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The geothermal areas of Yellowstone include several geyser basins in Yellowstone National Park as well as other geothermal features such as hot springs, mud pots, and fumaroles. The number of thermal features in Yellowstone is estimated at 10,000. A study that was completed in 2011 found that a total of 1,283 geysers have erupted in Yellowstone, 465 of which are active during an average year. These are distributed among nine geyser basins, with a few geysers found in smaller thermal areas throughout the Park. The number of geysers in each geyser basin are as follows: Upper Geyser Basin (410), Midway Geyser Basin (59), Lower Geyser Basin (283), Norris Geyser Basin (193), West Thumb Geyser Basin (84), Gibbon Geyser Basin (24), Lone Star Geyser Basin (21), Shoshone Geyser Basin (107), Heart Lake Geyser Basin (69), other areas (33). Although famous large geysers like Old Faithful are part of the total, most of Yellowstone's geysers are small, erupting to only a foot or two. The hydrothermal system that supplies the geysers with hot water sits within an ancient active caldera. Many of the thermal features in Yellowstone build up sinter, geyserite, or travertine deposits around and within them.
The various geyser basins are located where rainwater and snowmelt can percolate into the ground, get indirectly superheated by the underlying Yellowstone hotspot, and then erupt at the surface as geysers, hot springs, and fumaroles. Thus flat-bottomed valleys between ancient lava flows and glacial moraines are where most of the large geothermal areas are located. Smaller geothermal areas can be found where fault lines reach the surface, in places along the circular fracture zone around the caldera, and at the base of slopes that collect excess groundwater. Due to the Yellowstone Plateau's high elevation the average boiling temperature at Yellowstone's geyser basins is 199 °F (93 °C). When properly confined and close to the surface it can periodically release some of the built-up pressure in eruptions of hot water and steam that can reach up to 390 feet (120 m) into the air (see Steamboat Geyser, the world's tallest geyser). Water erupting from Yellowstone's geysers is superheated above that boiling point to an average of 204 °F (95.5 °C) as it leaves the vent. The water cools significantly while airborne and is no longer scalding hot by the time it strikes the ground, nearby boardwalks, or even spectators. Because of the high temperatures of the water in the features it is important that spectators remain on the boardwalks and designated trails. Several deaths have occurred in the park as a result of falls into hot springs.
Prehistoric Native American artifacts have been found at Mammoth Hot Springs and other geothermal areas in Yellowstone. Some accounts state that the early people used hot water from the geothermal features for bathing and cooking. In the 19th century Father Pierre-Jean De Smet reported that natives he interviewed thought that geyser eruptions were "the result of combat between the infernal spirits". The Lewis and Clark Expedition traveled north of the Yellowstone area in 1806. Local natives that they came upon seldom dared to enter what we now know is the caldera because of frequent loud noises that sounded like thunder and the belief that the spirits that possessed the area did not like human intrusion into their realm. The first white man known to travel into the caldera and see the geothermal features was John Colter, who had left the Lewis and Clark Expedition. He described what he saw as "hot spring brimstone". Beaver trapper Joseph Meek recounted in 1830 that the steam rising from the various geyser basins reminded him of smoke coming from industrial smokestacks on a cold winter morning in Pittsburgh, Pennsylvania. In the 1850s famed trapper Jim Bridger called it "the place where Hell bubbled up".
The heat that drives geothermal activity in the Yellowstone area comes from brine (salty water) that is 1.5–3 miles (7,900–15,800 ft; 2,400–4,800 m) below the surface. This is actually below the solid volcanic rock and sediment that extends to a depth of 3,000 to 6,000 feet (900 to 1,800 m) and is inside the hot but mostly solid part of the pluton that contains Yellowstone's magma chamber. At that depth the brine is superheated to temperatures that exceed 400 °F (204 °C) but is able to remain a liquid because it is under great pressure (like a huge pressure cooker).
Convection of the churning brine and conduction from surrounding rock transfers heat to an overlaying layer of fresh groundwater. Movement of the two liquids is facilitated by the highly fractured and porous nature of the rocks under the Yellowstone Plateau. Some silica is dissolved from the fractured rhyolite into the hot water as it travels through the fractured rock. Part of this hard mineral is later redeposited on the walls of the cracks and fissures to make a nearly pressure-tight system. Silica precipitates at the surface to form either geyserite or sinter, creating the massive geyser cones, the scalloped edges of hot springs, and the seemingly barren landscape of geyser basins.
There are at least five types of geothermal features found at Yellowstone:
Fumaroles: Fumaroles, or steam vents, are the hottest hydrothermal features in the park. They have so little water that it all flashes into steam before reaching the surface. At places like Roaring Mountain, the result is loud hissing of steam and gases.
Geysers: Geysers such as Old Faithful are a type of geothermal feature that periodically erupt scalding hot water. Increased pressure exerted by the enormous weight of the overlying rock and water prevents deeper water from boiling. As the hot water rises it is under less pressure and steam bubbles form. They, in turn, expand on their ascent until the bubbles are too big and numerous to pass freely through constrictions. At a critical point the confined bubbles actually lift the water above, causing the geyser to splash or overflow. This decreases the pressure of the system and violent boiling results. Large quantities of water flash into tremendous amounts of steam that force a jet of water out of the vent: an eruption begins. Water (and heat) is expelled faster than the geyser's recharge rate, gradually decreasing the system's pressure and eventually ending the eruption.
Hot springs: Hot springs such as Grand Prismatic Spring are the most common hydrothermal features in the park. Their plumbing has no constrictions. Superheated water cools as it reaches the surface, sinks, and is replaced by hotter water from below. This circulation, called convection, prevents water from reaching the temperature needed to set off an eruption. Many hot springs give rise to streams of heated water.
Mudpots: Mudpots such as Fountain Paint Pots are acidic hot springs with a limited water supply. Some microorganisms use hydrogen sulfide (rotten egg smell), which rises from deep within the earth, as an energy source. They convert the gas into sulfuric acid, which breaks down rock into clay.
Travertine terraces: Travertine terraces, found at Mammoth Hot Springs, are formed from limestone (a rock type made of calcium carbonate). Thermal waters rise through the limestone, carrying high amounts of dissolved carbonate. Carbon dioxide is released at the surface and calcium carbonate deposited as travertine, the chalky white rock of the terraces. These features constantly and quickly change due to the rapid rate of deposition.
Geyser basins
The Norris Geyser Basin 44°43′43″N 110°42′16″W is the hottest geyser basin in the park and is located near the northwest edge of Yellowstone Caldera near Norris Junction and on the intersection of three major faults. The Norris-Mammoth Corridor is a fault that runs from Norris north through Mammoth to the Gardiner, Montana, area. The Hebgen Lake fault runs from northwest of West Yellowstone, Montana, to Norris. This fault experienced an earthquake in 1959 that measured 7.4 on the Richter scale (sources vary on exact magnitude between 7.1 and 7.8; see 1959 Hebgen Lake earthquake). Norris Geyser Basin is so hot and dynamic because these two faults intersect with the ring fracture zone that resulted from the creation of the Yellowstone Caldera of 640,000 years ago.
The Basin consists of three main areas: Porcelain Basin, Back Basin, and One Hundred Springs Plain. Unlike most of other geyser basins in the park, the waters from Norris are acidic rather than alkaline (for example, Echinus Geyser has a pH of ~3.5). The difference in pH allows for a different class of bacterial thermophiles to live at Norris, creating different color patterns in and around the Norris Basin waters.
The Ragged Hills that lie between Back Basin and One Hundred Springs Plain are thermally altered glacial kames. As glaciers receded the underlying thermal features began to express themselves once again, melting remnants of the ice and causing masses of debris to be dumped. These debris piles were then altered by steam and hot water flowing through them. Madison lies within the eroded stream channels cut through lava flows formed after the caldera eruption. The Gibbon Falls lies on the caldera boundary as does Virginia Cascades.
Algae on left bacteria on right at the intersection of flows from the Constant & Whirlgig Geysers at Norris Geyser Basin
The tallest active geyser in the world, Steamboat Geyser,[11] is located in Norris Basin. Unlike the slightly smaller but much more famous Old Faithful Geyser located in Upper Geyser Basin, Steamboat has an erratic and lengthy timetable between major eruptions. During major eruptions, which may be separated by intervals of more than a year (the longest recorded span between major eruptions was 50 years), Steamboat erupts over 300 feet (90 m) into the air. Steamboat does not lie dormant between eruptions, instead displaying minor eruptions of approximately 40 feet (12 m).
Norris Geyser Basin periodically undergoes a large-scale, basin-wide thermal disturbance lasting a few weeks. Water levels fluctuate, and temperatures, pH, colors, and eruptive patterns change throughout the basin. During a disturbance in 1985, Porkchop Geyser continually jetted steam and water; in 1989, the same geyser apparently clogged with silica and blew up, throwing rocks more than 200 feet (61 m). In 2003 a park ranger observed it bubbling heavily, the first such activity seen since 1991. Activity increased dramatically in mid-2003. Because of high ground temperatures and new features beside the trail much of Back Basin was closed until October. In 2004 the boardwalk was routed around the dangerous area and now leads behind Porkchop Geyser.
North of Norris, Roaring Mountain is a large, acidic hydrothermal area (solfatara) with many fumaroles. In the late 19th and early 20th centuries, the number, size, and power of the fumaroles were much greater than today. The fumaroles are most easily seen in the cooler, low-light conditions of morning and evening.
The Gibbon Geyser Basin 44°41′58″N 110°44′34″W includes several thermal areas in the vicinity of the Gibbon River between Gibbon Falls and Norris. The most accessible feature in the basin is Beryl Spring, with a small boardwalk right along the Grand Loop Road. Artists' Paintpots is a small hydrothermal area south of Norris Junction that includes colorful hot springs and two large mudpots.
The Monument Geyser Basin 44°41′03″N 110°45′14″W has no active geysers, but its 'monuments' are siliceous sinter deposits similar to the siliceous spires discovered on the floor of Yellowstone Lake. Scientists hypothesize that this basin's structures formed from a hot water system in a glacially dammed lake during the waning stages of the Pinedale Glaciation. The basin is on a ridge reached by a very steep one-mile (1.6 km) trail south of Artists' Paint Pots. Other areas of thermal activity in Gibbon Geyser Basin lie off-trail.
South of Norris along the rim of the caldera is the Upper Geyser Basin 44°27′52″N 110°49′45″W, which has the highest concentration of geothermal features in the park. This complement of features includes the most famous geyser in the park, Old Faithful Geyser, as well as four other predictable large geysers. One of these large geysers in the area is Castle Geyser which is about 1,400 feet (430 m) northwest of Old Faithful. Castle Geyser has an interval of approximately 13 hours between major eruptions, but is unpredictable after minor eruptions. The other three predictable geysers are Grand Geyser, Daisy Geyser, and Riverside Geyser. Biscuit Basin and Black Sand Basin are also within the boundaries of Upper Geyser Basin.
The hills surrounding Old Faithful and the Upper Geyser Basin are reminders of Quaternary rhyolitic lava flows. These flows, occurring long after the catastrophic eruption of 640,000 years ago, flowed across the landscape like stiff mounds of bread dough due to their high silica content.
Evidence of glacial activity is common, and it is one of the keys that allows geysers to exist. Glacier till deposits underlie the geyser basins providing storage areas for the water used in eruptions. Many landforms, such as Porcupine Hills north of Fountain Flats, are made up of glacial gravel and are reminders that 70,000 to 14,000 years ago, this area was buried under ice.
Signs of the forces of erosion can be seen everywhere, from runoff channels carved across the sinter in the geyser basins to the drainage created by the Firehole River. Mountain building is evident on the drive south of Old Faithful, toward Craig Pass. Here the Rocky Mountains reach a height of 8,262 feet (2,518 m), dividing the country into two distinct watersheds.
Midway Geyser Basin 44°31′04″N 110°49′56″W is much smaller than the other basins found alongside the Firehole River. Despite its small size, it contains two large features, the 200-by-300-foot-wide (60 by 90 m) Excelsior Geyser which pours over 4,000 U.S. gallons (15,000 L; 3,300 imp gal) per minute into the Firehole River. The largest hot spring in Yellowstone, the 370-foot-wide (110 m) and 121-foot-deep (37 m) Grand Prismatic Spring is found here. Also in the basin is Turquoise Pool and Opal Pool.
Lower Geyser Basin
Blue spring with steam rising from it; irregular blotches of red and orange residue are on the banks, along with dead tree trunks.
Silex Spring at Fountain Paint Pot
Farther north is the Lower Geyser Basin 44°32′58″N 110°50′09″W, which is the largest geyser basin in area, covering approximately 11 square miles. Due to its large size, it has a much less concentrated set of geothermal features, including Fountain Paint Pots. Fountain Paint Pots are mud pots, that is, a hot spring that contains boiling mud instead of water. The mud is produced by a higher acidity in the water which enables the spring to dissolve surrounding minerals to create an opaque, usually grey, mud. Also there is Firehole Spring, Celestine Pool, Leather Pool, Red Spouter, Jelly spring, and a number of fumaroles.
Geysers in Lower Geyser Basin include Great Fountain Geyser, whose eruptions reach 100 to 200 feet (30–61 m) in the air, while waves of water cascade down its sinter terraces., the Fountain group of Geysers (Clepsydra Geyser which erupts nearly continuously to heights of 45 feet (14 m), Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, and Spasm Geyser), the Pink Cone group of geysers (Dilemma Geyser, Labial Geyser, Narcissus Geyser, Pink Geyser, and Pink Cone Geyser), the White Dome group of geysers (Crack Geyser, Gemini Geyser, Pebble Geyser, Rejuvenated Geyser, and White Dome Geyser), as well as Sizzler Geyser.
Clepsydra Geyser erupting. July 2019
Fountain Paint Pots
White Dome Geyser
West Thumb Geyser Basin
Several pools of blue water in ashen rock basin.
West Thumb Geyser Basin
Blackened basin with orange streaks; steam is rising from it with fir trees in the background.
Overflow areas of Silex springs
The West Thumb Geyser Basin 44°25′07″N 110°34′23″W, including Potts Basin to the north, is the largest geyser basin on the shores of Yellowstone Lake. The heat source of the thermal features in this location is thought to be relatively close to the surface, only 10,000 feet (3,000 m) down. West Thumb is about the same size as another famous volcanic caldera, Crater Lake in Oregon, but much smaller than the great Yellowstone Caldera which last erupted about 640,000 years ago. West Thumb is a caldera within a caldera.
West Thumb was created approximately 162,000 years ago when a magma chamber bulged up under the surface of the earth and subsequently cracked it along ring fracture zones. This in turn released the enclosed magma as lava and caused the surface above the emptied magma chamber to collapse. Water later filled the collapsed area of the caldera, forming an extension of Yellowstone Lake. This created the source of heat and water that feed the West Thumb Geyser Basin today.
The thermal features at West Thumb are not only found on the lake shore, but extend under the surface of the lake as well. Several underwater hydrothermal features were discovered in the early 1990s and can be seen as slick spots or slight bulges in the summer. During the winter, the underwater thermal features are visible as melt holes in the icy surface of the lake. The surrounding ice can reach three feet (one yard) in thickness.
Perhaps the most famous hydrothermal feature at West Thumb is a geyser on the lake shore known as Fishing Cone. Walter Trumbull of the 1870 Washburn-Langford-Doane Expedition described a unique event while a man was fishing adjacent to the cone: "...in swinging a trout ashore, it accidentally got off the hook and fell into the spring. For a moment it darted about with wonderful rapidity, as if seeking an outlet. Then it came to the top, dead, and literally boiled." Fishing Cone erupted frequently to the height of 40 feet (12 m) in 1919 and to lesser heights in 1939. One fisherman was badly burned in Fishing Cone in 1921. Fishing at the geyser is now prohibited.
Early visitors would arrive at West Thumb via stagecoach from the Old Faithful area. They had a choice of continuing on the stagecoach or boarding the steamship Zillah to continue the journey by water to Lake Hotel. The boat dock was located near the south end of the geyser basin near Lakeside Spring.
Backcountry Geyser Basins
The Heart Lake 44°18′00″N 110°30′56″W, Lone Star 44°24′50″N 110°49′04″W, and Shoshone Geyser Basins 44°21′16″N 110°47′57″W are located away from the road and require at least several miles of hiking to reach. These areas lack the boardwalks and other safety features of the developed areas. As falling into geothermal features can be fatal, it is usually advisable to visit these areas with an experienced guide or at the very least, travelers need to ensure they remain on well-marked trails.
