnat se main Jitni taakat kismet mein nahin Utni rehmat mein hai Phir bhi ladka sehmat nahin hai Kyonki hairat nahin hai Zaroorat yahaan marzi ki aur jurrat ki hai Taakat ki hai Aafat ki Himaakat ki Ibaadat ki Adaalat yeh Hai chahat ki Mohobbat ki Amaanat ki hai Jeetnay ki ab Aadat ki hai Shauhrat ki ab Laalach nahin hai Teray bhai jaisa koi Hardich nahin hai Iss Harkat ne hi barkat di hai, kyon? Kyunki apna time aayega, Tu nanga hi toh aaya hai kya ghanta le kar jaayega. Apna time aayega x 3 Tu nanga hi toh aaya hai kya ghanta le kar jaayega. Kya tu nanga hi toh aaya thhaa, Kya tu ghanta le kar jaayega. Apna time aayega, Apna time aayega na.
" Yoko Ono
IMAGINE PEACE: Think PEACE, Act PEACE, Spread PEACE.
Live Auction
Can it!!!
Vipp 70th Anniversary Auction at Design Within Reach
A Benefit for DIFFA: Design Industries Foundation Fighting AIDS "
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
Danish design company Vipp is celebrating its 70th anniversary this October by hosting Can It!!! - a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion.
PUBLIC VIEWING AND BIDDING, OCTOBER 15 – 28
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
PARTICIPATING DESIGNERS
Ami James, Avi Adler, Calvin Klein, Camilla Stærk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves Béhar/Fuseproject.
For more information call DIFFA @ 212-727-3100
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH
110 Greene St
(between Spring St & Prince St)
New York, NY 10012
(212) 475-0001
Hours:
Monday-Saturday
11am-7pm
Sunday
12pm-6pm
Vajra is a Sanskrit word meaning both thunderbolt and diamond. Additionally, it is a weapon which is used as a ritual object to symbolize both the properties of a diamond (indestructibility) and a thunderbolt (irresistible force).
It is also known as Bajra/बज्र (Nepali), vajram (Tamil), bojro (Bengali), bajra (Malay), dorje (Tibetan), dorji (Dzongkha), wajra (Indonesian), jīngāng, 金刚 (Chinese), geumgangjeo (Korean), kongōsho (Japanese) and Очир ochir / Базар Bazar (Mongolian).
The vajra is essentially a type of club with a ribbed spherical head. The ribs may meet in a ball-shaped top, or they may be separate and end in sharp points with which to stab. The vajra is used symbolically by the dharma traditions of Buddhism, Jainism and Hinduism, often to represent firmness of spirit and spiritual power. The use of the vajra as a symbolic and ritual tool spread from India along with Indian religion and culture to other parts of Asia.
EARLY DESCRIPTIONS
IN THE RIGVEDA
The earliest mention of the vajra is in the Rigveda, a part of four Vedas. It is described as the weapon of Indra, the god of heaven and the chief deity of the Rigvedic pantheon. Indra is described as using the vajra to kill sinners and ignorant persons. The Rigveda states that the weapon was made for Indra by Tvastar, the maker of divine instruments. The associated story describes Indra using the vajra, which he held in his hand, to slay the asura Vritra, who took the form of a serpent.
On account of his skill in wielding the vajra, some epithets used for Indra in the Rigveda were Vajrabhrit (bearing the vajra), Vajrivat or Vajrin (armed with the vajra), Vajradaksina (holding the vajra in his right hand), and Vajrabahu or Vajrahasta (holding the vajra in his hand). The association of the Vajra with Indra was continued with some modifications in the later Puranic literature, and in Buddhist works. Buddhaghosa, a major figure of Theravada Buddhism in the 5th century, identified the Bodhisattva Vajrapani with Indra.
IN THE PURANAS
Many later Puranas describe the vajra, with the story modified from the Rigvedic original. One major addition involves the role of the Sage Dadhichi. According to one account, Indra, the king of the deva was once driven out of devaloka by an asura named Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who had lost all hope of recovering his kingdom was said to have approached Shiva who could not help him. Indra along with Shiva and Brahma went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sage Dadhichi would defeat Vritra. Indra and the other deva therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the deva's request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisharanya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the gods fashioned the vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.
Another version of the story exists where Dadhichi was asked to safeguard the weapons of the gods as they were unable to match the arcane arts being employed by the asura to obtain them. Dadhichi is said to have kept at the task for a very long time and finally tiring of the job, he is said to have dissolved the weapons in sacred water which he drank. The deva returned a long time later and asked him to return their weapons so that they might defeat the asura, headed by Vritra, once in for all. Dadhichi however told them of what he had done and informed them that their weapons were now a part of his bones. However, Dadhichi, realising that his bones were the only way by which the deva could defeat the asura willingly gave his life in a pit of mystical flames he summoned with the power of his austerities. Brahma is then said to have fashioned a large number of weapons from Dadhichi's bones, including the vajrayudha, which was fashioned from his spine. The deva are then said to have defeated the asura using the weapons thus created.
There have also been instances where the war god Skanda (Murugan) is described as holding a vajra. Skanda is also the name of a Bodhisattva in Mahayana Buddhism who wields a vajra.
