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The Bonneville Salt Flats are a densely packed salt pan in Tooele County in northwestern Utah. A remnant of the Pleistocene Lake Bonneville, it is the largest of many salt flats west of the Great Salt Lake. It is public land managed by the Bureau of Land Management and is known for land speed records at the Bonneville Speedway. Access to the Flats is open to the public.
The Flats are about 12 miles (19 km) long and 5 miles (8 km) wide, with a crust almost 5 ft (1.5m) thick at the center and less than one inch (2.5 cm) towards the edges. It is estimated to hold 147 million tons of salt, approximately 90% of which is common table salt.
Geologist Grove Karl Gilbert named the area after Benjamin Bonneville, a U.S. Army officer who explored the Intermountain West in the 1830s. In 1907, Bill Rishel and two local businessmen tested the suitability of the salt for driving by taking a Pierce-Arrow onto its surface.
A railway line across the Flats was completed in 1910, marking the first permanent crossing. The first land speed record was set there in 1914 by Teddy Tetzlaff.
Entertainment filmed at the Flats include portions of Walking with Dinosaurs Special - The Ballad of Big Al, Knight Rider, Warlock, Independence Day (1996) and its sequel, SLC Punk, Cremaster 2 from Cremaster Cycle, The Brown Bunny, The World's Fastest Indian, Gerry, The Tree of Life, Top Gear and Pirates of the Caribbean: At World's End. Furthermore, the Pontiac Bonneville (former flagship sedan of the Pontiac motor division), the Triumph Bonneville motorcycle, and the Bonneville International media company are all named for the Flats.
The Bonneville Salt Flats hosts the annual US Flight Archery Championships. The goal of flight archery is to shoot arrows from bows at the greatest distance possible without regard to hitting a target, and so the vast flat plane of the flats serves as an ideal location to measure the linear distance traveled by arrows without geographic interference. Both the 1977 (archer Don Brown) and 1982 (archer Alan Webster) world records were set there; while the current world record, achieved in 1987 (archer Don Brown), was set at the salt flats near Smith Creek, Nevada.
The thickness of salt crust is a critical factor in racing use of the salt flats. The Bureau of Land Management (BLM) has undertaken multiple studies on the topic; while a 2007 study determined that there was little change in the crust's thickness from 1988 to 2003, more recent studies have shown a reduction in thickness, especially in the northwest area where racing occurs. The flats' overall area has contracted significantly over the past several decades. The cause or causes of this remain unclear, but many believe adjacent evaporative potash mining is the primary factor.
Collaboration between racing organizations, the potash mine, and the BLM led to a pilot program begun in 1998 to release excess brine onto the salt flats during winter. Plans to increase the volume of brine returned to the salt flats are hoped to halt loss of crust thickness, or possibly restore it where it has become too thin to sustain human use.
Motorcar racing has taken place at the salt flats since 1914. Racing takes place at part of the Bonneville Salt Flats known as the Bonneville Speedway. There are five major land speed events that take place at the Bonneville Salt Flats. Bonneville "Speed Week" takes place mid-August followed by "World of Speed" in September and the "World Finals" take place early October.
These three events welcome cars, trucks, and motorcycles. The "Bub Motorcycle Speed Trials" are for motorcycles only. World records are contested at the Mike Cook ShootOut in September. The Southern California Timing Association and the Utah Salt Flats Racing Association organizes and plans the multi-vehicle events, but all event promoters contribute to prepping and maintaining the salt. "Speed Week" events in August were canceled in 2015 and 2022, due to the poor condition of the salt in certain parts of the flats. The salt flats had been swamped by heavy rains earlier in the year, as usual, but this year the rains also triggered mudslides from surrounding mountains onto a section of the flats used for the land-speed racing courses.
Bonneville Speedway (also known as the Bonneville Salt Flats Race Track) is an area of the Bonneville Salt Flats northeast of Wendover, Utah, that is marked out for motor sports. It is particularly noted as the venue for numerous land speed records. The Bonneville Salt Flats Race Track is listed on the National Register of Historic Places.
The salt flats were first used for motor sports in 1912, but did not become truly popular until the 1930s when Ab Jenkins and Sir Malcolm Campbell competed to set land speed records.
A reduction of available racing surface and salt thickness has led to the cancellation of events at Bonneville, such as Speed Week in 2014 and 2015. Available racing surface is much reduced with just 2.5 miles (4.0 km) available instead of the 9-mile (14 km) courses traditionally used for Speed Week.