The Heart Lake Geyser Basin contains several groups of geysers and deep blue hot springs near Heart Lake in the south-central portion of Yellowstone, southeast of most of the main geyser basins. Lying in the Snake River watershed east of Lewis Lake and south of Yellowstone Lake, Heart Lake was named sometime before 1871 for Hart Hunney, a hunter. Other explorers in the region incorrectly assumed that the lake's name was spelled 'heart' because of its shape. The Heart Lake Geyser Basin begins a couple miles from the lake and descends along Witch Creek to the lakeshore. Five groups of hydrothermal features comprise the basin, and all of them contain geysers, although some are dormant.
Between Shoshone Lake and Old Faithful is the Lone Star Geyser Basin, of which the primary feature is Lone Star Geyser, named for its isolation from the nearby geysers of the Upper Geyser Basin. The basin is reachable on foot or bicycle via a 3 mile road that is closed to vehicles.
The Shoshone Geyser Basin, reached by hiking or by boat, contains one of the highest concentrations of geysers in the world – more than 80 in an area 1,600 by 800 feet (490 by 240 m). Hot springs and mudpots dot the landscape between the geyser basin and Shoshone Lake.
Hot Spring Basin is located 15 miles (24 km) north-northeast of Fishing Bridge and has one of Yellowstone's largest collections of hot springs and fumaroles. The geothermal features there release large amounts of sulfur. This makes water from the springs so acidic that it has dissolved holes in the pants of people who sit on wet ground and causes mounds of sulfur three feet (1 m) high to develop around fumaroles. The very hot acidic water and steam have also created voids in the ground that are only covered by a thin crust.
Mammoth Hot Springs is a large complex of hot springs on a hill of travertine in Yellowstone National Park adjacent to Fort Yellowstone and the Mammoth Hot Springs Historic District. It was created over thousands of years as hot water from the spring cooled and deposited calcium carbonate (over two tons flow into Mammoth each day in a solution). Because of the huge amount of geothermal vents, travertine flourishes. Although these springs lie outside the caldera boundary, their energy has been attributed to the same magmatic system that fuels other Yellowstone geothermal areas.
The thermal features at Mud Volcano and Sulphur Caldron are primarily mud pots and fumaroles because the area is situated on a perched water system with little water available. Fumaroles or "steam vents" occur when the ground water boils away faster than it can be recharged. Also, the vapors are rich in sulfuric acid that leaches the rock, breaking it down into clay. Because no water washes away the acid or leached rock, it remains as sticky clay to form a mud pot. Hydrogen sulfide gas is present deep in the earth at Mud Volcano and is oxidized to sulfuric acid by microbial activity, which dissolves the surface soils to create pools and cones of clay and mud. Along with hydrogen sulfide, steam, carbon dioxide, and other gases explode through the layers of mud.
A series of shallow earthquakes associated with the volcanic activity in Yellowstone struck this area in 1978. Soil temperatures increased to nearly 200 °F (93 °C). The slope between Sizzling Basin and Mud Geyser, once covered with green grass and trees, became a barren landscape of fallen trees known as "the cooking hillside".
Yellowstone National Park is a national park located in the western United States, largely in the northwest corner of Wyoming and extending into Montana and Idaho. It was established by the 42nd U.S. Congress with the Yellowstone National Park Protection Act and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. The park is known for its wildlife and its many geothermal features, especially the Old Faithful geyser, one of its most popular. While it represents many types of biomes, the subalpine forest is the most abundant. It is part of the South Central Rockies forests ecoregion.
While Native Americans have lived in the Yellowstone region for at least 11,000 years, aside from visits by mountain men during the early-to-mid-19th century, organized exploration did not begin until the late 1860s. Management and control of the park originally fell under the jurisdiction of the U.S. Department of the Interior, the first Secretary of the Interior to supervise the park being Columbus Delano. However, the U.S. Army was eventually commissioned to oversee the management of Yellowstone for 30 years between 1886 and 1916. In 1917, the administration of the park was transferred to the National Park Service, which had been created the previous year. Hundreds of structures have been built and are protected for their architectural and historical significance, and researchers have examined more than a thousand archaeological sites.
Yellowstone National Park spans an area of 3,468.4 sq mi (8,983 km2), comprising lakes, canyons, rivers, and mountain ranges. Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest super volcano on the continent. The caldera is considered a dormant volcano. It has erupted with tremendous force several times in the last two million years. Well over half of the world's geysers and hydrothermal features are in Yellowstone, fueled by this ongoing volcanism. Lava flows and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
Hundreds of species of mammals, birds, fish, reptiles, and amphibians have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous megafauna location in the contiguous United States. Grizzly bears, cougars, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States. Forest fires occur in the park each year; in the large forest fires of 1988, nearly one-third of the park was burnt. Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing, and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Teton County is a county in the U.S. state of Wyoming. As of the 2020 United States Census, the population was 23,331. Its county seat is Jackson. Its west boundary line is also the Wyoming state boundary shared with Idaho and the southern tip of Montana. Teton County is part of the Jackson, WY-ID Micropolitan Statistical Area.
Teton County contains the Jackson Hole ski area, all of Grand Teton National Park, and 40.4% of Yellowstone National Park's total area, including over 96.6% of its water area (largely in Yellowstone Lake).
Wyoming is a state in the Mountain West subregion of the Western United States. It borders Montana to the north and northwest, South Dakota and Nebraska to the east, Idaho to the west, Utah to the southwest, and Colorado to the south. With a population of 576,851 in 2020, Wyoming is the least populous state despite being the 10th largest by area, with the second-lowest population density after Alaska. The state capital and most populous city is Cheyenne, which had an estimated population of 63,957 in 2018.
Wyoming's western half consists mostly of the ranges and rangelands of the Rocky Mountains; its eastern half consists of high-elevation prairie, and is referred to as the High Plains. Wyoming's climate is semi-arid in some parts and continental in others, making it drier and windier overall than other states, with greater temperature extremes. The federal government owns just under half of Wyoming's land, generally protecting it for public uses. The state ranks sixth in the amount of land—-and fifth in the proportion of its land—-that is owned by the federal government. Its federal lands include two national parks (Grand Teton and Yellowstone), two national recreation areas, two national monuments, and several national forests, as well as historic sites, fish hatcheries, and wildlife refuges.
Indigenous peoples inhabited the region for thousands of years. Historic and currently federally recognized tribes include the Arapaho, Crow, Lakota, and Shoshone. Part of the land that is now Wyoming came under American sovereignty via the Louisiana Purchase, part via the Oregon Treaty, and, lastly, via the Mexican Cession. With the opening of the Oregon Trail, the Mormon Trail, and the California Trail, vast numbers of pioneers travelled through parts of the state that had once been traversed mainly by fur trappers, and this spurred the establishment of forts, such as Fort Laramie, that today serve as population centers. The Transcontinental Railroad supplanted the wagon trails in 1867 with a route through southern Wyoming, bringing new settlers and the establishment of founding towns, including the state capital of Cheyenne. On March 27, 1890, Wyoming became the union's 44th state.
Farming and ranching, and the attendant range wars, feature prominently in the state's history. Today, Wyoming's economy is largely based on tourism and the extraction of minerals such as coal, natural gas, oil, and trona. Its agricultural commodities include barley, hay, livestock, sugar beets, wheat, and wool.
Wyoming was the first state to allow women the right to vote (not counting New Jersey, which had allowed it until 1807), and the right to assume elected office, as well as the first state to elect a female governor. In honor of this part of its history, its most common nickname is "The Equality State" and its official state motto is "Equal Rights". It is among the least religious states in the country, and is known for having a political culture that leans towards libertarian conservatism. The Republican presidential nominee has carried the state in every election since 1968.
Original Caption: The Hayden Island Complex on the Columbia River Includes Shopping Centers, Industry, Houseboats and Condominiums. The Interstate Bridge Connects Vancouver, Wa., and Portland, Or 06/1973
U.S. National Archives’ Local Identifier: 412-DA-5532
Photographer: Falconer, David
Subjects:
Oregon (United States) state
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=548019
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
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Use Restrictions: Unrestricted
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
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Wanda Ewing, Joan Steinberger, and other Powder Puff Derby participants touring the White House, Washington, D.C
3.5x3.5 black-and-white photograph. Image from a scrapbook album belonging to Hazel Smothers, whose aviation highlights include copiloting her plane to 1st place in her class at the 1969 Powder Puff Derby air race, and flying search and rescue missions for the San Luis Obispo County Sheriff's Department in her pink Bell 47 helicopter.
San Diego Air and Space Museum Archive
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The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
A surprising sight in the office below mine. The shade reminds me of those Pink Panther chocolate bars we had as kids.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Grumman Mohawk began as a joint Army-Marine program through the then-Navy Bureau of Aeronautics (BuAer), for an observation/attack plane that would outperform the light and vulnerable Cessna L-19 Bird Dog. In June 1956, the Army issued Type Specification TS145, which called for the development and procurement of a two-seat, twin turboprop aircraft designed to operate from small, unimproved fields under all weather conditions. It would be faster, with greater firepower, and heavier armor than the Bird Dog, which had proved very vulnerable during the Korean War.
The Mohawk's mission would include observation, artillery spotting, air control, emergency resupply, naval target spotting, liaison, and radiological monitoring. The Navy specified that the aircraft had to be capable of operating from small "jeep" escort class carriers (CVEs). The DoD selected Grumman Aircraft Corporation's G-134 design as the winner of the competition in 1957. Marine requirements contributed an unusual feature to the design: since the Marines were authorized to operate fixed-wing aircraft in the close air support (CAS) role, the mockup featured underwing pylons for rockets, bombs, and other stores, and this caused a lot of discord. The Air Force did not like the armament capability of the Mohawk and tried to get it removed. On the other side, the Marines did not want the sophisticated sensors the Army wanted, so when their Navy sponsors opted to buy a fleet oil tanker, they eventually dropped from the program altogether. The Army continued with armed Mohawks (and the resulting competence controversy with the Air Force) and also developed cargo pods that could be dropped from underwing hard points to resupply troops in emergencies.
In mid-1961, the first Mohawks to serve with U.S. forces overseas were delivered to the 7th Army at Sandhofen Airfield near Mannheim, Germany. Before its formal acceptance, the camera-carrying AO-1AF was flown on a tour of 29 European airfields to display it to the U.S. Army field commanders and potential European customers. In addition to their Vietnam and European service, SLAR-equipped Mohawks began operational missions in 1963 patrolling the Korean Demilitarized Zone.
Germany and France showed early interest in the Mohawk, and two OV-1s were field-tested by both nations over the course of several months. No direct orders resulted, though, but the German Bundesheer (Army) was impressed by the type’s performance and its capability as an observation and reconnaissance platform. Grumman even signed a license production agreement with the French manufacturer Breguet Aviation in exchange for American rights to the Atlantic maritime patrol aircraft, but no production orders followed.
This could have been the end of the OV-1 in Europe, but in 1977 the German government, primarily the interior ministry and its intelligence agency, the Bundesnachrichtendienst (BND), showed interest in a light and agile SIGINT/ELINT platform that could fly surveillance missions along the inner-German border to the GDR and also to Czechoslovakia. Beyond visual reconnaissance with cameras and IR sensors, the aircraft was to be specifically able to identify and locate secret radio stations that were frequently operated by Eastern Block agents (esp. by the GDR) all across Western Germany, but primarily close to the inner-German border due to the clandestine stations’ low power. The Bundeswehr already operated a small ELINT/ECM fleet, consisting of converted HFB 320 ‘Hansa’ business jets, but these were not suited for stealthy and inconspicuous low flight level missions that were envisioned, and they also lacked the ability to fly slowly enough to locate potential “radio nests”.
The pan and the objective were clear, but the ELINT project caused a long and severe political debate concerning the operator of such an aerial platform. Initially, the Bundesheer, who had already tested the OV-1, claimed responsibility, but the interior ministry in the form of the German customs department as well as the German police’s Federal Border Guard, the Bundesgrenzschutz and the Luftwaffe (the proper operator for fixed-wing aircraft within the German armed forces), wrestled for this competence. Internally, the debate and the project ran under the handle “Schimmelreiter” (literally “The Rider on the White Horse”), after a northern German legendary figure, which eventually became the ELINT system’s semi-official name after it had been revealed to the public. After much tossing, in 1979 the decision was made to procure five refurbished U.S. Army OV-1As, tailored to the German needs and – after long internal debates – operate them by the Luftwaffe.
The former American aircraft were hybrids: they still had the OV-1A’s original short wings, but already the OV-1D’s stronger engines and its internal pallet system for interchangeable electronics. The machines received the designation OV-1G (for Germany) and were delivered in early 1980 via ship without any sensors or cameras. These were of Western German origin, developed and fitted locally, tailored to the special border surveillance needs.
The installation and testing of the “Schimmelreiter” ELINT suite lasted until 1982. It was based on a Raytheon TI Systems emitter locator system, but it was locally adapted by AEG-Telefunken to the airframe and the Bundeswehr’s special tasks and needs. The system’s hardware was stowed in the fuselage, its sensor arrays were mounted into a pair of underwing nacelles, which occupied the OV-1’s standard hardpoints, allowing a full 360° coverage. In order to cool the electronics suite and regulate the climate in the internal equipment bays, the OV-1G received a powerful heat exchanger, mounted under a wedge-shaped fairing on the spine in front of the tail – the most obvious difference of this type from its American brethren. The exact specifications of the “Schimmelreiter” ELINT suite remained classified, but special emphasis was placed upon COMINT (Communications Intelligence), a sub-category of signals intelligence that engages in dealing with messages or voice information derived from the interception of foreign communications. Even though the “Schimmelreiter” suite was the OV-1Gs’ primary reconnaissance tool, the whole system could be quickly de-installed for other sensor packs and reconnaissance tasks (even though this never happened), or augmented by single modules, what made upgrades and mission specialization easy. Beyond the ELINT suite, the OV-1G could be outfitted with cameras and other sensors on exchangeable pallets in the fuselage, too. This typically included a panoramic camera in a wedge-shaped ventral fairing, which would visually document the emitter sensors’ recordings.
A special feature of the German OV-1s was the integration of a brand new, NATO-compatible “Link-16” data link system via a MIDS-LVT (Multifunctional Information Distribution System). Even though this later became a standard for military systems, the OV-1G broke the ground for this innovative technology. The MIDS was an advanced command, control, communications, computing and intelligence (C4I) system incorporating high-capacity, jam-resistant, digital communication links for exchange of near real-time tactical information, including both data and voice, among air, ground, and sea elements. Outwardly, the MIDS was only recognizable through a shallow antenna blister behind the cockpit.
Even though the OV-1Gs initially retained their former American uniform olive drab livery upon delivery and outfitting in German service, they soon received a new wraparound camouflage for their dedicated low-level role in green and black (Luftwaffe Norm 83 standard), which was better suited for the European theatre of operations. In Luftwaffe service, the OV-1Gs received the tactical codes 18+01-05 and the small fleet was allocated to the Aufklärungsgeschwader (AG) 51 “Immelmann”, where the machines formed, beyond two squadrons with RF-4E Phantom IIs, an independent 3rd squadron. This small unit was from the start based as a detachment at Lechfeld, located in Bavaria/Southern Germany, instead of AG 51’s home airbase Bremgarten in South-Western Germany, because Lechfeld was closer to the type’s typical theatre of operations along Western Germany’s Eastern borders. Another factor in favor of this different airbase was the fact that Lechfeld was, beyond Tornado IDS fighter bombers, also the home of the Luftwaffe’s seven HFB 320M ECM aircraft, operated by the JaBoG32’s 3rd squadron, so that the local maintenance crews were familiar with complex electronics and aircraft systems, and the base’s security level was appropriate, too.
With the end of the Cold War in 1990, the OV-1Gs role and field of operation gradually shifted further eastwards. With the inner-German Iron Curtain gone, the machines were now frequently operated along the Polish and Czech Republic border, as well as in international airspace over the Baltic Sea, monitoring the radar activities along the coastlines and esp. the activities of Russian Navy ships that operated from Kaliningrad and Saint Petersburg. For these missions, the machines were frequently deployed to the “new” air bases Laage and Holzdorf in Eastern Germany.
In American service, the OV-1s were retired from Europe in 1992 and from operational U.S. Army service in 1996. In Germany, the OV-1 was kept in service for a considerably longer time – with little problems, since the OV-1 airframes had relatively few flying hours on their clocks. The Luftwaffe’s service level for the aircraft was high and spare parts remained easy to obtain from the USA, and there were still OV-1 parts in USAF storage in Western German bases.
The German HFB 320M fleet was retired between 1993 and 1994 and, in part, replaced by the Tornado ECR. At the same time AG 51 was dissolved and the OV-1Gs were nominally re-allocated to JaboG 32/3. With this unit the OV-1Gs remained operational until 2010, undergoing constant updates and equipment changes. For instance, the machines received in 1995 a powerful FLIR sensor in a small turret in the aircraft’s nose, which improved the aircraft’s all-weather reconnaissance capabilities and was intended to spot hidden radio posts even under all-weather/night conditions, once their signal was recognized and located. The aircrafts’ radio emitter locator system was updated several times, too, and, as a passive defensive measure against heat-guided air-to-air missiles/MANPADS, an IR jammer was added, extending the fuselage beyond the tail. These machines received the suffix “Phase II”, even though all five aircraft were updated the same way.