IN VAJRAYANA BUDDHISM
In Buddhism the vajra is the symbol of Vajrayana, one of the three major branches of Buddhism. Vajrayana is translated as "Thunderbolt Way" or "Diamond Way" and can imply the thunderbolt experience of Buddhist enlightenment or bodhi. It also implies indestructibility, just as diamonds are harder than other gemstones.
In Tantric Buddhism (Vajrayana) the vajra and ghanta (bell) are used in many rites by a lama or any Vajrayana practitioner of sadhana. The vajra is a male polysemic symbol that represents many things for the tantrika. The vajra is representative of upaya (skilful means) whereas its companion tool, the bell which is a female symbol, denotes prajna (wisdom). Some deities are shown holding each the vajra and bell in separate hands, symbolizing the union of the forces of compassion and wisdom, respectively.
In the tantric traditions of Buddhism, the vajra is a symbol for the nature of reality, or sunyata, indicating endless creativity, potency, and skillful activity. The term is employed extensively in tantric literature: the term for the spiritual teacher is the vajracharya; one of the five dhyani buddhas is vajrasattva, and so on. The practice of prefixing terms, names, places, and so on by vajra represents the conscious attempt to recognize the transcendental aspect of all phenomena; it became part of the process of "sacramentalizing" the activities of the spiritual practitioner and encouraged him to engage all his psychophysical energies in the spiritual life.
An instrument symbolizing vajra is also extensively used in the rituals of the tantra. It consists of a spherical central section, with two symmetrical sets of five prongs, which arc out from lotus blooms on either side of the sphere and come to a point at two points equidistant from the centre, thus giving it the appearance of a "diamond sceptre", which is how the term is sometimes translated.
Various figures in Tantric iconography are represented holding or wielding the vajra. Three of the most famous of these are Vajrasattva, Vajrapani, and Padmasambhava. Vajrasattva (lit. vajra-being) holds the vajra, in his right hand, to his heart. The figure of the Wrathful Vajrapani (lit. vajra in the hand) brandishes the vajra, in his right hand, above his head. Padmasambhava holds the vajra above his right knee in his right hand.
SYMBOLISM
The vajra is made up of several parts. In the center is a sphere which represents Sunyata, the primordial nature of the universe, the underlying unity of all things. Emerging from the sphere are two eight petaled lotus flowers. One represents the phenomenal world (or in Buddhist terms Samsara), the other represents the noumenal world (Nirvana). This is one of the fundamental dichotomies which are perceived by the unenlightened. The physical manifestation of the vajra, also called dorje in this context, is the male organ.
Arranged equally around the mouth of the lotus are two, four, or eight creatures which are called makara. These are mythological half-fish, half-crocodile creatures made up of two or more animals, often representing the union of opposites, (or a harmonisation of qualities that transcend our usual experience). From the mouths of the makara come tongues which come together in a point.
The five-pronged vajra (with four makara, plus a central prong) is the most commonly seen vajra. There is an elaborate system of correspondences between the five elements of the noumenal side of the vajra, and the phenomenal side. One important correspondence is between the five "poisons" with the five wisdoms. The five poisons are the mental states that obscure the original purity of a being's mind, while the five wisdoms are the five most important aspects of the enlightened mind. Each of the five wisdoms is also associated with a Buddha figure. (see also Five Wisdom Buddhas)
The following are the five poisons and the analogous five wisdoms with their associated Buddha figures:
IN POPULAR CULTURE
Param Vir Chakra, India's highest war time military decoration has a motif of Vajra, the mythic weapon of Indra created by the bones donated by sage Dadhichi, as tribute to his sacrifice.
Bangalore Metropolitan Transport Corporation Volvo B7RLE services are called as vajra.
In the fictional Hachibushū Legend of Heavenly Sphere Shurato, Shurato has a black vajra as his main weapon.
The word vajra is given to a fictional species of alien insects that serve as the main antagonists in the anime Macross Frontier.
In Soul Eater, Vajra is Asura's weapon.
Dorje is the name of a Brighton area rock band.
It is the nickname of the Indian Air Force aircraft Mirage 2000.
WIKIPEDIA
Visit of Multan.
Clock Tower.
Visits:
-Tomb of Shah Rukn-e-Alam
-Mausoleum of Baha-ud-Din Zakaria
-Ghanta Ghar Clock Tower
-Shah Shams Tabriz Complex.
en.wikipedia.org/wiki/Mausoleums_of_Multan
en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam
en.wikipedia.org/wiki/Bahauddin_Zakariya
Bangles for sale in the market at Ghanta Ghar, Jodhpur
Photo Credits - Preeti Kute
Editing - Vinay Nair
David Rockwell, Designer
Veronica Webb, Model
Nigel Barker, Fashion photographer
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
Danish design company Vipp is celebrating its 70th anniversary this October by hosting Can It!!! - a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion.
PUBLIC VIEWING AND BIDDING, OCTOBER 15 – 28
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
PARTICIPATING DESIGNERS
Ami James, Avi Adler, Calvin Klein, Camilla Stærk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves Béhar/Fuseproject.
For more information call DIFFA @ 212-727-3100
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH
110 Greene St
(between Spring St & Prince St)
New York, NY 10012
(212) 475-0001
Hours:
Monday-Saturday
11am-7pm
Sunday
12pm-6pm
Vajra is a Sanskrit word meaning both thunderbolt and diamond. Additionally, it is a weapon which is used as a ritual object to symbolize both the properties of a diamond (indestructibility) and a thunderbolt (irresistible force).
It is also known as Bajra/बज्र (Nepali), vajram (Tamil), bojro (Bengali), bajra (Malay), dorje (Tibetan), dorji (Dzongkha), wajra (Indonesian), jīngāng, 金刚 (Chinese), geumgangjeo (Korean), kongōsho (Japanese) and Очир ochir / Базар Bazar (Mongolian).
The vajra is essentially a type of club with a ribbed spherical head. The ribs may meet in a ball-shaped top, or they may be separate and end in sharp points with which to stab. The vajra is used symbolically by the dharma traditions of Buddhism, Jainism and Hinduism, often to represent firmness of spirit and spiritual power. The use of the vajra as a symbolic and ritual tool spread from India along with Indian religion and culture to other parts of Asia.
EARLY DESCRIPTIONS
IN THE RIGVEDA
The earliest mention of the vajra is in the Rigveda, a part of four Vedas. It is described as the weapon of Indra, the god of heaven and the chief deity of the Rigvedic pantheon. Indra is described as using the vajra to kill sinners and ignorant persons. The Rigveda states that the weapon was made for Indra by Tvastar, the maker of divine instruments. The associated story describes Indra using the vajra, which he held in his hand, to slay the asura Vritra, who took the form of a serpent.
On account of his skill in wielding the vajra, some epithets used for Indra in the Rigveda were Vajrabhrit (bearing the vajra), Vajrivat or Vajrin (armed with the vajra), Vajradaksina (holding the vajra in his right hand), and Vajrabahu or Vajrahasta (holding the vajra in his hand). The association of the Vajra with Indra was continued with some modifications in the later Puranic literature, and in Buddhist works. Buddhaghosa, a major figure of Theravada Buddhism in the 5th century, identified the Bodhisattva Vajrapani with Indra.
IN THE PURANAS
Many later Puranas describe the vajra, with the story modified from the Rigvedic original. One major addition involves the role of the Sage Dadhichi. According to one account, Indra, the king of the deva was once driven out of devaloka by an asura named Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who had lost all hope of recovering his kingdom was said to have approached Shiva who could not help him. Indra along with Shiva and Brahma went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sage Dadhichi would defeat Vritra. Indra and the other deva therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the deva's request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisharanya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the gods fashioned the vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.
Another version of the story exists where Dadhichi was asked to safeguard the weapons of the gods as they were unable to match the arcane arts being employed by the asura to obtain them. Dadhichi is said to have kept at the task for a very long time and finally tiring of the job, he is said to have dissolved the weapons in sacred water which he drank. The deva returned a long time later and asked him to return their weapons so that they might defeat the asura, headed by Vritra, once in for all. Dadhichi however told them of what he had done and informed them that their weapons were now a part of his bones. However, Dadhichi, realising that his bones were the only way by which the deva could defeat the asura willingly gave his life in a pit of mystical flames he summoned with the power of his austerities. Brahma is then said to have fashioned a large number of weapons from Dadhichi's bones, including the vajrayudha, which was fashioned from his spine. The deva are then said to have defeated the asura using the weapons thus created.
There have also been instances where the war god Skanda (Murugan) is described as holding a vajra. Skanda is also the name of a Bodhisattva in Mahayana Buddhism who wields a vajra.
IN VAJRAYANA BUDDHISM
In Buddhism the vajra is the symbol of Vajrayana, one of the three major branches of Buddhism. Vajrayana is translated as "Thunderbolt Way" or "Diamond Way" and can imply the thunderbolt experience of Buddhist enlightenment or bodhi. It also implies indestructibility, just as diamonds are harder than other gemstones.
In Tantric Buddhism (Vajrayana) the vajra and ghanta (bell) are used in many rites by a lama or any Vajrayana practitioner of sadhana. The vajra is a male polysemic symbol that represents many things for the tantrika. The vajra is representative of upaya (skilful means) whereas its companion tool, the bell which is a female symbol, denotes prajna (wisdom). Some deities are shown holding each the vajra and bell in separate hands, symbolizing the union of the forces of compassion and wisdom, respectively.
In the tantric traditions of Buddhism, the vajra is a symbol for the nature of reality, or sunyata, indicating endless creativity, potency, and skillful activity. The term is employed extensively in tantric literature: the term for the spiritual teacher is the vajracharya; one of the five dhyani buddhas is vajrasattva, and so on. The practice of prefixing terms, names, places, and so on by vajra represents the conscious attempt to recognize the transcendental aspect of all phenomena; it became part of the process of "sacramentalizing" the activities of the spiritual practitioner and encouraged him to engage all his psychophysical energies in the spiritual life.
An instrument symbolizing vajra is also extensively used in the rituals of the tantra. It consists of a spherical central section, with two symmetrical sets of five prongs, which arc out from lotus blooms on either side of the sphere and come to a point at two points equidistant from the centre, thus giving it the appearance of a "diamond sceptre", which is how the term is sometimes translated.
Various figures in Tantric iconography are represented holding or wielding the vajra. Three of the most famous of these are Vajrasattva, Vajrapani, and Padmasambhava. Vajrasattva (lit. vajra-being) holds the vajra, in his right hand, to his heart. The figure of the Wrathful Vajrapani (lit. vajra in the hand) brandishes the vajra, in his right hand, above his head. Padmasambhava holds the vajra above his right knee in his right hand.