Reports that the OV-1Gs were furthermore retrofitted with the avionics to mount and launch AIM-9 Sidewinder AAMs under the wing tips for self-defense remained unconfirmed, even more so because no aircraft was ever seen carrying arms – neither the AIM-9 nor anything else. Plans to make the OV-1Gs capable of carrying the Luftwaffe’s AGM-65 Maverick never went beyond the drawing board, either. However, BOZ chaff/flare dispenser pods and Cerberus ECM pods were occasionally seen on the ventral pylons from 1998 onwards.
No OV-1G was lost during the type’s career in Luftwaffe service, and after the end of the airframes’ service life, all five German OV-1Gs were scrapped in 2011. There was, due to worsening budget restraints, no direct successor, even though the maritime surveillance duties were taken over by Dornier Do 228/NGs operated by the German Marineflieger (naval air arm).
General characteristics:
Crew: Two: pilot, observer/systems operator
Length: 44 ft 4 in (13.53 m) overall with FLIR sensor and IR jammer
Wingspan: 42 ft 0 in (12.8 m)
Height: 12 ft 8 in (3.86 m)
Wing area: 330 sq. ft (30.65 m²)
Empty weight: 12,054 lb (5,467 kg)
Loaded weight: 15,544 lb (7,051 kg)
Max. takeoff weight: 18,109 lb (8,214 kg)
Powerplant:
2× Lycoming T53-L-701 turboprops, 1,400 shp (1,044 kW) each
Performance:
Never exceed speed: 450 mph (390 knots, 724 km/h)
Maximum speed: 305 mph (265 knots, 491 km/h) at 10,000 ft (3,050 m)
Cruise speed: 207 mph (180 knots, 334 km/h) (econ cruise)
Stall speed: 84 mph (73 knots, 135 km/h)
Range: 944 mi (820 nmi, 1,520 km) (SLAR mission)
Service ceiling: 25,000 ft (7,620 m)
Rate of climb: 3,450 ft/min (17.5 m/s)
Armament:
A total of eight external hardpoints (two ventral, three under each outer wing)
for external loads; the wing hardpoints were typically occupied with ELINT sensor pods, while the
ventral hardpoints frequently carried 300 l drop tanks to extend loiter time and range;
Typically, no offensive armament was carried, even though bombs or gun/missile pods were possible.
The kit and its assembly:
This build became a submission to the “Reconnaissance” Group Build at whatifmodellers.com in July 2021, and it spins further real-world events. Germany actually tested two OV-1s in the Sixties (by the German Army/Bundesheer, not by the air force), but the type was not procured or operated. The test aircraft carried a glossy, olive drab livery (US standard, I think) with German national markings.
However, having a vintage Hasegawa OV-1A in the stash, I wondered what an operational German OV-1 might have looked like, especially if it had been operated into the Eighties and beyond, in the contemporary Norm 83 paint scheme? This led to this purely fictional OV-1G.
The kit was mostly built OOB, and the building experience was rather so-so – after all, it’s a pretty old mold/boxing (in my case the Hasegawa/Hales kit is from 1978, the mold is from 1968!). Just a few things were modified/added in order to tweak the standard, short-winged OV-1A into something more modern and sophisticated.
When searching for a solution to mount some ELINT sensor arrays, I did not want to copy the OV-1B’s characteristic offset, ventral SLAR fairing. I rather settled for the late RV-1D’s solution with sensor pods under the outer wings. Unfortunately, the OV-1A kit came with the type’s original short wings, so that the pods had to occupy the inner underwing pair of hardpoints. The pods were scratched from square styrene profiles and putty, so that they received a unique look. The Mohawk’s pair of ventral hardpoints were mounted, but – after considering some drop tanks or an ECM pod there - left empty, so that the field of view for the ventral panoramic camera would not be obscured.
Other small additions are some radar warning sensor bumps on the nose, some extra antennae, a shallow bulge for the MIDS antenna on the spine, the FLIR turret on the nose (with parts from an Italeri AH-1 and a Kangnam Yak-38!), and I added a tail stinger for a retrofitted (scratched) IR decoy device, inspired by the American AN/ALG-147. This once was a Matchbox SNEB unguided missile pod.
Painting and markings:
For the intended era, the German Norm 83 paint scheme, which is still in use today on several Luftwaffe types like the Transall, PAH-2 or CH-53, appeared like a natural choice. It’s a tri-color wraparound scheme, consisting of RAL 6003 (Olivgrün), FS 34097 (Forest Green) and RAL 7021 (Teerschwarz). The paints I used are Humbrol 86 (which is supposed to be a WWI version of RAL 6003, it lacks IMHO yellow but has good contrast to the other tones), Humbrol 116 and Revell 9. The pattern itself was adapted from the German Luftwaffe’s Dornier Do 28D “Skyservants” with Norm 83 camouflage, because of the type’s similar outlines.
A black ink washing was applied for light weathering, plus some post-shading of panels with lighter shades of the basic camouflage tones for a more plastic look. The cockpit interior was painted in light grey (Humbrol 167), while the landing gear and the interior of the air brakes became white. The scratched SLAR pods became light grey, with flat di-electric panels in medium grey (created with decal material).
The cockpit interior was painted in a rather light grey (Humbrol 167), the pilots received typical olive drab Luftwaffe overalls, one with a white “bone dome” and the other with a more modern light grey helmet.
The decals were improvised. National markings and tactical codes came from TL Modellbau sheets, the AG 51 emblems were taken from a Hasegawa RF-4E sheet. The black walkways were taken from the Mohak’s OOB sheet, the black de-icer leading edges on wings and tail were created with generic black decal material. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
An interesting result, and the hybrid paint scheme with the additional desert camouflage really makes the aircraft an unusual sight, adding to its credibility.
Sam's balaclava was a bit icy after our snowmobile safari. Gareth had real trouble with his glasses - as they steamed up, which then froze
From my unkempt garden. Slightly less unkempt after this afternoon's session with my hedge trimmer, but this Wild Rose survived.
A classic Alfa Romeo Montreal on a wet Supercar Sunday - the theme for May's Goodwood Breakfast Club. This one had come all the way from Belgium.
My Granny made the classic Chex mix every year around this time, but always modified it to include my favorite ingredients. In her last years, she was determined that I learned how to make it just like her so that I wouldn't be without one of my favorite holiday treats when she was gone. She taught me well...this batch is almost gone thanks to kids and visitors...and me of course.
3 cups square rice cereal
3 cups square corn cereal
3 cups square wheat cereal (I sneak some extra wheat ones in because they are my favorite)
1 cup prestzels
2 cups mixed nuts
1 cup bagel chips (optional)
10 tablespoons butter (no tub stuff...only unsalted real butter)
1/4 cup worchestershire sauce (my fave flavor for this)
1 1/2 Tablespoons seasoning salt
1 teaspoon garlic powder
-preheat oven to 250 degrees
-in one large or two medium casserole pans/dishes, melt butter
-combine seasonings & worchestershire in melted butter
-stir in cereal, nut, pretzles, etc...coat well with mix
-bake for one hour, remove and stir every 15 minutes
-cool/drain on paper towels
-store in air tight container
I'll sometimes add the spicy orange Chinese rice crescent shaped crunchy things that are yummy.
Big seas by the Shoreham Harbour wall today. The Gulls were skimming the surf and dropping in to the water, seemingly to feed, between the waves
The demon army includes not only simple, faceless and mindless soldiers. There are many higher demons with unique look and personality. The most notorious ones in the World of Five Races are Igor, the Professor and Bourbon. This trio of mischievous friends is both feared and loathed by mortals. The Professor was once a respected Dwarven scientist who got possessed by a demon and became the crazy genius who makes war machines and poisons for the Undead army (Necromatons and Blighter Tanks are his inventions). In battle he carries poisonous chemical guns of his own design. Igor is a Fire Ifrit who incinerates the mortals with unquenchable flames. But the strangest of them is Bourbon, the Time Demon. He looks like a weirdly dressed vampire clown, and his limbs can stretch like rubber. In battles Bourbon carries large clock. With their help he can send his enemies to any point in time. He prefers the age when the atmosphere was unbreathable for sentient mortals, as they quickly die there and cannot affect the history.
Afternoon tea at the Big Cat Sanctuary followed by a wander around the enclosures. I am no fan of captive animals, but this organisation does good work.
Hanging Coffins in Longhu Shan (Dragon Tiger Mountain)
Within the Longhu Shan (Dragon Tiger Mountain) Scenic Area
Hanging coffins on the cliffside of the fairy mountain and water mountain
Hanging coffins are coffins which have been placed on cliffs. They can be found in various locations, including China, Indonesia, and the Philippines. In China, they are known as Xuanguan (simplified Chinese: 悬棺; traditional Chinese: 懸棺; pinyin: Xuánguān) which also means "hanging coffin".
Hanging coffins are an ancient funeral custom of some minority groups, especially the Bo people of southern China. Coffins of various shapes were mostly carved from one whole piece of wood. Hanging coffins either lie on beams projecting outward from vertical faces such as mountains, are placed in caves in the face of cliffs, or sit on natural rock projections on mountain faces.
It was said that the hanging coffins could prevent bodies from being taken by beasts and also bless the soul eternally.
Locations of hanging coffins include:
Fujian Wuyi Mountains
Jiangxi Longhushan (龙虎山), 20 km southwest of Yingtan City (Guyue people)
Sichuan Gongxian County of Yibin, southwest Sichuan (Bo people)
Qutang Gorge, one of the Three Gorges
悬棺葬是侗台人、南岛人的传统葬仪之一，又称崖墓，其形式是将装殓后的棺椁置于悬崖峭壁的洞穴或缝隙处。见于中国南方川、黔、滇等少数民族地区、东南亚以至太平洋群岛。其中又以福建省武夷山、江西省龙虎山及川南悬棺最为著名。
悬棺起源甚早，南朝梁人顾野王记武夷山“地仙之宅，半崖有悬棺数千”。
这里是江西鹰潭市南郊龙虎山，其悬棺属于春秋战国时期古越人的悬棺。
悬棺的分布亦广，遍及湖北、湖南、四川和云贵高原，在太平洋群岛亦有发现悬棺。
悬棺至今原因不明，悬棺葬必须耗费大量人力物力，包括挖凿洞穴，应属于贵族的葬礼。
悬棺葬此一名词最早是1948年芮逸夫在《僚为仡佬试证》一文中首次提出，以后被沿用。悬棺葬一般被归类为崖洞葬，有专家认为悬棺属于风葬，目前尚未取得共识。
龙虎山景区每天都有吊升悬棺表演，游客可以通过观看表演，获得“升官”的心理满足。
Agile Information Management
Agile development models include just in time information gathering processes. Agile information gathering processes include rapid collection of content and the clear appearance of the resulting documents. Collecting technical business requirements and immediately folding them into the client template is an agile information management method.
Business Analyst Teams need to capture requirements as they are clarified. This is especially important when:
1. The deliverable is the requirement document first and foremost
2. The outline for documenting incoming requirements already exists
3. Tight deadlines exists and there is any risk of delays in documentation, or in overlapping out-of-date information being presented to the client–
4. Or if the document control tool, which is commonly used for working together interactively, is flakey and as a result document versions may become dated
It is not an agile process to wait to add known requirements. For example having project management, or development directing a business analyst to wait until later to add or modify incoming requirements prior to a document presentation. It makes sense to put the correct and current requirements into the current document. It is more logical to keep found things found by categorizing them immediately.
1. It is a waste of time and money, searching when editing the same document repeatedly, or by different individuals, when the requirement should be added on the fly
2. It is frustrating for the BA, it is frustrating for the client when they read out of date requirements
3. It creates unnecessary control issues
4. It runs counter to the clients’ actual needs and requests
5. It isn’t agile any more, it is an outdated technique
Presentation of business requirements is 50% of the job of development consulting, that is, what a document actually looks like really matters to governance and business people
1. Because they spend all their time in documents, generally they want them to look familiar and be formatted correctly, so it makes sense to use their templates
2. They care about documentation, and that is your value to them
3. Your clients will never have your depth of knowledge regarding technology, which means you will have to explain your processes and reasons if you do it any other way (slowing the process down) besides using their processes and procedures
4. The business and governance or project management office people will participate in decision making about actually building the project, or not, and you want them to want to work with you, by showing that you will work with them!
Labels: agile, Agile Information Management, analysis, best practices, business analysis, Business Analysts, development, governance, keeping found things found, rapid development, technology, templates
Tea is an aromatic beverage commonly prepared by pouring hot or boiling water over cured leaves of the Camellia sinensis, an evergreen shrub native to Asia. After water, it is the most widely consumed drink in the world. Some teas, like Darjeeling and Chinese greens, have a cooling, slightly bitter, and astringent flavour, while others have vastly different profiles that include sweet, nutty, floral, or grassy notes.
Tea originated in China, possibly as a medicinal drink. It came to the West via Portuguese priests and merchants, who introduced it during the 16th century. Drinking tea became fashionable among Britons during the 17th century, who started large scale production and commercialization of the plant in India to bypass a Chinese monopoly at that time.
The phrase herbal tea usually refers to infusions of fruit or herbs made without the tea plant, such as steeps of rosehip, chamomile, or rooibos. These are also known as tisanes or herbal infusions to distinguish them from "tea" as it is commonly construed.
ETYMOLOGY
The Chinese character for tea is 茶, originally written with an extra stroke as 荼 (pronounced tu, used as a word for a bitter herb), and acquired its current form during the Tang Dynasty as used in the eighth-century treatise on tea The Classic of Tea. The word is pronounced differently in the different varieties of Chinese, such as chá in Mandarin, zo and dzo in Wu Chinese, and ta and te in Min Chinese. One suggestion is that the different pronunciations may have arisen from the different words for tea in ancient China, for example tu (荼) may have given rise to tê; historical phonologists however argued that the cha, te and dzo all arose from the same root with a reconstructed pronunciation dra (dr- represents a single consonant for a retroflex d), which changed due to sound shift through the centuries. Other ancient words for tea include jia (檟, defined as "bitter tu" during the Han Dynasty), she (蔎), ming (茗) and chuan (荈), with chuan the only other word still in use for tea. Most, such as Mandarin and Cantonese, pronounce it along the lines of cha, but Hokkien varieties along the Southern coast of China and in Southeast Asia pronounce it like teh. These two pronunciations have made their separate ways into other languages around the world:
- Te is from the Amoy tê of southern Fujian province. It reached the West from the port of Xiamen (Amoy), once a major point of contact with Western European traders such as the Dutch, who spread it to Western Europe.
- Cha is from the Cantonese chàh of Guangzhou (Canton) and the ports of Hong Kong and Macau, also major points of contact, especially with the Portuguese, who spread it to India in the 16th century. The Korean and Japanese pronunciations of cha, however, came not from Cantonese, rather they were borrowed into Korean and Japanese during earlier periods of Chinese history.
The widespread form chai came from Persian چای chay. Both the châ and chây forms are found in Persian dictionaries. They derive from Northern Chinese pronunciation of chá, which passed overland to Central Asia and Persia, where it picked up the Persian grammatical suffix -yi before passing on to Russian, Arabic, Urdu, Turkish, etc.
English has all three forms: cha or char (both pronounced /ˈtʃɑː/), attested from the 16th century; tea, from the 17th; and chai, from the 20th.
Languages in more intense contact with Chinese, Sinospheric languages such as Vietnamese, Zhuang, Tibetan, Korean, and Japanese, may have borrowed their words for tea at an earlier time and from a different variety of Chinese, so-called Sino-Xenic pronunciations. Although normally pronounced as cha, Korean and Japanese also retain the early but now less common pronunciations of ta and da. Japanese has different pronunciations for the word tea depending on when the pronunciations was first borrowed into the language: Ta comes from the Tang Dynasty court at Chang'an: that is, from Middle Chinese; da, however, comes from the earlier Southern Dynasties court at Nanjing, a place where the consonant was still voiced, as it is today in neighbouring Shanghainese zo. Vietnamese and Zhuang have southern cha-type pronunciations.
ORIGN AND HISTORY
Tea plants are native to East and South Asia, and probably originated around the meeting points of the lands of north Burma and southwest China. Statistical cluster analysis, chromosome number, easy hybridization, and various types of intermediate hybrids and spontaneous polyploids indicate that likely a single place of origin exists for Camellia sinensis, an area including the northern part of Burma, and Yunnan and Sichuan provinces of China. Tea drinking likely began during the Shang Dynasty in China, when it was used for medicinal purposes. It is believed that, soon after, "for the first time, people began to boil tea leaves for consumption into a concentrated liquid without the addition of other leaves or herbs, thereby using tea as a bitter yet stimulating drink, rather than as a medicinal concoction."