SYMBOLISM
The vajra is made up of several parts. In the center is a sphere which represents Sunyata, the primordial nature of the universe, the underlying unity of all things. Emerging from the sphere are two eight petaled lotus flowers. One represents the phenomenal world (or in Buddhist terms Samsara), the other represents the noumenal world (Nirvana). This is one of the fundamental dichotomies which are perceived by the unenlightened. The physical manifestation of the vajra, also called dorje in this context, is the male organ.
Arranged equally around the mouth of the lotus are two, four, or eight creatures which are called makara. These are mythological half-fish, half-crocodile creatures made up of two or more animals, often representing the union of opposites, (or a harmonisation of qualities that transcend our usual experience). From the mouths of the makara come tongues which come together in a point.
The five-pronged vajra (with four makara, plus a central prong) is the most commonly seen vajra. There is an elaborate system of correspondences between the five elements of the noumenal side of the vajra, and the phenomenal side. One important correspondence is between the five "poisons" with the five wisdoms. The five poisons are the mental states that obscure the original purity of a being's mind, while the five wisdoms are the five most important aspects of the enlightened mind. Each of the five wisdoms is also associated with a Buddha figure. (see also Five Wisdom Buddhas)
The following are the five poisons and the analogous five wisdoms with their associated Buddha figures:
IN POPULAR CULTURE
Param Vir Chakra, India's highest war time military decoration has a motif of Vajra, the mythic weapon of Indra created by the bones donated by sage Dadhichi, as tribute to his sacrifice.
Bangalore Metropolitan Transport Corporation Volvo B7RLE services are called as vajra.
In the fictional Hachibushū Legend of Heavenly Sphere Shurato, Shurato has a black vajra as his main weapon.
The word vajra is given to a fictional species of alien insects that serve as the main antagonists in the anime Macross Frontier.
In Soul Eater, Vajra is Asura's weapon.
Dorje is the name of a Brighton area rock band.
It is the nickname of the Indian Air Force aircraft Mirage 2000.
WIKIPEDIA
Vajra is a Sanskrit word meaning both thunderbolt and diamond. Additionally, it is a weapon which is used as a ritual object to symbolize both the properties of a diamond (indestructibility) and a thunderbolt (irresistible force).
It is also known as Bajra/बज्र (Nepali), vajram (Tamil), bojro (Bengali), bajra (Malay), dorje (Tibetan), dorji (Dzongkha), wajra (Indonesian), jīngāng, 金刚 (Chinese), geumgangjeo (Korean), kongōsho (Japanese) and Очир ochir / Базар Bazar (Mongolian).
The vajra is essentially a type of club with a ribbed spherical head. The ribs may meet in a ball-shaped top, or they may be separate and end in sharp points with which to stab. The vajra is used symbolically by the dharma traditions of Buddhism, Jainism and Hinduism, often to represent firmness of spirit and spiritual power. The use of the vajra as a symbolic and ritual tool spread from India along with Indian religion and culture to other parts of Asia.
EARLY DESCRIPTIONS
IN THE RIGVEDA
The earliest mention of the vajra is in the Rigveda, a part of four Vedas. It is described as the weapon of Indra, the god of heaven and the chief deity of the Rigvedic pantheon. Indra is described as using the vajra to kill sinners and ignorant persons. The Rigveda states that the weapon was made for Indra by Tvastar, the maker of divine instruments. The associated story describes Indra using the vajra, which he held in his hand, to slay the asura Vritra, who took the form of a serpent.
On account of his skill in wielding the vajra, some epithets used for Indra in the Rigveda were Vajrabhrit (bearing the vajra), Vajrivat or Vajrin (armed with the vajra), Vajradaksina (holding the vajra in his right hand), and Vajrabahu or Vajrahasta (holding the vajra in his hand). The association of the Vajra with Indra was continued with some modifications in the later Puranic literature, and in Buddhist works. Buddhaghosa, a major figure of Theravada Buddhism in the 5th century, identified the Bodhisattva Vajrapani with Indra.
IN THE PURANAS
Many later Puranas describe the vajra, with the story modified from the Rigvedic original. One major addition involves the role of the Sage Dadhichi. According to one account, Indra, the king of the deva was once driven out of devaloka by an asura named Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who had lost all hope of recovering his kingdom was said to have approached Shiva who could not help him. Indra along with Shiva and Brahma went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sage Dadhichi would defeat Vritra. Indra and the other deva therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the deva's request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisharanya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the gods fashioned the vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.
Another version of the story exists where Dadhichi was asked to safeguard the weapons of the gods as they were unable to match the arcane arts being employed by the asura to obtain them. Dadhichi is said to have kept at the task for a very long time and finally tiring of the job, he is said to have dissolved the weapons in sacred water which he drank. The deva returned a long time later and asked him to return their weapons so that they might defeat the asura, headed by Vritra, once in for all. Dadhichi however told them of what he had done and informed them that their weapons were now a part of his bones. However, Dadhichi, realising that his bones were the only way by which the deva could defeat the asura willingly gave his life in a pit of mystical flames he summoned with the power of his austerities. Brahma is then said to have fashioned a large number of weapons from Dadhichi's bones, including the vajrayudha, which was fashioned from his spine. The deva are then said to have defeated the asura using the weapons thus created.
There have also been instances where the war god Skanda (Murugan) is described as holding a vajra. Skanda is also the name of a Bodhisattva in Mahayana Buddhism who wields a vajra.
IN VAJRAYANA BUDDHISM
In Buddhism the vajra is the symbol of Vajrayana, one of the three major branches of Buddhism. Vajrayana is translated as "Thunderbolt Way" or "Diamond Way" and can imply the thunderbolt experience of Buddhist enlightenment or bodhi. It also implies indestructibility, just as diamonds are harder than other gemstones.
In Tantric Buddhism (Vajrayana) the vajra and ghanta (bell) are used in many rites by a lama or any Vajrayana practitioner of sadhana. The vajra is a male polysemic symbol that represents many things for the tantrika. The vajra is representative of upaya (skilful means) whereas its companion tool, the bell which is a female symbol, denotes prajna (wisdom). Some deities are shown holding each the vajra and bell in separate hands, symbolizing the union of the forces of compassion and wisdom, respectively.
In the tantric traditions of Buddhism, the vajra is a symbol for the nature of reality, or sunyata, indicating endless creativity, potency, and skillful activity. The term is employed extensively in tantric literature: the term for the spiritual teacher is the vajracharya; one of the five dhyani buddhas is vajrasattva, and so on. The practice of prefixing terms, names, places, and so on by vajra represents the conscious attempt to recognize the transcendental aspect of all phenomena; it became part of the process of "sacramentalizing" the activities of the spiritual practitioner and encouraged him to engage all his psychophysical energies in the spiritual life.
An instrument symbolizing vajra is also extensively used in the rituals of the tantra. It consists of a spherical central section, with two symmetrical sets of five prongs, which arc out from lotus blooms on either side of the sphere and come to a point at two points equidistant from the centre, thus giving it the appearance of a "diamond sceptre", which is how the term is sometimes translated.
Various figures in Tantric iconography are represented holding or wielding the vajra. Three of the most famous of these are Vajrasattva, Vajrapani, and Padmasambhava. Vajrasattva (lit. vajra-being) holds the vajra, in his right hand, to his heart. The figure of the Wrathful Vajrapani (lit. vajra in the hand) brandishes the vajra, in his right hand, above his head. Padmasambhava holds the vajra above his right knee in his right hand.
SYMBOLISM
The vajra is made up of several parts. In the center is a sphere which represents Sunyata, the primordial nature of the universe, the underlying unity of all things. Emerging from the sphere are two eight petaled lotus flowers. One represents the phenomenal world (or in Buddhist terms Samsara), the other represents the noumenal world (Nirvana). This is one of the fundamental dichotomies which are perceived by the unenlightened. The physical manifestation of the vajra, also called dorje in this context, is the male organ.
Arranged equally around the mouth of the lotus are two, four, or eight creatures which are called makara. These are mythological half-fish, half-crocodile creatures made up of two or more animals, often representing the union of opposites, (or a harmonisation of qualities that transcend our usual experience). From the mouths of the makara come tongues which come together in a point.
The five-pronged vajra (with four makara, plus a central prong) is the most commonly seen vajra. There is an elaborate system of correspondences between the five elements of the noumenal side of the vajra, and the phenomenal side. One important correspondence is between the five "poisons" with the five wisdoms. The five poisons are the mental states that obscure the original purity of a being's mind, while the five wisdoms are the five most important aspects of the enlightened mind. Each of the five wisdoms is also associated with a Buddha figure. (see also Five Wisdom Buddhas)
The following are the five poisons and the analogous five wisdoms with their associated Buddha figures:
IN POPULAR CULTURE
Param Vir Chakra, India's highest war time military decoration has a motif of Vajra, the mythic weapon of Indra created by the bones donated by sage Dadhichi, as tribute to his sacrifice.
Bangalore Metropolitan Transport Corporation Volvo B7RLE services are called as vajra.
In the fictional Hachibushū Legend of Heavenly Sphere Shurato, Shurato has a black vajra as his main weapon.
The word vajra is given to a fictional species of alien insects that serve as the main antagonists in the anime Macross Frontier.
In Soul Eater, Vajra is Asura's weapon.
Dorje is the name of a Brighton area rock band.
It is the nickname of the Indian Air Force aircraft Mirage 2000.
WIKIPEDIA
If you have a desire to be fulfilled, tie the holy thread.
A Public Art Installation 'Mannat'
The bell known in sanskrit as the Ghanta/Ghanti is used in all poojas (Hindu worship) for invoking the gods. The ringing of the bell produces what is regarded as an auspicious sound. It produces the sound "Om". There should be auspiciousness within, to gain concentration inner peace and waken the self within. Each bell symbolizes energy and a connection to the mystery. Though different people worship different forms of gods and goddess, the unity of all of them is that mystic energy in the Hindu tradition. It is believed that tying a thread or bangle on the tree leads to the fulfillment of the devotees wishes.
Collaborative art project by Ulhas Kagde, Vaishali Kagde and Snehal Chordia.
Shot with Nikon 50mm 1.8 lens.
View of Multan.