Chinese legends attribute the invention of tea to Shennong in 2737 BC. A Chinese inventor was the first person to invent a tea shredder. The first recorded drinking of tea is in China, with the earliest records of tea consumption dating to the 10th century BC. Another early credible record of tea drinking dates to the third century AD, in a medical text by Hua Tuo, who stated, "to drink bitter t'u constantly makes one think better." Another early reference to tea is found in a letter written by the Qin Dynasty general Liu Kun. It was already a common drink during the Qin Dynasty (third century BC) and became widely popular during the Tang Dynasty, when it was spread to Korea, Japan, and Vietnam. In India, it has been drunk for medicinal purposes for a long but uncertain period, but apart from the Himalayan region seems not to have been used as a beverage until the British introduced Chinese tea there.
Tea was first introduced to Portuguese priests and merchants in China during the 16th century, at which time it was termed chá. The first record in English is from Peter Mundy an East India Company agent writing to Macao requesting "the best sort of chaw" in 1615. In 1750, tea experts travelled from China to the Azores, and planted tea, along with jasmine and mallow, to give it aroma and distinction. Both green and black tea continue to grow on the islands, which are the main suppliers to continental Portugal. Catherine of Braganza, wife of King Charles II of England, took the tea habit to Great Britain around 1660 when it was tasted by Samuel Pepys, but tea was not widely consumed in Britain until the 18th century, and remained expensive until the latter part of that period. Tea smuggling during the 18th century led to Britain’s masses being able to afford and consume tea, and its importance eventually influenced the Boston Tea Party. The British government eventually eradicated the tax on tea, thereby eliminating the smuggling trade by 1785. In Britain and Ireland, tea had become an everyday beverage for all levels of society by the late 19th century, but at first it was consumed as a luxury item on special occasions, such as religious festivals, wakes, and domestic work gatherings such as quiltings. The price in Europe fell steadily during the 19th century, especially after Indian tea began to arrive in large quantities.
The first European to successfully transplant tea to the Himalayas, Robert Fortune, was sent by the East India Company on a mission to China in 1848 to bring the tea plant back to Great Britain. He began his journey in high secrecy as his mission occurred in the lull between the Anglo-Chinese First Opium War (1839–1842) and Second Opium War (1856–1860), at a time when westerners were not held in high regard.
Tea was introduced into India by the British, in an attempt to break the Chinese monopoly on it. The British brought Chinese seeds into Northeast India, but the plants failed; they later discovered that a different variety of tea was endemic to Assam and the northeast region of India and that it was used by local tribes. Using the Chinese planting and cultivation techniques, the British launched a tea industry by offering land in Assam to any European who agreed to cultivate it for export. Tea was originally consumed only by anglicized Indians; it became widely popular in India in the 1950s because of a successful advertising campaign by the India Tea Board.
CULTIVATION AND HARVESTING
Tea plants are propagated from seed and cuttings; about 4 to 12 years are needed for a plant to bear seed and about three years before a new plant is ready for harvesting. In addition to a zone 8 climate or warmer, tea plants require at least 127 cm of rainfall a year and prefer acidic soils. Many high-quality tea plants are cultivated at elevations of up to 1,500 m above sea level. While at these heights the plants grow more slowly, they acquire a better flavour.
Two principal varieties are used: Camellia sinensis var. sinensis, which is used for most Chinese, Formosan and Japanese teas, and C. s. var. assamica, used in Pu-erh and most Indian teas (but not Darjeeling). Within these botanical varieties, many strains and modern clonal varieties are known. Leaf size is the chief criterion for the classification of tea plants, with three primary classifications being, Assam type, characterised by the largest leaves; China type, characterised by the smallest leaves; and Cambodian type, characterised by leaves of intermediate size.
A tea plant will grow into a tree of up to 16 m if left undisturbed, but cultivated plants are generally pruned to waist height for ease of plucking. Also, the short plants bear more new shoots which provide new and tender leaves and increase the quality of the tea.
Only the top 1–2 in of the mature plant are picked. These buds and leaves are called 'flushes'. A plant will grow a new flush every seven to 15 days during the growing season. Leaves that are slow in development tend to produce better-flavoured teas. Pests of tea include mosquito bugs of the genus Helopeltis (which are true bugs that must not be confused with the dipteran) that can tatter leaves, so they may be sprayed with insecticides.
PROCESSING AND CLASSIFICATION
Tea is generally divided into categories based on how it is processed. At least six different types are produced:
- White: Wilted and unoxidized
- Yellow: Unwilted and unoxidized, but allowed to yellow
- Green: Unwilted and unoxidized
- Oolong: Wilted, bruised, and partially oxidized
- Black: Wilted, sometimes crushed, and fully oxidized (called 'red tea' in China)
- Post-Fermented: Green tea that has been allowed to ferment/compost ('black tea' for the Chinese)
The most common are white, green, oolong, and black. Some varieties, such as traditional oolong and Pu-erh, a post-fermented tea, can be used medicinally.
After picking, the leaves of C. sinensis soon begin to wilt and oxidize unless immediately dried. An enzymatic oxidation process triggered by the plant's intracellular enzymes causes the leaves to turn progressively darker as their chlorophyll breaks down and tannins are released. This darkening is stopped at a predetermined stage by heating, which deactivates the enzymes responsible. In the production of black teas, halting by heating is carried out simultaneously with drying.
Without careful moisture and temperature control during manufacture and packaging, growth of undesired molds and bacteria may make tea unfit for consumption.
Blending and additives
Although single-estate teas are available, almost all tea in bags and most loose tea sold in the West is blended. Such teas may combine others from the same cultivation area or several different ones. The aim is to obtain consistency, better taste, higher price, or some combination of the three.
Tea easily retains odors, which can cause problems in processing, transportation, and storage. This same sensitivity also allows for special processing (such as tea infused with smoke during drying) and a wide range of scented and flavoured variants, such as bergamot (found in Earl Grey), vanilla, and spearmint.
CONTENT
Caffeine constitutes about 3% of tea's dry weight, translating to between 30 mg and 90 mg per 250-ml cup depending on type, brand, and brewing method. A study found that the caffeine content of 1 g of black tea ranged from 22 to 28 mg, while the caffeine content of 1 g of green tea ranged from 11 to 20 mg, reflecting a significant difference.
Tea also contains small amounts of theobromine and theophylline, which are stimulants and xanthines similar to caffeine.
Because of modern environmental pollution, fluoride and aluminium also sometimes occur in tea. Certain types of brick tea made from old leaves and stems have the highest levels.
NUTRIENTS AND PHYTOXHEMICALS
Black and green teas contain no essential nutrients in significant content, with the exception of the dietary mineral, manganese at 0.5 mg per cup or 26% of the Daily Value. Tea leaves contain diverse polyphenols, including flavonoids, epigallocatechin gallate (commonly noted as EGCG) and other catechins.
It has been suggested that green and black tea may protect against cancer or other diseases such as obesity or Alzheimer's disease, but the compounds found in green tea have not been conclusively demonstrated to have any effect on human diseases. One human study demonstrated that regular consumption of black tea over four weeks had no beneficial effect in lowering blood cholesterol levels.
TEA CULTURE
Tea may be consumed early in the day to heighten calm alertness; it contains L-theanine, theophylline, and bound caffeine (sometimes called theine). Decaffeinated brands are also sold. While herbal teas are also referred to as tea, most of them do not contain leaves from the tea plant.
While tea is the second most consumed beverage on Earth after water, in many cultures it is also consumed at elevated social events, such as afternoon tea and the tea party. Tea ceremonies have arisen in different cultures, such as the Chinese and Japanese tea ceremonies, each of which employs traditional techniques and ritualised protocol of brewing and serving tea for enjoyment in a refined setting. One form of Chinese tea ceremony is the Gongfu tea ceremony, which typically uses small Yixing clay teapots and oolong tea.
Turkish tea is an important part of Turkish cuisine, and is the most commonly consumed hot drink, despite the country's long history of coffee consumption. In 2004 Turkey produced 205,500 tonnes of tea (6.4% of the world's total tea production), which made it one of the largest tea markets in the world, with 120,000 tons being consumed in Turkey, and the rest being exported. In 2010 Turkey had the highest per capita consumption in the world at 2.7 kg. As of 2013, the per-capita consumption of Turkish tea exceeds 10 cups per day and 13.8 kg per year. Tea is grown mostly in Rize Province on the Black Sea coast.
Ireland has, for a long time, been one of the biggest per-capita consumers of tea in the world. The national average is four cups per person per day, with many people drinking six cups or more. Tea in Ireland is usually taken with milk or sugar and is slightly spicier and stronger than the traditional English blend. The two main brands of tea sold in Ireland are Lyons and Barry's. The Irish love of tea is perhaps best illustrated by the stereotypical housekeeper, Mrs. Doyle in the popular sitcom Father Ted.
Tea is prevalent in most cultures in the Middle East. In Arab culture, tea is a focal point for social gatherings.
In Pakistan, tea is called chai (written as چائے). Both black and green teas are popular and are known locally as sabz chai and kahwah, respectively. The popular green tea called kahwah is often served after every meal in the Pashtun belt of Balochistan and in Khyber Pakhtunkhwa, which is where the Khyber Pass of the Silk Road is found.
In the transnational Kashmir region, which straddles the border between India and Pakistan, Kashmiri chai or noon chai, a pink, creamy tea with pistachios, almonds, cardamom, and sometimes cinnamon, is consumed primarily at special occasions, weddings, and during the winter months when it is sold in many kiosks.
In central and southern Punjab and the metropolitan Sindh region of Pakistan, tea with milk and sugar (sometimes with pistachios, cardamom, etc.), commonly referred to as chai, is widely consumed. It is the most common beverage of households in the region. In the northern Pakistani regions of Chitral and Gilgit-Baltistan, a salty, buttered Tibetan-style tea is consumed. In Iranian culture, tea is so widely consumed, it is generally the first thing offered to a household guest.
In India, tea is one of the most popular hot beverages. It is consumed daily in almost all homes, offered to guests, consumed in high amounts in domestic and official surroundings, and is made with the addition of milk with or without spices. It is also served with biscuits dipped in the tea and eaten before consuming the tea. More often than not, it is drunk in "doses" of small cups (referred to as "Cutting" chai if sold at street tea vendors) rather than one large cup. On 21 April 2012, the Deputy Chairman of Planning Commission (India), Montek Singh Ahluwalia, said tea would be declared as national drink by April 2013. The move is expected to boost the tea industry in the country. Speaking on the occasion, Assam Chief Minister Tarun Gogoi said a special package for the tea industry would be announced in the future to ensure its development.
In the United States, 80% of tea is consumed as iced tea. Sweet tea is native to the southeastern US, and is iconic in its cuisine.
Switzerland has its own unique blend of iced tea, made with the basic ingredients like black tea, sugar, lemon juice and mint, but a variety of Alp herbs are also added to the concoction. Apart from classic flavours like lemon and peach, exotic flavours like jasmine and lemongrass are also very popular.
In the United Kingdom, it is consumed daily and often by a majority of people across the country, and indeed is perceived as one of Britain's cultural beverages. In British homes, it is customary good manners for a host to offer tea to guests soon after their arrival. Tea is generally consumed at home; outside the home in cafés. Afternoon tea with cakes on fine porcelain is a cultural stereotype, sometimes available in quaint tea-houses. In southwest England, many cafes serve a 'cream tea', consisting of scones, clotted cream, and jam alongside a pot of tea. Throughout the UK, 'tea' may also refer to the evening meal.
In Burma (Myanmar), tea is consumed not only as hot drinks, but also as sweet tea and green tea known locally as laphet-yay and laphet-yay-gyan, respectively. Pickled tea leaves, known locally as laphet, are also a national delicacy. Pickled tea is usually eaten with roasted sesame seeds, crispy fried beans, roasted peanuts and fried garlic chips.
PREPARATION
STEEPING TEA
The traditional method of preparing tea is to place loose tea leaves directly (or in a tea infuser) into a tea pot or teacup, pour freshly boiled water over the leaves, and allow the infused liquid to steep (or "brew"). After a few minutes, the infuser is removed, or the tea is poured through a strainer while serving. Strength should be varied by the amount of tea leaves used, not changing the steeping time.
Most green teas should be allowed two or three minutes, although other types may vary between thirty seconds and ten minutes.
Quantity also varies by tea type, with a basic recipe calling for one slightly heaped teaspoon (about 5 ml) for each teacup of water (200–240 ml). Stronger teas to be drunk with milk (such as Assam) are often prepared more heavily, while more delicate high-grown varieties (such as a Darjeeling) more lightly.
Optimum brewing temperature depends on tea type. Camellia sinensis naturally contains tannins having bitter properties accentuated by both temperature and steeping time. These tannins are enhanced by oxidation during processing. Teas with little or no oxidation, such as a green or white, are best at lower temperatures between 65 and 85 °C, while more oxidized teas require 100 °C to extract their large, complex, flavourful phenolic molecules.
In addition, boiling reduces the dissolved oxygen content of water, which would otherwise react with phenolic molecules to degrade them.
Type Water temp. Steep time Infusions
_________________________________________
White tea 65 to 70 °C 1–2 minutes 3
Yellow tea 70 to 75 °C 1–2 minutes 3
Green tea 75 to 80 °C 1–2 minutes 4–6
Oolong tea 80 to 85 °C 2–3 minutes 4–6
Black tea 99 °C 2–3 minutes 2–3
Flowering tea 100 °C 2–3 minutes 4–5
Pu'er tea 95 to 100 °C Limitless Several
Tisanes 99 °C 3–6 minutes Varied
Some tea sorts are often brewed several times using the same leaves. Historically in China, tea is divided into a number of infusions. The first is immediately poured out to wash the tea, and then the second and further infusions are drunk. The third through fifth are nearly always considered the best, although different teas open up differently and may require more infusions to produce the best flavour.
One way to taste a tea throughout its entire process is to add hot water to a cup containing the leaves and sample it every 30 seconds. As the tea leaves unfold (known as "The Agony of the Leaves") the taste evolves.
A tea cosy or a teapot warmer are often used to keep the temperature of the tea in a teapot constant over periods of 20–60 minutes.
BLACK TEA
Popular varieties of black tea include Assam, Nepal, Darjeeling, Nilgiri, Turkish, Keemun, and Ceylon teas.
Many of the active substances in black tea do not develop at temperatures lower than 90 °C. As a result, black tea in the West is usually steeped in water near its boiling point, at around 99 °C. The most common fault when making black tea is to use water at too low a temperature. Since boiling point drops with increasing altitude, it is difficult to brew black tea properly in mountainous areas. Warming the tea pot before steeping is critical at any elevation.
Western black teas are usually brewed for about four minutes and are usually not allowed to steep for less than 30 seconds or more than about five minutes (a process known as brewing or mashing in Britain). In many regions of the world, however, actively boiling water is used and the tea is often stewed. In India, black tea is often boiled for fifteen minutes or longer to make Masala chai, as a strong brew is preferred. Tea should be strained while serving.
A food safety management group of the International Organization for Standardization (ISO) has published a standard for preparing a cup of tea (ISO 3103: Tea — Preparation of liquor for use in sensory tests), primarily intended for standardizing preparation for comparison and rating purposes.
GREEN TEA
In regions of the world that prefer mild beverages, such as the West and Far East, green tea should be steeped in water around 80 to 85 °C, the higher the quality of the leaves the lower the temperature. Regions such as North Africa or Central Asia prefer a bitter tea, and hotter water is used. In Morocco, green tea is steeped in boiling water for 15 minutes.
The container in which green tea is steeped is often warmed beforehand to prevent premature cooling. High-quality green and white teas can have new water added as many as five or more times, depending on variety, at increasingly higher temperatures.
FLOWERING TEA
Flowering tea or blooming tea should be brewed at 100 °C in clear glass tea wares for up to three minutes. First pull 1/3 water to make the tea ball wet and after 30 seconds add the boiling water up to 4/5 of the capacity of the tea ware. The boiling water can help the tea ball bloom quickly and with a strong aroma of the tea. The height of glass tea ware should be 8–10 cm, which can help the tea and flowers bloom completely. One tea ball can be brewed 4-5 times.
OOLONG TEA
Oolong tea should be brewed around 85 to 96 °C, with the brewing vessel warmed before pouring the water. Yixing purple clay teapots are the traditional brewing-vessel for oolong tea which can be brewed multiple times from the same leaves, unlike green tea, seeming to improve with reuse. In the Chinese and Taiwanese Gongfu tea ceremony, the first brew is discarded, as it is considered a rinse of leaves rather than a proper brew.
PREMIUM OR DELICATE TEA
Some teas, especially green teas and delicate oolong teas, are steeped for shorter periods, sometimes less than 30 seconds. Using a tea strainer separates the leaves from the water at the end of the brewing time if a tea bag is not being used. However, the black Darjeeling tea, a premium Indian tea, needs a longer than average steeping time. Elevation and time of harvest offer varying taste profiles; proper storage and water quality also have a large impact on taste.
PU-ERH TEA
Pu-erh teas require boiling water for infusion. Some prefer to quickly rinse pu-erh for several seconds with boiling water to remove tea dust which accumulates from the ageing process, then infuse it at the boiling point (100 °C), and allow it to steep from 30 seconds to five minutes.
SERVING
To preserve the pretannin tea without requiring it all to be poured into cups, a second teapot may be used. The steeping pot is best unglazed earthenware; Yixing pots are the best known of these, famed for the high-quality clay from which they are made. The serving pot is generally porcelain, which retains the heat better. Larger teapots are a post-19th century invention, as tea before this time was very rare and very expensive. Experienced tea-drinkers often insist the tea should not be stirred around while it is steeping (sometimes called winding or mashing in the UK). This, they say, will do little to strengthen the tea, but is likely to bring the tannins out in the same way that brewing too long will do. For the same reason, one should not squeeze the last drops out of a teabag; if stronger tea is desired, more tea leaves should be used.
ADDITIVES
The addition of milk to tea in Europe was first mentioned in 1680 by the epistolist Madame de Sévigné. Many teas are traditionally drunk with milk in cultures where dairy products are consumed. These include Indian masala chai and British tea blends. These teas tend to be very hearty varieties of black tea which can be tasted through the milk, such as Assams, or the East Friesian blend. Milk is thought to neutralise remaining tannins and reduce acidity. The Han Chinese do not usually drink milk with tea but the Manchus do, and the elite of the Qing Dynasty of the Chinese Empire continued to do so. Hong Kong-style milk tea is based on British colonial habits. Tibetans and other Himalayan peoples traditionally drink tea with milk or yak butter and salt. In Eastern European countries (Russia, Poland and Hungary) and in Italy, tea is commonly served with lemon juice. In Poland, tea with milk is called a bawarka ("Bavarian style"), and is often drunk by pregnant and nursing women. In Australia, tea with milk is white tea.
The order of steps in preparing a cup of tea is a much-debated topic, and can vary widely between cultures or even individuals. Some say it is preferable to add the milk before the tea, as the high temperature of freshly brewed tea can denature the proteins found in fresh milk, similar to the change in taste of UHT milk, resulting in an inferior-tasting beverage. Others insist it is better to add the milk after brewing the tea, as black tea is often brewed as close to boiling as possible. The addition of milk chills the beverage during the crucial brewing phase, if brewing in a cup rather than using a pot, meaning the delicate flavour of a good tea cannot be fully appreciated. By adding the milk afterwards, it is easier to dissolve sugar in the tea and also to ensure the desired amount of milk is added, as the colour of the tea can be observed. Historically, the order of steps was taken as an indication of class: only those wealthy enough to afford good-quality porcelain would be confident of its being able to cope with being exposed to boiling water unadulterated with milk. Higher temperature difference means faster heat transfer so the earlier you add milk the slower the drink cools. A 2007 study published in the European Heart Journal found certain beneficial effects of tea may be lost through the addition of milk.
Many flavourings are added to varieties of tea during processing. Among the best known are Chinese jasmine tea, with jasmine oil or flowers, the spices in Indian masala chai, and Earl Grey tea, which contains oil of bergamot. A great range of modern flavours have been added to these traditional ones. In eastern India, people also drink lemon tea or lemon masala tea. Lemon tea simply contains hot tea with lemon juice and sugar. Masala lemon tea contains hot tea with roasted cumin seed powder, lemon juice, black salt and sugar, which gives it a tangy, spicy taste. Adding a piece of ginger when brewing tea is a popular habit of Sri Lankans, who also use other types of spices such as cinnamon to sweeten the aroma.
Other popular additives to tea by the tea-brewer or drinker include sugar, liquid honey or a solid Honey Drop, agave nectar, fruit jams, and mint. In China, sweetening tea was traditionally regarded as a feminine practice. In colder regions, such as Mongolia, Tibet and Nepal, butter is added to provide necessary calories. Tibetan butter tea contains rock salt and dre, a butter made from yak milk, which is churned vigorously in a cylindrical vessel closely resembling a butter churn. The same may be said for salt tea, which is popular in the Hindu Kush region of northern Pakistan.
Alcohol, such as whisky or brandy, may also be added to tea.
The flavour of the tea can also be altered by pouring it from different heights, resulting in varying degrees of aeration. The art of high-altitude pouring is used principally by people in Northern Africa (e.g. Morocco, Algeria, Mauritania, Libya and Western Sahara), but also in West Africa (e.g. Guinea, Mali, Senegal) and can positively alter the flavour of the tea, but it is more likely a technique to cool the beverage destined to be consumed immediately. In certain cultures, the tea is given different names depending on the height from which it is poured. In Mali, gunpowder tea is served in series of three, starting with the highest oxidisation or strongest, unsweetened tea (cooked from fresh leaves), locally referred to as "strong like death", followed by a second serving, where the same tea leaves are boiled again with some sugar added ("pleasant as life"), and a third one, where the same tea leaves are boiled for the third time with yet more sugar added ("sweet as love"). Green tea is the central ingredient of a distinctly Malian custom, the "Grin", an informal social gathering that cuts across social and economic lines, starting in front of family compound gates in the afternoons and extending late into the night, and is widely popular in Bamako and other large urban areas.
In Southeast Asia, particularly in Singapore and Malaysia, the practice of pouring tea from a height has been refined further using black tea to which condensed milk is added, poured from a height from one cup to another several times in alternating fashion and in quick succession, to create a tea with entrapped air bubbles creating a frothy "head" in the cup. This beverage, teh tarik, literally, "pulled tea" (which has its origin as a hot Indian tea beverage), has a creamier taste than flat milk tea and is extremely popular in the region. Tea pouring in Malaysia has been further developed into an art form in which a dance is done by people pouring tea from one container to another, which in any case takes skill and precision. The participants, each holding two containers, one full of tea, pour it from one to another. They stand in lines and squares and pour the tea into each other's pots. The dance must be choreographed to allow anyone who has both pots full to empty them and refill those of whoever has no tea at any one point.
ECONOMICS
Tea is the most popular manufactured drink consumed in the world, equaling all others – including coffee, chocolate, soft drinks, and alcohol – combined. Most tea consumed outside East Asia is produced on large plantations in the hilly regions of India and Sri Lanka, and is destined to be sold to large businesses. Opposite this large-scale industrial production are many small "gardens," sometimes minuscule plantations, that produce highly sought-after teas prized by gourmets. These teas are both rare and expensive, and can be compared to some of the most expensive wines in this respect.
India is the world's largest tea-drinking nation, although the per capita consumption of tea remains a modest 750 grams per person every year. Turkey, with 2.5 kg of tea consumed per person per year, is the world's greatest per capita consumer.
PRODUCTION
In 2003, world tea production was 3.21 million tonnes annually. In 2010, world tea production reached over 4.52 million tonnes after having increased by 5.7% between 2009 and 2010.[84] Production rose by 3.1% between 2010 and 2011. The largest producers of tea are the People's Republic of China, India, Kenya, Sri Lanka, and Turkey.
TRADE
According to the FAO in 2007, the largest importer of tea, by weight, was the Russian Federation, followed by the United Kingdom, Pakistan, and the United States. Kenya, China, India and Sri Lanka were the largest exporters of tea in 2007 (with exports of: 374229, 292199, 193459 and 190203 tonnes respectively). The largest exporter of black tea is Kenya, largest producer (and consumer) India.
PACKAGING
TEA BAGS
In 1907, American tea merchant Thomas Sullivan began distributing samples of his tea in small bags of Chinese silk with a drawstring. Consumers noticed they could simply leave the tea in the bag and reuse it with fresh tea. However, the potential of this distribution/packaging method would not be fully realised until later on. During World War II, tea was rationed in the United Kingdom. In 1953 (after rationing in the UK ended), Tetley launched the tea bag to the UK and it was an immediate success.
The "pyramid tea bag" (or sachet) introduced by Lipton and PG Tips/Scottish Blend in 1996, attempts to address one of the connoisseurs' arguments against paper tea bags by way of its three-dimensional tetrahedron shape, which allows more room for tea leaves to expand while steeping.
However, some types of pyramid tea bags have been criticised as being environmentally unfriendly, since their synthetic material is not as biodegradable as loose tea leaves and paper tea bags.
LOOSE TEA
The tea leaves are packaged loosely in a canister, paper bag, or other container such as a tea chest. Some whole teas, such as rolled gunpowder tea leaves, which resist crumbling, are sometimes vacuum packed for freshness in aluminised packaging for storage and retail. The loose tea must be individually measured for use, allowing for flexibility and flavor control at the expense of convenience. Strainers, tea balls, tea presses, filtered teapots, and infusion bags prevent loose leaves from floating in the tea and over-brewing. A traditional method uses a three-piece lidded teacup called a gaiwan, the lid of which is tilted to decant the tea into a different cup for consumption.
COMPRESSED TEA
Compressed tea (such as Pu-erh) is produced for convenience in transport, storage, and ageing. It can usually be stored longer without spoilage than loose leaf tea.
Compressed tea is prepared by loosening leaves from the cake using a small knife, and steeping the extracted pieces in water. During the Tang dynasty, as described by Lu Yu, compressed tea was ground into a powder, combined with hot water, and ladled into bowls, resulting in a "frothy" mixture. In the Song dynasty, the tea powder would instead be whisked with hot water in the bowl. Although no longer practiced in China today, the whisking method of preparing powdered tea was transmitted to Japan by Zen Buddhist monks, and is still used to prepare matcha in the Japanese tea ceremony.
Compressed tea was the most popular form of tea in China during the Tang dynasty. By the beginning of the Ming dynasty, it had been displaced by loose leaf tea. It remains popular, however, in the Himalayan countries and Mongolian steppes. In Mongolia, tea bricks were ubiquitous enough to be used as a form of currency. Among Himalayan peoples, compressed tea is consumed by combining it with yak butter and salt to produce butter tea.
INSTANT TEA
"Instant tea", both hot and cold, is an alternative to the brewed products. Similar to freeze-dried instant coffee, but not requiring boiling water, instant tea was developed in the 1930s. Nestlé introduced the first commercial product in 1946, while Redi-Tea debuted instant iced tea in 1953.
Delicacy of flavour is sacrificed for convenience. Additives such as chai, vanilla, honey or fruit, are popular, as is powdered milk.
During the Second World War British and Canadian soldiers were issued an instant tea known as 'Compo' in their Composite Ration Packs. These blocks of instant tea, powdered milk, and sugar were not always well received. As Royal Canadian Artillery Gunner, George C Blackburn observed:
But, unquestionably, the feature of Compo rations destined to be remembered beyond all others is Compo tea...Directions say to "sprinkle powder on heated water and bring to the boil, stirring well, three heaped teaspoons to one pint of water."
Every possible variation in the preparation of this tea was tried, but...it always ended up the same way. While still too hot to drink, it is a good-looking cup of strong tea. Even when it becomes just cool enough to be sipped gingerly, it is still a good-tasting cup of tea, if you like your tea strong and sweet. But let it cool enough to be quaffed and enjoyed, and your lips will be coated with a sticky scum that forms across the surface, which if left undisturbed will become a leathery membrane that can be wound around your finger and flipped away...
STORAGE
Storage conditions and type determine the shelf life of tea. Black tea's is greater than green's. Some, such as flower teas, may last only a month or so. Others, such as pu-erh, improve with age.
To remain fresh and prevent mold, tea needs to be stored away from heat, light, air, and moisture. Tea must be kept at room temperature in an air-tight container. Black tea in a bag within a sealed opaque canister may keep for two years. Green tea deteriorates more rapidly, usually in less than a year. Tightly rolled gunpowder tea leaves keep longer than the more open-leafed Chun Mee tea.
Storage life for all teas can be extended by using desiccant or oxygen-absorbing packets, vacuum sealing, or refrigeration in air-tight containers (except green tea, where discrete use of refrigeration or freezing is recommended and temperature variation kept to a minimum).
WIKIPEDIA
The site includes the remains of two churches built in the 14th century or later and an earlier round tower, but it is most famous for its high crosses.
The round tower is about 28 metres tall, and is in very good condition. It was likely built shortly after 968 and damaged in a fire in 1098.[3]
The three high crosses date from the 10th century and form part of the scriptural group (showing biblical scenes).[3]
The 5.5-metre Muiredach's High Cross is regarded as the finest high cross in the whole of Ireland. It is named after an abbot, Muiredach mac Domhnaill, who died in 923 and features biblical carvings of both the Old and New Testaments of the Bible. The North and West crosses are also notable examples of this kind of structure, but these have suffered much more from the effects of the weather. A copy of the main cross is held in the Victoria and Albert Museum in London.
August 15, 2019- New York City, NY- Governor Andrew Cuomo advances First-In-The-Nation Domestic Terrorism Law to include mass violence motivated hate.
Tea is an aromatic beverage commonly prepared by pouring hot or boiling water over cured leaves of the Camellia sinensis, an evergreen shrub native to Asia. After water, it is the most widely consumed drink in the world. Some teas, like Darjeeling and Chinese greens, have a cooling, slightly bitter, and astringent flavour, while others have vastly different profiles that include sweet, nutty, floral, or grassy notes.
Tea originated in China, possibly as a medicinal drink. It came to the West via Portuguese priests and merchants, who introduced it during the 16th century. Drinking tea became fashionable among Britons during the 17th century, who started large scale production and commercialization of the plant in India to bypass a Chinese monopoly at that time.
The phrase herbal tea usually refers to infusions of fruit or herbs made without the tea plant, such as steeps of rosehip, chamomile, or rooibos. These are also known as tisanes or herbal infusions to distinguish them from "tea" as it is commonly construed.
ETYMOLOGY
The Chinese character for tea is 茶, originally written with an extra stroke as 荼 (pronounced tu, used as a word for a bitter herb), and acquired its current form during the Tang Dynasty as used in the eighth-century treatise on tea The Classic of Tea. The word is pronounced differently in the different varieties of Chinese, such as chá in Mandarin, zo and dzo in Wu Chinese, and ta and te in Min Chinese. One suggestion is that the different pronunciations may have arisen from the different words for tea in ancient China, for example tu (荼) may have given rise to tê; historical phonologists however argued that the cha, te and dzo all arose from the same root with a reconstructed pronunciation dra (dr- represents a single consonant for a retroflex d), which changed due to sound shift through the centuries. Other ancient words for tea include jia (檟, defined as "bitter tu" during the Han Dynasty), she (蔎), ming (茗) and chuan (荈), with chuan the only other word still in use for tea. Most, such as Mandarin and Cantonese, pronounce it along the lines of cha, but Hokkien varieties along the Southern coast of China and in Southeast Asia pronounce it like teh. These two pronunciations have made their separate ways into other languages around the world:
- Te is from the Amoy tê of southern Fujian province. It reached the West from the port of Xiamen (Amoy), once a major point of contact with Western European traders such as the Dutch, who spread it to Western Europe.
- Cha is from the Cantonese chàh of Guangzhou (Canton) and the ports of Hong Kong and Macau, also major points of contact, especially with the Portuguese, who spread it to India in the 16th century. The Korean and Japanese pronunciations of cha, however, came not from Cantonese, rather they were borrowed into Korean and Japanese during earlier periods of Chinese history.
The widespread form chai came from Persian چای chay. Both the châ and chây forms are found in Persian dictionaries. They derive from Northern Chinese pronunciation of chá, which passed overland to Central Asia and Persia, where it picked up the Persian grammatical suffix -yi before passing on to Russian, Arabic, Urdu, Turkish, etc.
English has all three forms: cha or char (both pronounced /ˈtʃɑː/), attested from the 16th century; tea, from the 17th; and chai, from the 20th.
Languages in more intense contact with Chinese, Sinospheric languages such as Vietnamese, Zhuang, Tibetan, Korean, and Japanese, may have borrowed their words for tea at an earlier time and from a different variety of Chinese, so-called Sino-Xenic pronunciations. Although normally pronounced as cha, Korean and Japanese also retain the early but now less common pronunciations of ta and da. Japanese has different pronunciations for the word tea depending on when the pronunciations was first borrowed into the language: Ta comes from the Tang Dynasty court at Chang'an: that is, from Middle Chinese; da, however, comes from the earlier Southern Dynasties court at Nanjing, a place where the consonant was still voiced, as it is today in neighbouring Shanghainese zo. Vietnamese and Zhuang have southern cha-type pronunciations.