Visits:
-Tomb of Shah Rukn-e-Alam
-Mausoleum of Baha-ud-Din Zakaria
-Ghanta Ghar Clock Tower
-Shah Shams Tabriz Complex.
en.wikipedia.org/wiki/Mausoleums_of_Multan
en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam
en.wikipedia.org/wiki/Bahauddin_Zakariya
Bateshwar is situated at a distance of 70 km from Agra. It is known for the 101 Shiv Bateshwar Temple situated on the banks of Yamuna and Shaouripur, near Bateshwar, which is the birthplace of the 22nd Tirthankar of Jain faith, Lord Neminath.. Bateshwar is the birth place of former prime minister Atal Bihari Vajpayee.
en.wikipedia.org/wiki/Bateshwar,_Uttar_Pradesh
A ghanta is an Indian bell used in Hindu rituals. The same term is also used to describe Buddhist bells.
Mahishasuramardhini Mandapa (Cave Temple; also known as Yampuri) is an example of Indian rock-cut architecture dating from the late 7th century, of the Pallava dynasty. It is a rock-cut cave temple located on a hill, near a lighthouse, along with other caves in Mamallapuram. It is the one of the finest testimonials of ancient Vishwakarma Sthapathis (Vishwakarma sculpture). Mamallapuram, also popularly known as Mahabalipuram, is a small village to the south of Chennai, in the state of Tamil Nadu, India. The temple is part of the Group of Monuments at Mahabalipuram, a UNESCO World Heritage Site inscribed in 1984. This Cave Temple has many interesting architectural features of which three exquisitely carved reliefs on the cave walls of three sanctums are prominent. One is of Vishnu reclining on the seven hooded serpent, Adisesha, another of Durga, the main deity of the cave temple slaying the buffalo headed demon Mahishasura, and the third sanctum also has a sculpture of Vishnu. The cave also depicts many scenes from the Puranas (Hindu mythology stories in Sanskrit dating from the 5th century AD).
LEGEND
According to legend, Durga killed the demon Mahishasura, who was considered unconquerable. Hence, following his slaying, she was given the title Mahishasuramardhini (conqueror of Mahisha). The granite-carved cave temple depicts the goddess Mahishasuramardhini, considered an incarnation of the goddess Durga, and is named after her as "Mahishasuramardhini Cave Temple". The cave's interior relief depicts this battle. The goddess is shown riding a lion, her several arms holding a bow and arrow, pursuing the retreating Mahisha with his followers.
HISTORY
The cave is dated to the period of king Narasimhavarman Mahamalla (630–668 AD) of the Pallava dynasty, after whom the town is also named. The cave architecture is also said to be a continuation of the great religious themes that were carved in Western India. The cave reflects a transitional style of architecture in its columns mounted on seated lions and frescoes carved on the walls inside the cave which evolved during the rule of Pallava kings Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla. This style was continued by Mamalla's son Parameshvaravarman I. Historical research has also confirmed that Mahabalipuram town came to be established only after it was named after Mamalla and the caves and rathas are all attributed to his reign during the year 650 AD.
GEOGRAPHY
Mahishasura Mardhini Cave or Mantapa is situated on the top of a hill range along with other caves in Mahabalipuram town, on the Coromandel Coast of the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district, it is approximately 58 km from Chennai city (previously, Madras) and about 32 km from Chingelpet. A lighthouse is located beside it. A structural temple of the 8th century called the Olakkannesvara Temple (mistakenly called a Mahishasura temple) is situated near this cave at a vantage location which provides scenic views of Mamallapuram. The area is a high security zone as there is a nuclear power station a few kilometers to the south; hence, photography is prohibited.
LAYOUT
The cave shrine faces east and has three chambers. Its internal dimensions are 9.8 m in length, 4.6 m in width, and 3.8 m in height. There is frontal projection of the main central chamber when compared to the two chambers which flank it. In the front façade of the cave are 10 horseshoe-shaped windows which are kudus on the cornice; these are unfinished carvings. The cornice also depicts carvings of five gable-roofed semi-complete shrines. The façade has four carved pillars and two pilasters at the ends, which are part of the façade and are carved in the traditional Pallava architectural style. The central chamber is fronted by a small mukhamandapa (entrance porch), which has two carved pillars with lion bases in the Pallava style.
ARCHITECTURE
The mandapa is one of the most important caves in Mahabalipuram. It is dedicated to the goddess Mahishasuramardini, who is considered an incarnation of the goddess Durga. The mandapa is carved into the granite rock face of a hill. The verandah cut at the cave entrance, long and calumniated, has a composition of three chambers; the central chamber entrance depicts guardians (dwarapalas) on the flanks. The back wall of the central chamber features a carving of a Somaskanda panel; this panel is carved with images of Shiva and his consort Parvathi in their regal dress, each wearing a crown known as kirita-mukuta and other ornamentation, with their son Skanda seated between them. This panel also shows the carving of Nandi (bull), Shiva's mount (Vahana). Chandesa, an ardent devotee of Shiva, is carved to the left of the carved images of the trinity gods Shiva, Brahma, and Vishnu, who are shown standing behind the main image of Shiva and Parvathi. The carving of the trinity gods gives the impression that they are pleased with the seated couple of Shiva, his consort and their son. In the individual depiction, Brahma is carved with four heads and four hands, with the upper hands holding a water vessel and akshamala; the lower right hand is shown raised in an appreciative gesture to Shiva, while the left hand is in a kataka mudra. Vishnu's carving is also depicted with four hands; chakra and shankha are held in his upper hands, with the lower left hand showing a gesture of appreciation to Shiva, and the lower right hand held up in a kataka mudra. The image of Surya (Sun) is carved on the top part of the panel, between Brahma and Vishnu. A separate Brahma panel carving appears on the back wall of the left chamber, while the right chamber is repeated with a panel of Shiva that, according to the opinion of archaeologists, was originally meant to host a panel of Vishnu. Another interpretation mooted for the dominance of Shiva panels in this cave is that the religious leaning of the Kings who ruled at that time changed from Vaishnavism to Shavisim. Additionally, the Somaskanda panel in this cave is of a different architectural composition than similar panels carved in Dharmaraja Ratha, the Shore Temple, and the Atiranachanda Cave. Archeologists suggest the panel here was created during the reign of Rajasimha.