ORIGN AND HISTORY
Tea plants are native to East and South Asia, and probably originated around the meeting points of the lands of north Burma and southwest China. Statistical cluster analysis, chromosome number, easy hybridization, and various types of intermediate hybrids and spontaneous polyploids indicate that likely a single place of origin exists for Camellia sinensis, an area including the northern part of Burma, and Yunnan and Sichuan provinces of China. Tea drinking likely began during the Shang Dynasty in China, when it was used for medicinal purposes. It is believed that, soon after, "for the first time, people began to boil tea leaves for consumption into a concentrated liquid without the addition of other leaves or herbs, thereby using tea as a bitter yet stimulating drink, rather than as a medicinal concoction."
Chinese legends attribute the invention of tea to Shennong in 2737 BC. A Chinese inventor was the first person to invent a tea shredder. The first recorded drinking of tea is in China, with the earliest records of tea consumption dating to the 10th century BC. Another early credible record of tea drinking dates to the third century AD, in a medical text by Hua Tuo, who stated, "to drink bitter t'u constantly makes one think better." Another early reference to tea is found in a letter written by the Qin Dynasty general Liu Kun. It was already a common drink during the Qin Dynasty (third century BC) and became widely popular during the Tang Dynasty, when it was spread to Korea, Japan, and Vietnam. In India, it has been drunk for medicinal purposes for a long but uncertain period, but apart from the Himalayan region seems not to have been used as a beverage until the British introduced Chinese tea there.
Tea was first introduced to Portuguese priests and merchants in China during the 16th century, at which time it was termed chá. The first record in English is from Peter Mundy an East India Company agent writing to Macao requesting "the best sort of chaw" in 1615. In 1750, tea experts travelled from China to the Azores, and planted tea, along with jasmine and mallow, to give it aroma and distinction. Both green and black tea continue to grow on the islands, which are the main suppliers to continental Portugal. Catherine of Braganza, wife of King Charles II of England, took the tea habit to Great Britain around 1660 when it was tasted by Samuel Pepys, but tea was not widely consumed in Britain until the 18th century, and remained expensive until the latter part of that period. Tea smuggling during the 18th century led to Britain’s masses being able to afford and consume tea, and its importance eventually influenced the Boston Tea Party. The British government eventually eradicated the tax on tea, thereby eliminating the smuggling trade by 1785. In Britain and Ireland, tea had become an everyday beverage for all levels of society by the late 19th century, but at first it was consumed as a luxury item on special occasions, such as religious festivals, wakes, and domestic work gatherings such as quiltings. The price in Europe fell steadily during the 19th century, especially after Indian tea began to arrive in large quantities.
The first European to successfully transplant tea to the Himalayas, Robert Fortune, was sent by the East India Company on a mission to China in 1848 to bring the tea plant back to Great Britain. He began his journey in high secrecy as his mission occurred in the lull between the Anglo-Chinese First Opium War (1839–1842) and Second Opium War (1856–1860), at a time when westerners were not held in high regard.
Tea was introduced into India by the British, in an attempt to break the Chinese monopoly on it. The British brought Chinese seeds into Northeast India, but the plants failed; they later discovered that a different variety of tea was endemic to Assam and the northeast region of India and that it was used by local tribes. Using the Chinese planting and cultivation techniques, the British launched a tea industry by offering land in Assam to any European who agreed to cultivate it for export. Tea was originally consumed only by anglicized Indians; it became widely popular in India in the 1950s because of a successful advertising campaign by the India Tea Board.
CULTIVATION AND HARVESTING
Tea plants are propagated from seed and cuttings; about 4 to 12 years are needed for a plant to bear seed and about three years before a new plant is ready for harvesting. In addition to a zone 8 climate or warmer, tea plants require at least 127 cm of rainfall a year and prefer acidic soils. Many high-quality tea plants are cultivated at elevations of up to 1,500 m above sea level. While at these heights the plants grow more slowly, they acquire a better flavour.
Two principal varieties are used: Camellia sinensis var. sinensis, which is used for most Chinese, Formosan and Japanese teas, and C. s. var. assamica, used in Pu-erh and most Indian teas (but not Darjeeling). Within these botanical varieties, many strains and modern clonal varieties are known. Leaf size is the chief criterion for the classification of tea plants, with three primary classifications being, Assam type, characterised by the largest leaves; China type, characterised by the smallest leaves; and Cambodian type, characterised by leaves of intermediate size.
A tea plant will grow into a tree of up to 16 m if left undisturbed, but cultivated plants are generally pruned to waist height for ease of plucking. Also, the short plants bear more new shoots which provide new and tender leaves and increase the quality of the tea.
Only the top 1–2 in of the mature plant are picked. These buds and leaves are called 'flushes'. A plant will grow a new flush every seven to 15 days during the growing season. Leaves that are slow in development tend to produce better-flavoured teas. Pests of tea include mosquito bugs of the genus Helopeltis (which are true bugs that must not be confused with the dipteran) that can tatter leaves, so they may be sprayed with insecticides.
PROCESSING AND CLASSIFICATION
Tea is generally divided into categories based on how it is processed. At least six different types are produced:
- White: Wilted and unoxidized
- Yellow: Unwilted and unoxidized, but allowed to yellow
- Green: Unwilted and unoxidized
- Oolong: Wilted, bruised, and partially oxidized
- Black: Wilted, sometimes crushed, and fully oxidized (called 'red tea' in China)
- Post-Fermented: Green tea that has been allowed to ferment/compost ('black tea' for the Chinese)
The most common are white, green, oolong, and black. Some varieties, such as traditional oolong and Pu-erh, a post-fermented tea, can be used medicinally.
After picking, the leaves of C. sinensis soon begin to wilt and oxidize unless immediately dried. An enzymatic oxidation process triggered by the plant's intracellular enzymes causes the leaves to turn progressively darker as their chlorophyll breaks down and tannins are released. This darkening is stopped at a predetermined stage by heating, which deactivates the enzymes responsible. In the production of black teas, halting by heating is carried out simultaneously with drying.
Without careful moisture and temperature control during manufacture and packaging, growth of undesired molds and bacteria may make tea unfit for consumption.
Blending and additives
Although single-estate teas are available, almost all tea in bags and most loose tea sold in the West is blended. Such teas may combine others from the same cultivation area or several different ones. The aim is to obtain consistency, better taste, higher price, or some combination of the three.
Tea easily retains odors, which can cause problems in processing, transportation, and storage. This same sensitivity also allows for special processing (such as tea infused with smoke during drying) and a wide range of scented and flavoured variants, such as bergamot (found in Earl Grey), vanilla, and spearmint.
CONTENT
Caffeine constitutes about 3% of tea's dry weight, translating to between 30 mg and 90 mg per 250-ml cup depending on type, brand, and brewing method. A study found that the caffeine content of 1 g of black tea ranged from 22 to 28 mg, while the caffeine content of 1 g of green tea ranged from 11 to 20 mg, reflecting a significant difference.
Tea also contains small amounts of theobromine and theophylline, which are stimulants and xanthines similar to caffeine.
Because of modern environmental pollution, fluoride and aluminium also sometimes occur in tea. Certain types of brick tea made from old leaves and stems have the highest levels.
NUTRIENTS AND PHYTOXHEMICALS
Black and green teas contain no essential nutrients in significant content, with the exception of the dietary mineral, manganese at 0.5 mg per cup or 26% of the Daily Value. Tea leaves contain diverse polyphenols, including flavonoids, epigallocatechin gallate (commonly noted as EGCG) and other catechins.
It has been suggested that green and black tea may protect against cancer or other diseases such as obesity or Alzheimer's disease, but the compounds found in green tea have not been conclusively demonstrated to have any effect on human diseases. One human study demonstrated that regular consumption of black tea over four weeks had no beneficial effect in lowering blood cholesterol levels.
TEA CULTURE
Tea may be consumed early in the day to heighten calm alertness; it contains L-theanine, theophylline, and bound caffeine (sometimes called theine). Decaffeinated brands are also sold. While herbal teas are also referred to as tea, most of them do not contain leaves from the tea plant.
While tea is the second most consumed beverage on Earth after water, in many cultures it is also consumed at elevated social events, such as afternoon tea and the tea party. Tea ceremonies have arisen in different cultures, such as the Chinese and Japanese tea ceremonies, each of which employs traditional techniques and ritualised protocol of brewing and serving tea for enjoyment in a refined setting. One form of Chinese tea ceremony is the Gongfu tea ceremony, which typically uses small Yixing clay teapots and oolong tea.
Turkish tea is an important part of Turkish cuisine, and is the most commonly consumed hot drink, despite the country's long history of coffee consumption. In 2004 Turkey produced 205,500 tonnes of tea (6.4% of the world's total tea production), which made it one of the largest tea markets in the world, with 120,000 tons being consumed in Turkey, and the rest being exported. In 2010 Turkey had the highest per capita consumption in the world at 2.7 kg. As of 2013, the per-capita consumption of Turkish tea exceeds 10 cups per day and 13.8 kg per year. Tea is grown mostly in Rize Province on the Black Sea coast.
Ireland has, for a long time, been one of the biggest per-capita consumers of tea in the world. The national average is four cups per person per day, with many people drinking six cups or more. Tea in Ireland is usually taken with milk or sugar and is slightly spicier and stronger than the traditional English blend. The two main brands of tea sold in Ireland are Lyons and Barry's. The Irish love of tea is perhaps best illustrated by the stereotypical housekeeper, Mrs. Doyle in the popular sitcom Father Ted.
Tea is prevalent in most cultures in the Middle East. In Arab culture, tea is a focal point for social gatherings.
In Pakistan, tea is called chai (written as چائے). Both black and green teas are popular and are known locally as sabz chai and kahwah, respectively. The popular green tea called kahwah is often served after every meal in the Pashtun belt of Balochistan and in Khyber Pakhtunkhwa, which is where the Khyber Pass of the Silk Road is found.
In the transnational Kashmir region, which straddles the border between India and Pakistan, Kashmiri chai or noon chai, a pink, creamy tea with pistachios, almonds, cardamom, and sometimes cinnamon, is consumed primarily at special occasions, weddings, and during the winter months when it is sold in many kiosks.
In central and southern Punjab and the metropolitan Sindh region of Pakistan, tea with milk and sugar (sometimes with pistachios, cardamom, etc.), commonly referred to as chai, is widely consumed. It is the most common beverage of households in the region. In the northern Pakistani regions of Chitral and Gilgit-Baltistan, a salty, buttered Tibetan-style tea is consumed. In Iranian culture, tea is so widely consumed, it is generally the first thing offered to a household guest.
In India, tea is one of the most popular hot beverages. It is consumed daily in almost all homes, offered to guests, consumed in high amounts in domestic and official surroundings, and is made with the addition of milk with or without spices. It is also served with biscuits dipped in the tea and eaten before consuming the tea. More often than not, it is drunk in "doses" of small cups (referred to as "Cutting" chai if sold at street tea vendors) rather than one large cup. On 21 April 2012, the Deputy Chairman of Planning Commission (India), Montek Singh Ahluwalia, said tea would be declared as national drink by April 2013. The move is expected to boost the tea industry in the country. Speaking on the occasion, Assam Chief Minister Tarun Gogoi said a special package for the tea industry would be announced in the future to ensure its development.
In the United States, 80% of tea is consumed as iced tea. Sweet tea is native to the southeastern US, and is iconic in its cuisine.
Switzerland has its own unique blend of iced tea, made with the basic ingredients like black tea, sugar, lemon juice and mint, but a variety of Alp herbs are also added to the concoction. Apart from classic flavours like lemon and peach, exotic flavours like jasmine and lemongrass are also very popular.
In the United Kingdom, it is consumed daily and often by a majority of people across the country, and indeed is perceived as one of Britain's cultural beverages. In British homes, it is customary good manners for a host to offer tea to guests soon after their arrival. Tea is generally consumed at home; outside the home in cafés. Afternoon tea with cakes on fine porcelain is a cultural stereotype, sometimes available in quaint tea-houses. In southwest England, many cafes serve a 'cream tea', consisting of scones, clotted cream, and jam alongside a pot of tea. Throughout the UK, 'tea' may also refer to the evening meal.
In Burma (Myanmar), tea is consumed not only as hot drinks, but also as sweet tea and green tea known locally as laphet-yay and laphet-yay-gyan, respectively. Pickled tea leaves, known locally as laphet, are also a national delicacy. Pickled tea is usually eaten with roasted sesame seeds, crispy fried beans, roasted peanuts and fried garlic chips.
PREPARATION
STEEPING TEA
The traditional method of preparing tea is to place loose tea leaves directly (or in a tea infuser) into a tea pot or teacup, pour freshly boiled water over the leaves, and allow the infused liquid to steep (or "brew"). After a few minutes, the infuser is removed, or the tea is poured through a strainer while serving. Strength should be varied by the amount of tea leaves used, not changing the steeping time.
Most green teas should be allowed two or three minutes, although other types may vary between thirty seconds and ten minutes.
Quantity also varies by tea type, with a basic recipe calling for one slightly heaped teaspoon (about 5 ml) for each teacup of water (200–240 ml). Stronger teas to be drunk with milk (such as Assam) are often prepared more heavily, while more delicate high-grown varieties (such as a Darjeeling) more lightly.
Optimum brewing temperature depends on tea type. Camellia sinensis naturally contains tannins having bitter properties accentuated by both temperature and steeping time. These tannins are enhanced by oxidation during processing. Teas with little or no oxidation, such as a green or white, are best at lower temperatures between 65 and 85 °C, while more oxidized teas require 100 °C to extract their large, complex, flavourful phenolic molecules.
In addition, boiling reduces the dissolved oxygen content of water, which would otherwise react with phenolic molecules to degrade them.
Type Water temp. Steep time Infusions
_________________________________________
White tea 65 to 70 °C 1–2 minutes 3
Yellow tea 70 to 75 °C 1–2 minutes 3
Green tea 75 to 80 °C 1–2 minutes 4–6
Oolong tea 80 to 85 °C 2–3 minutes 4–6
Black tea 99 °C 2–3 minutes 2–3
Flowering tea 100 °C 2–3 minutes 4–5
Pu'er tea 95 to 100 °C Limitless Several
Tisanes 99 °C 3–6 minutes Varied
Some tea sorts are often brewed several times using the same leaves. Historically in China, tea is divided into a number of infusions. The first is immediately poured out to wash the tea, and then the second and further infusions are drunk. The third through fifth are nearly always considered the best, although different teas open up differently and may require more infusions to produce the best flavour.
One way to taste a tea throughout its entire process is to add hot water to a cup containing the leaves and sample it every 30 seconds. As the tea leaves unfold (known as "The Agony of the Leaves") the taste evolves.
A tea cosy or a teapot warmer are often used to keep the temperature of the tea in a teapot constant over periods of 20–60 minutes.
BLACK TEA
Popular varieties of black tea include Assam, Nepal, Darjeeling, Nilgiri, Turkish, Keemun, and Ceylon teas.
Many of the active substances in black tea do not develop at temperatures lower than 90 °C. As a result, black tea in the West is usually steeped in water near its boiling point, at around 99 °C. The most common fault when making black tea is to use water at too low a temperature. Since boiling point drops with increasing altitude, it is difficult to brew black tea properly in mountainous areas. Warming the tea pot before steeping is critical at any elevation.
Western black teas are usually brewed for about four minutes and are usually not allowed to steep for less than 30 seconds or more than about five minutes (a process known as brewing or mashing in Britain). In many regions of the world, however, actively boiling water is used and the tea is often stewed. In India, black tea is often boiled for fifteen minutes or longer to make Masala chai, as a strong brew is preferred. Tea should be strained while serving.
A food safety management group of the International Organization for Standardization (ISO) has published a standard for preparing a cup of tea (ISO 3103: Tea — Preparation of liquor for use in sensory tests), primarily intended for standardizing preparation for comparison and rating purposes.
GREEN TEA
In regions of the world that prefer mild beverages, such as the West and Far East, green tea should be steeped in water around 80 to 85 °C, the higher the quality of the leaves the lower the temperature. Regions such as North Africa or Central Asia prefer a bitter tea, and hotter water is used. In Morocco, green tea is steeped in boiling water for 15 minutes.
The container in which green tea is steeped is often warmed beforehand to prevent premature cooling. High-quality green and white teas can have new water added as many as five or more times, depending on variety, at increasingly higher temperatures.
FLOWERING TEA
Flowering tea or blooming tea should be brewed at 100 °C in clear glass tea wares for up to three minutes. First pull 1/3 water to make the tea ball wet and after 30 seconds add the boiling water up to 4/5 of the capacity of the tea ware. The boiling water can help the tea ball bloom quickly and with a strong aroma of the tea. The height of glass tea ware should be 8–10 cm, which can help the tea and flowers bloom completely. One tea ball can be brewed 4-5 times.
OOLONG TEA
Oolong tea should be brewed around 85 to 96 °C, with the brewing vessel warmed before pouring the water. Yixing purple clay teapots are the traditional brewing-vessel for oolong tea which can be brewed multiple times from the same leaves, unlike green tea, seeming to improve with reuse. In the Chinese and Taiwanese Gongfu tea ceremony, the first brew is discarded, as it is considered a rinse of leaves rather than a proper brew.
PREMIUM OR DELICATE TEA
Some teas, especially green teas and delicate oolong teas, are steeped for shorter periods, sometimes less than 30 seconds. Using a tea strainer separates the leaves from the water at the end of the brewing time if a tea bag is not being used. However, the black Darjeeling tea, a premium Indian tea, needs a longer than average steeping time. Elevation and time of harvest offer varying taste profiles; proper storage and water quality also have a large impact on taste.
PU-ERH TEA
Pu-erh teas require boiling water for infusion. Some prefer to quickly rinse pu-erh for several seconds with boiling water to remove tea dust which accumulates from the ageing process, then infuse it at the boiling point (100 °C), and allow it to steep from 30 seconds to five minutes.
SERVING
To preserve the pretannin tea without requiring it all to be poured into cups, a second teapot may be used. The steeping pot is best unglazed earthenware; Yixing pots are the best known of these, famed for the high-quality clay from which they are made. The serving pot is generally porcelain, which retains the heat better. Larger teapots are a post-19th century invention, as tea before this time was very rare and very expensive. Experienced tea-drinkers often insist the tea should not be stirred around while it is steeping (sometimes called winding or mashing in the UK). This, they say, will do little to strengthen the tea, but is likely to bring the tannins out in the same way that brewing too long will do. For the same reason, one should not squeeze the last drops out of a teabag; if stronger tea is desired, more tea leaves should be used.
ADDITIVES
The addition of milk to tea in Europe was first mentioned in 1680 by the epistolist Madame de Sévigné. Many teas are traditionally drunk with milk in cultures where dairy products are consumed. These include Indian masala chai and British tea blends. These teas tend to be very hearty varieties of black tea which can be tasted through the milk, such as Assams, or the East Friesian blend. Milk is thought to neutralise remaining tannins and reduce acidity. The Han Chinese do not usually drink milk with tea but the Manchus do, and the elite of the Qing Dynasty of the Chinese Empire continued to do so. Hong Kong-style milk tea is based on British colonial habits. Tibetans and other Himalayan peoples traditionally drink tea with milk or yak butter and salt. In Eastern European countries (Russia, Poland and Hungary) and in Italy, tea is commonly served with lemon juice. In Poland, tea with milk is called a bawarka ("Bavarian style"), and is often drunk by pregnant and nursing women. In Australia, tea with milk is white tea.
The order of steps in preparing a cup of tea is a much-debated topic, and can vary widely between cultures or even individuals. Some say it is preferable to add the milk before the tea, as the high temperature of freshly brewed tea can denature the proteins found in fresh milk, similar to the change in taste of UHT milk, resulting in an inferior-tasting beverage. Others insist it is better to add the milk after brewing the tea, as black tea is often brewed as close to boiling as possible. The addition of milk chills the beverage during the crucial brewing phase, if brewing in a cup rather than using a pot, meaning the delicate flavour of a good tea cannot be fully appreciated. By adding the milk afterwards, it is easier to dissolve sugar in the tea and also to ensure the desired amount of milk is added, as the colour of the tea can be observed. Historically, the order of steps was taken as an indication of class: only those wealthy enough to afford good-quality porcelain would be confident of its being able to cope with being exposed to boiling water unadulterated with milk. Higher temperature difference means faster heat transfer so the earlier you add milk the slower the drink cools. A 2007 study published in the European Heart Journal found certain beneficial effects of tea may be lost through the addition of milk.
Many flavourings are added to varieties of tea during processing. Among the best known are Chinese jasmine tea, with jasmine oil or flowers, the spices in Indian masala chai, and Earl Grey tea, which contains oil of bergamot. A great range of modern flavours have been added to these traditional ones. In eastern India, people also drink lemon tea or lemon masala tea. Lemon tea simply contains hot tea with lemon juice and sugar. Masala lemon tea contains hot tea with roasted cumin seed powder, lemon juice, black salt and sugar, which gives it a tangy, spicy taste. Adding a piece of ginger when brewing tea is a popular habit of Sri Lankans, who also use other types of spices such as cinnamon to sweeten the aroma.
Other popular additives to tea by the tea-brewer or drinker include sugar, liquid honey or a solid Honey Drop, agave nectar, fruit jams, and mint. In China, sweetening tea was traditionally regarded as a feminine practice. In colder regions, such as Mongolia, Tibet and Nepal, butter is added to provide necessary calories. Tibetan butter tea contains rock salt and dre, a butter made from yak milk, which is churned vigorously in a cylindrical vessel closely resembling a butter churn. The same may be said for salt tea, which is popular in the Hindu Kush region of northern Pakistan.
Alcohol, such as whisky or brandy, may also be added to tea.
The flavour of the tea can also be altered by pouring it from different heights, resulting in varying degrees of aeration. The art of high-altitude pouring is used principally by people in Northern Africa (e.g. Morocco, Algeria, Mauritania, Libya and Western Sahara), but also in West Africa (e.g. Guinea, Mali, Senegal) and can positively alter the flavour of the tea, but it is more likely a technique to cool the beverage destined to be consumed immediately. In certain cultures, the tea is given different names depending on the height from which it is poured. In Mali, gunpowder tea is served in series of three, starting with the highest oxidisation or strongest, unsweetened tea (cooked from fresh leaves), locally referred to as "strong like death", followed by a second serving, where the same tea leaves are boiled again with some sugar added ("pleasant as life"), and a third one, where the same tea leaves are boiled for the third time with yet more sugar added ("sweet as love"). Green tea is the central ingredient of a distinctly Malian custom, the "Grin", an informal social gathering that cuts across social and economic lines, starting in front of family compound gates in the afternoons and extending late into the night, and is widely popular in Bamako and other large urban areas.
In Southeast Asia, particularly in Singapore and Malaysia, the practice of pouring tea from a height has been refined further using black tea to which condensed milk is added, poured from a height from one cup to another several times in alternating fashion and in quick succession, to create a tea with entrapped air bubbles creating a frothy "head" in the cup. This beverage, teh tarik, literally, "pulled tea" (which has its origin as a hot Indian tea beverage), has a creamier taste than flat milk tea and is extremely popular in the region. Tea pouring in Malaysia has been further developed into an art form in which a dance is done by people pouring tea from one container to another, which in any case takes skill and precision. The participants, each holding two containers, one full of tea, pour it from one to another. They stand in lines and squares and pour the tea into each other's pots. The dance must be choreographed to allow anyone who has both pots full to empty them and refill those of whoever has no tea at any one point.
ECONOMICS
Tea is the most popular manufactured drink consumed in the world, equaling all others – including coffee, chocolate, soft drinks, and alcohol – combined. Most tea consumed outside East Asia is produced on large plantations in the hilly regions of India and Sri Lanka, and is destined to be sold to large businesses. Opposite this large-scale industrial production are many small "gardens," sometimes minuscule plantations, that produce highly sought-after teas prized by gourmets. These teas are both rare and expensive, and can be compared to some of the most expensive wines in this respect.
India is the world's largest tea-drinking nation, although the per capita consumption of tea remains a modest 750 grams per person every year. Turkey, with 2.5 kg of tea consumed per person per year, is the world's greatest per capita consumer.
PRODUCTION
In 2003, world tea production was 3.21 million tonnes annually. In 2010, world tea production reached over 4.52 million tonnes after having increased by 5.7% between 2009 and 2010.[84] Production rose by 3.1% between 2010 and 2011. The largest producers of tea are the People's Republic of China, India, Kenya, Sri Lanka, and Turkey.
TRADE
According to the FAO in 2007, the largest importer of tea, by weight, was the Russian Federation, followed by the United Kingdom, Pakistan, and the United States. Kenya, China, India and Sri Lanka were the largest exporters of tea in 2007 (with exports of: 374229, 292199, 193459 and 190203 tonnes respectively). The largest exporter of black tea is Kenya, largest producer (and consumer) India.
PACKAGING
TEA BAGS
In 1907, American tea merchant Thomas Sullivan began distributing samples of his tea in small bags of Chinese silk with a drawstring. Consumers noticed they could simply leave the tea in the bag and reuse it with fresh tea. However, the potential of this distribution/packaging method would not be fully realised until later on. During World War II, tea was rationed in the United Kingdom. In 1953 (after rationing in the UK ended), Tetley launched the tea bag to the UK and it was an immediate success.
The "pyramid tea bag" (or sachet) introduced by Lipton and PG Tips/Scottish Blend in 1996, attempts to address one of the connoisseurs' arguments against paper tea bags by way of its three-dimensional tetrahedron shape, which allows more room for tea leaves to expand while steeping.
However, some types of pyramid tea bags have been criticised as being environmentally unfriendly, since their synthetic material is not as biodegradable as loose tea leaves and paper tea bags.
LOOSE TEA
The tea leaves are packaged loosely in a canister, paper bag, or other container such as a tea chest. Some whole teas, such as rolled gunpowder tea leaves, which resist crumbling, are sometimes vacuum packed for freshness in aluminised packaging for storage and retail. The loose tea must be individually measured for use, allowing for flexibility and flavor control at the expense of convenience. Strainers, tea balls, tea presses, filtered teapots, and infusion bags prevent loose leaves from floating in the tea and over-brewing. A traditional method uses a three-piece lidded teacup called a gaiwan, the lid of which is tilted to decant the tea into a different cup for consumption.
COMPRESSED TEA
Compressed tea (such as Pu-erh) is produced for convenience in transport, storage, and ageing. It can usually be stored longer without spoilage than loose leaf tea.
Compressed tea is prepared by loosening leaves from the cake using a small knife, and steeping the extracted pieces in water. During the Tang dynasty, as described by Lu Yu, compressed tea was ground into a powder, combined with hot water, and ladled into bowls, resulting in a "frothy" mixture. In the Song dynasty, the tea powder would instead be whisked with hot water in the bowl. Although no longer practiced in China today, the whisking method of preparing powdered tea was transmitted to Japan by Zen Buddhist monks, and is still used to prepare matcha in the Japanese tea ceremony.
Compressed tea was the most popular form of tea in China during the Tang dynasty. By the beginning of the Ming dynasty, it had been displaced by loose leaf tea. It remains popular, however, in the Himalayan countries and Mongolian steppes. In Mongolia, tea bricks were ubiquitous enough to be used as a form of currency. Among Himalayan peoples, compressed tea is consumed by combining it with yak butter and salt to produce butter tea.
INSTANT TEA
"Instant tea", both hot and cold, is an alternative to the brewed products. Similar to freeze-dried instant coffee, but not requiring boiling water, instant tea was developed in the 1930s. Nestlé introduced the first commercial product in 1946, while Redi-Tea debuted instant iced tea in 1953.
Delicacy of flavour is sacrificed for convenience. Additives such as chai, vanilla, honey or fruit, are popular, as is powdered milk.
During the Second World War British and Canadian soldiers were issued an instant tea known as 'Compo' in their Composite Ration Packs. These blocks of instant tea, powdered milk, and sugar were not always well received. As Royal Canadian Artillery Gunner, George C Blackburn observed:
But, unquestionably, the feature of Compo rations destined to be remembered beyond all others is Compo tea...Directions say to "sprinkle powder on heated water and bring to the boil, stirring well, three heaped teaspoons to one pint of water."
Every possible variation in the preparation of this tea was tried, but...it always ended up the same way. While still too hot to drink, it is a good-looking cup of strong tea. Even when it becomes just cool enough to be sipped gingerly, it is still a good-tasting cup of tea, if you like your tea strong and sweet. But let it cool enough to be quaffed and enjoyed, and your lips will be coated with a sticky scum that forms across the surface, which if left undisturbed will become a leathery membrane that can be wound around your finger and flipped away...
STORAGE
Storage conditions and type determine the shelf life of tea. Black tea's is greater than green's. Some, such as flower teas, may last only a month or so. Others, such as pu-erh, improve with age.
To remain fresh and prevent mold, tea needs to be stored away from heat, light, air, and moisture. Tea must be kept at room temperature in an air-tight container. Black tea in a bag within a sealed opaque canister may keep for two years. Green tea deteriorates more rapidly, usually in less than a year. Tightly rolled gunpowder tea leaves keep longer than the more open-leafed Chun Mee tea.
Storage life for all teas can be extended by using desiccant or oxygen-absorbing packets, vacuum sealing, or refrigeration in air-tight containers (except green tea, where discrete use of refrigeration or freezing is recommended and temperature variation kept to a minimum).
WIKIPEDIA
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
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The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.
GODDESS KALI
Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP AND MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stutē.)
YANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER AND RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot
on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda;
indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.
The waters of the ocean depths are the same; The infinite is always mysteriously dark.
This inebriating darkness is my beloved Kali.
—Sri Ramakrishna
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
Kali as the Symbol of Creation , Freedom , Preservation and Destruction
The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.
Kali as the Symbol of Mother Nature
The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
KALI IN NEOPAGAN AND NEW AGE PRACTICE
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
INCARNATIONS OF KALI
Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.
WIKIPEDIA
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slurl.com/secondlife/Ravens Requiem/64/224/21/
Self-harm (SH) or deliberate self-harm (DSH) includes self-injury (SI) and self-poisoning and is defined as the intentional, direct injuring of body tissue most often done without suicidal intentions. These terms are used in the more recent literature in an attempt to reach a more neutral terminology. The older literature, especially that which predates the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV-TR), almost exclusively refers to self-mutilation. The term is synonymous with "self-injury". The most common form of self-harm is skin-cutting but self-harm also covers a wide range of behaviors including, but not limited to, burning, scratching, banging or hitting body parts, interfering with wound healing, hair-pulling (trichotillomania) and the ingestion of toxic substances or objects. Behaviours associated with substance abuse and eating disorders are usually not considered self-harm because the resulting tissue damage is ordinarily an unintentional side effect. However, the boundaries are not always clearly defined and in some cases behaviours that usually fall outside the boundaries of self-harm may indeed represent self-harm if performed with explicit intent to cause tissue damage. Although suicide is not the intention of self-harm, the relationship between self-harm and suicide is complex, as self-harming behaviour may be potentially life-threatening. There is also an increased risk of suicide in individuals who self-harm to the extent that self-harm is found in 40–60% of suicides. However, generalising self-harmers to be suicidal is, in the majority of cases, inaccurate. Self-harm is listed in the DSM-IV-TR as a symptom of borderline personality disorder. However patients with other diagnoses may also self-harm, including those with depression, anxiety disorders, substance abuse, eating disorders, post-traumatic stress disorder, schizophrenia, and several personality disorders. Self-harm is also apparent in high-functioning individuals who have no underlying clinical diagnosis. The motivations for self-harm vary and it may be used to fulfill a number of different functions. These functions include self-harm being used as a coping mechanism which provides temporary relief of intense feelings such as anxiety, depression, stress, emotional numbness or a sense of failure or self-loathing and other mental traits including low self-esteem or perfectionism. Self-harm is often associated with a history of trauma and abuse, including emotional and sexual abuse. There are a number of different methods that can be used to treat self-harm and which concentrate on either treating the underlying causes or on treating the behaviour itself. When self-harm is associated with depression, antidepressant drugs and treatments may be effective. Other approaches involve avoidance techniques, which focus on keeping the individual occupied with other activities, or replacing the act of self-harm with safer methods that do not lead to permanent damage.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
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A replacement hose for my Dyson vacuum cleaner - the old one had a big split in it - not ideal for suction.
Tube #67 for the Treasure Hunt
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
Shannan, Tibet :
Tibet Autonomous Region, China. Shannan includes Gonggar County within its jurisdiction with Gongkar Chö Monastery, Gonggar Dzong, and Gonggar Airport all located near Gonggar town.
Located on the middle and lower reaches of the Yarlung Valley, formed by the Yarlung Tsangpo River, Lhoka region is often regarded as the birthplace of Tibetan civilization. It is bounded by the city of Lhasa to the north, Nyingchi to the east, Shigatse on the west and the international border with India and Bhutan on the south. The city measures 420 kilometres (260 mi) east to west and 329 kilometres (204 mi) from north to south. Its uniqueness stems from the fact that Tibet's earliest agricultural farmland, its first palace and first Buddhist monastery are all located in Lhoka. It also has the distinction of having held the first lhamo performance. Tibetan people constitute 98% of the population, the remaining 2% being Han, Hui, Mönpa, Lhoba and other ethnic groups.