The north wall in the cave contains a relief depicting the battle scene of the two adversaries, goddess Durga and the demon buffalo-headed Mahishasura. This panel symbolizes the triumph of good over evil. The carving is considered one of the best creations of the Pallava period. In the war scene, Durga appears with eight hands riding a fierce-looking lion. She is holding a khadga (sword), dhanush (bow), bana (arrows), ghanta (bell) in her four right hands; her four left hands display pasa, sankha, and dagger. An attendant holds a chatra (parasol) over Durga's head. She is in the battlefield with her army of female warriors and ganas (dwarfs). She is shown attacking, with arrows, the demon Mahisha, causing him to retreat with his followers. Mahishasura is armed with a gada (club).
On the southern face of the cave, there is a panel of Vishnu in an Anantasayana mudra, a reclining posture, lying on the bed of a serpent. He is shown with two hands holding the coil of the five-headed serpent known as Adisesha, which forms a cover over Vishbu's head. Madhu and Kaitabha, the two demons, are carved near Vishnu's feet in an attacking mode, armed with a gada (mace). The demons are in a position of retreat, as Adisesha hisses at them with flames emerging from its hoods. Vishnu, unconcerned, is patting Adisesha to pacify him. Also shown in the panel are the two ganas (dwarfs). Dwarfs are Vishnu's ayudhapurushas (as his personified weapons); the male gana is known as shankha or Panchajanya, and the female gana is Vishnu's gada Kaumodaki. Also seen in the panel, at its lower end, are three figures; his chakra (discus) is Sudarshana in ayudha-purusha form, Nandaka on the right is his khadga (sword), and the female figure is Bhudevi, also as ayudha-purusha.
WIKIPEDIA
Mahishasuramardhini Mandapa (Cave Temple; also known as Yampuri) is an example of Indian rock-cut architecture dating from the late 7th century, of the Pallava dynasty. It is a rock-cut cave temple located on a hill, near a lighthouse, along with other caves in Mamallapuram. It is the one of the finest testimonials of ancient Vishwakarma Sthapathis (Vishwakarma sculpture). Mamallapuram, also popularly known as Mahabalipuram, is a small village to the south of Chennai, in the state of Tamil Nadu, India. The temple is part of the Group of Monuments at Mahabalipuram, a UNESCO World Heritage Site inscribed in 1984. This Cave Temple has many interesting architectural features of which three exquisitely carved reliefs on the cave walls of three sanctums are prominent. One is of Vishnu reclining on the seven hooded serpent, Adisesha, another of Durga, the main deity of the cave temple slaying the buffalo headed demon Mahishasura, and the third sanctum also has a sculpture of Vishnu. The cave also depicts many scenes from the Puranas (Hindu mythology stories in Sanskrit dating from the 5th century AD).
LEGEND
According to legend, Durga killed the demon Mahishasura, who was considered unconquerable. Hence, following his slaying, she was given the title Mahishasuramardhini (conqueror of Mahisha). The granite-carved cave temple depicts the goddess Mahishasuramardhini, considered an incarnation of the goddess Durga, and is named after her as "Mahishasuramardhini Cave Temple". The cave's interior relief depicts this battle. The goddess is shown riding a lion, her several arms holding a bow and arrow, pursuing the retreating Mahisha with his followers.
HISTORY
The cave is dated to the period of king Narasimhavarman Mahamalla (630–668 AD) of the Pallava dynasty, after whom the town is also named. The cave architecture is also said to be a continuation of the great religious themes that were carved in Western India. The cave reflects a transitional style of architecture in its columns mounted on seated lions and frescoes carved on the walls inside the cave which evolved during the rule of Pallava kings Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla. This style was continued by Mamalla's son Parameshvaravarman I. Historical research has also confirmed that Mahabalipuram town came to be established only after it was named after Mamalla and the caves and rathas are all attributed to his reign during the year 650 AD.
GEOGRAPHY
Mahishasura Mardhini Cave or Mantapa is situated on the top of a hill range along with other caves in Mahabalipuram town, on the Coromandel Coast of the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district, it is approximately 58 km from Chennai city (previously, Madras) and about 32 km from Chingelpet. A lighthouse is located beside it. A structural temple of the 8th century called the Olakkannesvara Temple (mistakenly called a Mahishasura temple) is situated near this cave at a vantage location which provides scenic views of Mamallapuram. The area is a high security zone as there is a nuclear power station a few kilometers to the south; hence, photography is prohibited.
LAYOUT
The cave shrine faces east and has three chambers. Its internal dimensions are 9.8 m in length, 4.6 m in width, and 3.8 m in height. There is frontal projection of the main central chamber when compared to the two chambers which flank it. In the front façade of the cave are 10 horseshoe-shaped windows which are kudus on the cornice; these are unfinished carvings. The cornice also depicts carvings of five gable-roofed semi-complete shrines. The façade has four carved pillars and two pilasters at the ends, which are part of the façade and are carved in the traditional Pallava architectural style. The central chamber is fronted by a small mukhamandapa (entrance porch), which has two carved pillars with lion bases in the Pallava style.
ARCHITECTURE
The mandapa is one of the most important caves in Mahabalipuram. It is dedicated to the goddess Mahishasuramardini, who is considered an incarnation of the goddess Durga. The mandapa is carved into the granite rock face of a hill. The verandah cut at the cave entrance, long and calumniated, has a composition of three chambers; the central chamber entrance depicts guardians (dwarapalas) on the flanks. The back wall of the central chamber features a carving of a Somaskanda panel; this panel is carved with images of Shiva and his consort Parvathi in their regal dress, each wearing a crown known as kirita-mukuta and other ornamentation, with their son Skanda seated between them. This panel also shows the carving of Nandi (bull), Shiva's mount (Vahana). Chandesa, an ardent devotee of Shiva, is carved to the left of the carved images of the trinity gods Shiva, Brahma, and Vishnu, who are shown standing behind the main image of Shiva and Parvathi. The carving of the trinity gods gives the impression that they are pleased with the seated couple of Shiva, his consort and their son. In the individual depiction, Brahma is carved with four heads and four hands, with the upper hands holding a water vessel and akshamala; the lower right hand is shown raised in an appreciative gesture to Shiva, while the left hand is in a kataka mudra. Vishnu's carving is also depicted with four hands; chakra and shankha are held in his upper hands, with the lower left hand showing a gesture of appreciation to Shiva, and the lower right hand held up in a kataka mudra. The image of Surya (Sun) is carved on the top part of the panel, between Brahma and Vishnu. A separate Brahma panel carving appears on the back wall of the left chamber, while the right chamber is repeated with a panel of Shiva that, according to the opinion of archaeologists, was originally meant to host a panel of Vishnu. Another interpretation mooted for the dominance of Shiva panels in this cave is that the religious leaning of the Kings who ruled at that time changed from Vaishnavism to Shavisim. Additionally, the Somaskanda panel in this cave is of a different architectural composition than similar panels carved in Dharmaraja Ratha, the Shore Temple, and the Atiranachanda Cave. Archeologists suggest the panel here was created during the reign of Rajasimha.
The north wall in the cave contains a relief depicting the battle scene of the two adversaries, goddess Durga and the demon buffalo-headed Mahishasura. This panel symbolizes the triumph of good over evil. The carving is considered one of the best creations of the Pallava period. In the war scene, Durga appears with eight hands riding a fierce-looking lion. She is holding a khadga (sword), dhanush (bow), bana (arrows), ghanta (bell) in her four right hands; her four left hands display pasa, sankha, and dagger. An attendant holds a chatra (parasol) over Durga's head. She is in the battlefield with her army of female warriors and ganas (dwarfs). She is shown attacking, with arrows, the demon Mahisha, causing him to retreat with his followers. Mahishasura is armed with a gada (club).
On the southern face of the cave, there is a panel of Vishnu in an Anantasayana mudra, a reclining posture, lying on the bed of a serpent. He is shown with two hands holding the coil of the five-headed serpent known as Adisesha, which forms a cover over Vishbu's head. Madhu and Kaitabha, the two demons, are carved near Vishnu's feet in an attacking mode, armed with a gada (mace). The demons are in a position of retreat, as Adisesha hisses at them with flames emerging from its hoods. Vishnu, unconcerned, is patting Adisesha to pacify him. Also shown in the panel are the two ganas (dwarfs). Dwarfs are Vishnu's ayudhapurushas (as his personified weapons); the male gana is known as shankha or Panchajanya, and the female gana is Vishnu's gada Kaumodaki. Also seen in the panel, at its lower end, are three figures; his chakra (discus) is Sudarshana in ayudha-purusha form, Nandaka on the right is his khadga (sword), and the female figure is Bhudevi, also as ayudha-purusha.
WIKIPEDIA
The clock tower at the centre of the vibrant Sardar Market is a landmark in Jodhpur, Rajasthan, India. Known as Ghanta Ghar, it was constructed by Maharaja Sardar Singh (1880-1911).
We climbed the narrow stairs to the crammed top where the nice old clock keeper showed us the workings.
A rare twelve-armed and four faced form bronze figure of Chakrasamvara and Vajrayogini sat in Yab yum on a lotus throne, and it's the fact that they are sat on the lotus throne that make this image rare as they are usually shown standing in alidhasana.
The couple very finely cast standing in embrace, she holding a skullcup and curved knife.
He is holding a vajra and ghanta in his principal hands, his radiating arms holding various other attributes.
Lovely deep brown patina.
Nepal/Tibet.
Material Bronze.
Age 19-20 century
Size 5" tall
Provenance, Treasures of Wisdoms private collection.
Comments most welcome.
But what is “Yab-Yum” and what’s it all about?
Yab-Yum is the symbol of divine union. It is the posture in which man and women are united between Heaven and Earth: a classic meditation posture. In many lovemaking postures one of the couple are underneath the other, but in Yab-Yum, both are equally upright.