Shannan has 1 district and 11 counties and its capital is Tsetang, which is located 183 kilometres from Lhasa. It covers an area of 79,700 square kilometres (30,800 sq mi), which includes South Tibet, a disputed territory under the Administration of the Indian state of Arunachal Pradesh. Its topography averages 3,700 metres (12,100 ft) above sea level. The population of Tsetang city was 330,100 as of 2007 with Tibetans accounting for 96% of the total population.
Lhoka region has not only an ancient historical background but is also the most prosperous in Tibet.
There's been lots of Kingfisher activity on the Adur recently, so I popped down at low tide and was rewarded with several sightings.
North Pier is the most northerly of the three coastal piers in Blackpool, England. Built in the 1860s, it is also the oldest and longest of the three. Although originally intended only
as a promenade, competition forced the pier to widen its attractions to include theatres and bars. Unlike Blackpool's other piers, which attracted the working classes with open air
dancing and amusements, North Pier catered for the "better-class" market, with orchestra concerts and respectable comedians. Until 2011, it was the only Blackpool pier that
consistently charged admission.
The pier is designated by English Heritage as a Grade II listed building, due to its status as the oldest surviving pier created by Eugenius Birch. As of 2012 it is still in regular use,
despite having suffered damage from fires, storms and collisions with boats. Its attractions include bars, a theatre, a carousel and an arcade. One of the oldest remaining Sooty
glove puppets is on display commemorating Harry Corbett buying the original puppet there.
North Pier was built at the seaward end of Talbot Road, where the town's first railway station, Blackpool North, was built. Its name reflects its location as the most northerly of
Blackpool's three piers. It is about 450 yards (410 m) north of Blackpool Tower, which is roughly the midpoint of Blackpool's promenade. The sea front is particularly straight and
flat on this stretch of coastline, and the 1,650 feet (500 m) pier extends at right angles into the Irish Sea, more or less level with the promenade.
History: The construction of Blackpool Pier (eventually North Pier) started in May 1862, in Layton-cum-Warbreck, part of the parish of Bispham. In October 1862 severe storms
suggested that the planned height of the pier was insufficient, and it was increased by 3 feet (0.91 m) North Pier was the second of fourteen piers designed by Eugenius Birch,
and since Margate Pier was destroyed by a storm in 1978, it is the oldest of the remaining examples of his work still in use. It was the first of Birch's piers to be built by Glasgow
engineering firm Richard Laidlaw and Son.
The pier, which cost £11,740 to build, originally consisted of a promenade 1,405 feet (428 m) long and 28 feet (8.5 m) wide, extending to 55 feet (17 m) wide at the pier-head. The
bulk of the pier was constructed from cast iron, with a wooden deck laid on top. The cast iron piles on which the structure rests were inserted using Birch's screw pile process; the
screw-tipped piles were twisted into the sand until they hit bedrock. This made construction much quicker and easier, and guaranteed that the pier had a solid foundation. The
cast iron columns, 12 inches (300 mm) in diameter, were filled with concrete for stability at intervals of 60 feet (18 m), and supported by struts that were on average were slightly
more than 1 inch (25 mm) thick.The pier's promenade deck is lined with wooden benches with ornamental cast iron backs. At intervals along the pier are hexagonal kiosks built
around 1900 in wood and glass with minaret roofs topped with decorative finials. On opening two of the kiosks were occupied by a bookstall and confectionery stall and the
kiosks near the ends of the pier were seated shelters. The pier-head is a combination of 420 tons of cast iron and 340 tons of wrought iron columns; standing 50 feet (15 m)
above the low water line, it sees a regular 35 feet (11 m) change in sea level due to the tide.
The pier was officially opened in a grand ceremony on 21 May 1863, even though the final 50 yards (46 m) had not yet been completed. All the shops in the area were closed
and decorated with flags and streamers for the ceremony, which included a procession and a cannon salute, and was attended by more than 20,000 visitors. Although the town
only had a population of approximately 4,000, more than 200,000 holiday makers regularly stayed there during the summer months; this included 275,000 admissions in 1863,
400,000 in 1864 and 465,000 the following year. The pier was officially opened by Major Preston, and he and 150 officials then travelled to the Clifton Hotel for a celebratory
meal.
The pier was intended primarily for leisure rather than seafaring; for the price of 2d (worth approximately £4.90 in 2012) the pier provided the opportunity for visitors to walk close
to the sea without distractions.This fee was insufficient to deter "trippers'", which led to Major Preston campaigning for a new pier to cater for the 'trippers'. In 1866, the
government agreed that a second pier could be built, despite objections from the Blackpool Pier Company that it was close to their pier and therefore unnecessary
As permitted by the original parliamentary order, a landing jetty was built at the end of North Pier in incremental stages between 1864 and 1867. The full length of the jetty was
474 feet (144 m), and the extensions increased the pier's total length to its current 1,650 feet (500 m). The Blackpool Pier Company used the jetty to operate pleasure steamers
that made trips to the surrounding areas. In 1871 swimming and diving lessons were added to the pier.
In 1874, the pier-head was extended to allow Richard Knill Freeman to incorporate a pavilion, which opened in 1877. The interior decoration led it to be known as the "Indian
Pavilion", and it was Blackpool's primary venue for indoor entertainment until the Winter Gardens opened in 1879.
To differentiate itself from the new pier, North Pier focused on catering for the "better classes", charging for entry and including attractions such as an orchestra and band
concerts, in contrast to the Central Pier (or the "People's pier"), which regularly had music playing and open-air dancing. The pier owners highlighted the difference, charging at
least a shilling (worth approximately £19.90 in 2012) for concerts and ensuring that advertisements for comedians focused on their lack of vulgarity. Sundays were given over to a
church parade.
On 8 October 1892, a storm-damaged vessel, Sirene, hit the southern side of the pier, causing four shops and part of the deck to collapse onto the beach below. Several columns
were also dislodged, and the ship's bowsprit hit the pier entrance. All eleven crew members were rescued when they were hauled onto the pier. Damage to the pier was
estimated to be £5,000 and was promptly repaired.
Nelson's former flagship, HMS Foudroyant, was moored alongside North Pier for an exhibition, but slipped anchor and was wrecked on the shore in a violent storm on 16 June
1897, damaging part of the jetty. The wreck of the ship broke up during December storms.
The pier was closed for the winter during 1895–6 as it unsafe; as a result, the pier was widened as electric lighting was added.
An Arcade Pavilion was added in 1903 at the entrance to the pier and contained a wide range of amusements to suit all tastes. Further alterations were made to the pier in 1932-
3 when the open air stand was replaced with a stage and sun lounge.
In 1936, a pleasure steamer returning from Llandudno crashed into the pier. The collision left a 10 feet (3.0 m) gap, and stranded a number of people at the far end.
The 1874 Indian Pavilion was severely damaged by fire in 1921. It was refurbished, but was then destroyed by a second fire in 1938. In 1939 it was replaced by a theatre, built in
an Art Deco style. At around the same time, the bandstand was removed and replaced with a sun lounge.
In the 1960s, the Merrie England bar and an amusement arcade were constructed at the end of the pier nearest to the shore. The 1939 theatre, which is still in use, narrowly
escaped damage in 1985 when the early stages of a fire were noticed by performer Vince Hill. In the 1980s, a Victorian-styled entrance was built. In 1991 the pier gained the
Carousel bar as an additional attraction, and a small tramway to ease access to the pier-head. By this point, the pier had ceased to have any nautical use, but the jetty section
was adapted for use as a helicopter pad in the late 1980s. Storms on 24 December 1997 destroyed the landing jetty, including the helipad.
The North Pier is one of the few remaining examples of Birch's classic pier architecture and is a Grade II Listed building, the only Blackpool pier to hold that status. It was
recognised as "Pier of the Year" in 2004 by the National Piers Society.
North Pier's attractions include a Gypsy palm reader and an ice cream parlour, the North Pier Theatre, a Victorian tea room, and the Carousel and Merrie England bars. The
arcade, built in the 1960s, has approximately eleven million coins pass through its machines each year.
One of the earliest Sooty bear puppets used by Harry Corbett is on display on the pier. Corbett bought the original Sooty puppet on North Pier for his son, Matthew. When Corbett
took the puppet on BBC's Talent Night programme, he marked the nose and ears with soot so that they would show up on the black and white television, giving the puppet its
name.
The Carousel bar on the pier-head has a Victorian wrought iron canopy, and its outdoor sun-lounge is classified as the largest beer garden in Blackpool. Next to the bar is a two
tier carousel, the "Venetian Carousel", which is protected from sand and spray by a glass wall.
After the fire in 1938, the pavilion was replaced with a 1,564 seat theatre which has since hosted a number of acts including; Frankie Vaughan, Frank Randle, Tessie O'Shea,
Dave Morris, Bernard Delfont, Morecambe and Wise, Paul Daniels, Freddie Starr, Russ Abbott, Bruce Forsyth, Des O'Connor, Joe Longthorne, Lily Savage, Brian Conley and
Hale and Pace.
In 2002 a heritage room with photographs was opened up, the foyer entrance was refurbished and a disabled lift added. By 2005, there was no longer a live organist playing in
the sun lounge although other live entertainment continues. In 2013, the live organist was brought back into the sun lounge.
The pier was built and owned by the Blackpool Pier Company, created with three thousand £5-shares in 1861 (worth approximately £2,990 in 2012). The same firm operated the
pier in 1953, and the company was incorporated in 1965. The Resorts Division of First Leisure, including the pier, was sold to Leisure Parks for £74 million in 1998. In 2009, the
pier was sold to the Six Piers group, which owns Blackpool's other two piers, and hoped to use it as a more tranquil alternative to them. The new owners opened the Victorianthemed
tea room, and built an eight-seat shuttle running the length of the pier.
In April 2011, the pier was sold to a Blackpool family firm, Sedgwick's, the owners of amusement arcades and the big wheel on Blackpool's Central Pier. Peter Sedgwick
explained that he proposed to his wife on North Pier forty years ago, and promised to buy it for her one day. He said that he wants to restore the Victorian heritage of the pier and
re-instate the pier's tram. An admission charge of fifty pence to access the board-walk section of the pier was abolished by the Sedgewicks.
A petition to wind up the Northern Victorian Pier Limited (the company used by the Sedgwick family to manage Blackpool North Pier) was presented on 17 September 2012 by
Carlsberg UK Limited, a creditor of the Company, and this was to be heard at Blackpool County Court on 15 November 2012.
At the 11th hour, an agreement to pay the outstanding balance owed to Carlsberg was made and Peter Sedgwick's company escaped liquidation.
[Wikipedia]
Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.
With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.
Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.
Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.
HISTORY
ANCIENT
Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.
In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.
Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.
Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.
The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.
PORTUGUESE CONTACTS
The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.
DUTCH EAST INDIA
In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.
In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:
I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.
The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.
AFTERWARD THE DUTCH GOVERNORS
exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.
n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.
Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.
During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.
INDIPENDENCE FROM THE DUTCH
In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.
CONTEMPORARY
The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.
The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.
As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.
GEOGRAPHY
The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.
Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.
The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.
The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.
Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.
To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.
CLIMATE
Being just 8 degrees south of the equator, Bali has a fairly even climate year round.
Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.
ECOLOGY
Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.
Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.
Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.
Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.
The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.
A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.
Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.
ENVIRONMENT
Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.
From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).
Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.
ECONOMY
Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.
AGRICULTURE
Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.
The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.
TOURISM
The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.
The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.
An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.
In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.
Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.
Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.
In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.
In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.
Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.
Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.
Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.
SEX TOURISM
In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.
Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.
By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.
TRANSPORTATION
The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.
A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.
In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.
A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.
On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.
In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.
On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.
To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.
DEMOGRAPHICS
The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.
ETHNIC ORIGINS
A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.
CASTE SYSTEM
Bali has a caste system based on the Indian Hindu model, with four castes:
- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.
- Wesia (Vaishyas) – the caste of merchants and administrative officials
- Ksatrias (Kshatriyas) – the kingly and warrior caste
- Brahmana (Bramhin) – holy men and priests
RELIGION
Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.
Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.
Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.
Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.
LANGUAGE
Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.
English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.
CULTURE
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.
Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.
Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.
Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.
WIKIPEDIA
The Trackside range includes several 1970s lorries that saw use on the fairs, one such being the Guy Big J8T. This is only available as a tipper but I fitted a plastic curtainside body from a cheap and unrealistic Corgi Eddie Stobart toy and it is supposedly the second lorry for the Waltzer: the cars are carried on the Foden S24 visible on the left and the rest of the ride goes on the Guy which also tows the centre truck. Being steel-cabbed very few Big Js have survived and I'm not aware of any still being in fairground service in the 21st century.
Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.
With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.
Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.
Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.
HISTORY
ANCIENT
Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.
In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.
Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.
Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.
The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.
PORTUGUESE CONTACTS
The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.
DUTCH EAST INDIA
In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.
In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:
I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.
The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.
AFTERWARD THE DUTCH GOVERNORS
exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.
n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.
Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.
During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.
INDIPENDENCE FROM THE DUTCH
In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.
CONTEMPORARY
The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.
The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.
As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.
GEOGRAPHY
The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.
Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.
The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.
The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.
Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.
To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.
CLIMATE
Being just 8 degrees south of the equator, Bali has a fairly even climate year round.
Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.
ECOLOGY
Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.
Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.
Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.
Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.
The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.
A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.
Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.
ENVIRONMENT
Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.
From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).
Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.
ECONOMY
Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.
AGRICULTURE
Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.
The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.
TOURISM
The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.
The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.
An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.
In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.
Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.
Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.
In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.
In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.
Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.
Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.
Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.
SEX TOURISM
In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.
Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.
By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.
TRANSPORTATION
The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.
A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.
In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.
A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.
On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.
In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.
On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.
To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.
DEMOGRAPHICS
The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.
ETHNIC ORIGINS
A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.
CASTE SYSTEM
Bali has a caste system based on the Indian Hindu model, with four castes:
- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.
- Wesia (Vaishyas) – the caste of merchants and administrative officials
- Ksatrias (Kshatriyas) – the kingly and warrior caste
- Brahmana (Bramhin) – holy men and priests
RELIGION
Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.
Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.
Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.
Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.
LANGUAGE
Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.
English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.
CULTURE
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.
Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.
Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.
Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.
WIKIPEDIA
INCLUDES:
SOUTH PARK: THE COMPLETE THIRTEENTH SEASON:
Year Released: 2009
Studio: Paramount / Comedy Central
Aspect Ratio: 1.78:1
AUDIO & SUBTITLES:
- English (Dolby TrueHD 5.1)
- English (Dolby 2.0)
FUTURAMA: VOLUME 6:
Year Released: 2011
Studio: 20th Century Fox
Aspect Ratio: 1.78:1
AUDIO:
- English (DTS-HD 5.1)
SUBTITLES:
English SDH, Spanish, French
RALPH BREAKS THE INTERNET:
Year Released: 2018
Studio: Disney
Aspect Ratio: 2.35:1 SCOPE
AUDIO & SUBTITLES:
- English (DTS-HD 7.1)
- French (Canadian) (Dolby 5.1)
- Spanish (Dolby 5.1)
ANT-MAN:
Year Released: 2015
Studio: Disney / Marvel
Aspect Ratio: 2.35:1 SCOPE
AUDIO & SUBTITLES:
- English (DTS-HD 7.1)
- French (Canadian) (Dolby 5.1)
- Spanish (Dolby 5.1)
READY PLAYER ONE 4K:
Year Released: 2018
Studio: Warner Bros.
Aspect Ratio: 2.35:1 SCOPE
AUDIO (REGULAR BLU-RAY):
- English (Dolby Atmos)
- English (DTS-HD 5.1)
- French (Canadian) (Dolby 5.1)
- Spanish (Dolby 5.1)
- Portuguese (Brazilian) (Dolby 5.1)
AUDIO (4K BLU-RAY):
- English (Dolby Atmos)
- English (DTS-HD 5.1)
- French (Canadian) (Dolby 5.1)
- Italian (Dolby 5.1)
- Spanish (Dolby 5.1)
- Portuguese (Brazilian) (Dolby 5.1)
- Czech (Dolby 5.1)
- Hungarian (Dolby 5.1)
- Polish (Dolby 5.1)
- Polish (Voiceover) (Dolby 5.1)
- Russian (Dolby 5.1)
- Thai (Dolby 5.1)
- Turkish (Dolby 5.1)
SUBTITLES (REGULAR BLU-RAY):
English SDH, French, Spanish, Portuguese
SUBTITLES (4K BLU-RAY):
English SDH, French, Italian, Mandarin Chinese, Cantonese Chinese, Korean, Spanish, Portuguese, Arabic, Czech, Danish, Finnish, Hungarian, Norwegian, Polish, Romanian, Russian, Swedish, Thai, Turkish