Historically, the speedway was marked out by the Utah Department of Transportation at the start of each summer. Originally, two tracks were prepared; a 10-mile (16 km) long straightaway for speed trials and an oval or circular track for distance runs, which was typically between 10 and 12 miles (16 and 19 km) long depending on the condition of the salt surface.
Since at least the 1990s, track preparations have been the responsibility of the event organizers. Days or weeks in advance, the track preparers identify an area best suited for their track layouts and begin grading the tracks. Surveyors are brought in to survey the timing trap distances. A day before racing begins, the track markers are added.
Originally, the straightaway was marked with a broad black line down its center. This was eventually changed to lines down either side, as the center line wore out too quickly. As the costs for painting the lines has gone up, organizations have switched to flags and cones as track markers. The last event to use black lines was Speed Week, August 2009.
The number of tracks and the timed sections for each track are set according to what is most beneficial for each event. Large public meets such as Speed Week run as many as four tracks with several timed miles, usually starting with the second mile and running to the fifth mile. Smaller meets that typically only run world record attempts will utilize a single track, with one timed mile and one timed kilometer in the middle of the track. Additional marks and cones indicate the end of the track and the position of timing equipment.
The annual Speed Week was cancelled in both 2014 and 2015, as were many land-speed racing events, due to deteriorating track conditions. Heavy rains caused a layer of mud from surrounding mountains to flow onto the flats, covering approximately 6 mi (9.7 km) of the track. Although another section of the flats would normally be used, nearby salt mining operations had reduced the size of the alternative track.
The depth of the salt crust at Bonneville has also been decreasing, possibly leaching into a saltwater aquifer. Measured at as much at 3 ft (0.91 m) in the 1940s and 50s, it has been reduced to just 2 in (0.051 m) in 2015.
Though recent studies have been made (since 1960), the causes of this deterioration are not clear, although the evidence points toward both local climatic changes and salt mining. Some strategies were devised to revert the decreasing salt surface, such as pumping back salt, though this had no effect.
In August, the Southern California Timing Association and Bonneville Nationals Inc. organize Speed Week, the largest meet of the year, which attracts several hundred drivers who compete to set highest speed in a range of categories. Bonneville Speed Week has been taking place since 1949.
In late August, the Bonneville Motorcycle Speed Trials are held.
In September each year is the World of Speed, (similar to Speed Week) organized by the Utah Salt Flats Racing Association. The USFRA also meet on the first Wednesday of each month throughout the summer.
In October, the Southern California Timing Association puts on World Finals, a scaled-down version of Speed Week. This event tends to have cooler weather and often drier salt that Speed Week the prior month. There are less spectators and it tends to draw serious racers, as this event is the last chance to break a land speed record and be in the SCTA record book for that year.
Each year, there are usually a few private meets that are not publicized scattered among the larger public meets.
Several motor-paced racing speed records have been attempted at Bonneville.
In 1985, American cyclist John Howard set a then world record of 244 km/h (152 mph).
On 15 October 1995, Dutch cyclist Fred Rompelberg achieved 268.831 km/h (167.044 mph), using a special bicycle behind a dragster with a large shield.
In 2016, Denise Mueller-Korenek claimed a women's bicycle land speed record at 147 mph (237 km/h). She was coached by Howard. It is not clear which authority was supervising the record attempt.
In 2018, Mueller-Korenek broke her own women's record and the men's record at a speed of 183.9 miles per hour (296.0 km/h).
In popular culture
In the 2003 film The Brown Bunny, Bud Clay races his motorcycle at the speedway.
In the 2005 film The World's Fastest Indian, Burt Munro and his highly modified Indian Scout motorcycle sets a world record.
In the 2015 series finale episode of Mad Men, Donald Draper drives a 1970 Chevrolet Chevelle SS muscle car in the races at Bonneville Speedway.
Utah is a landlocked state in the Mountain West subregion of the Western United States. It borders Colorado to its east, Wyoming to its northeast, Idaho to its north, Arizona to its south, and Nevada to its west. Utah also touches a corner of New Mexico in the southeast. Of the fifty U.S. states, Utah is the 13th-largest by area; with a population over three million, it is the 30th-most-populous and 11th-least-densely populated. Urban development is mostly concentrated in two areas: the Wasatch Front in the north-central part of the state, which is home to roughly two-thirds of the population and includes the capital city, Salt Lake City; and Washington County in the southwest, with more than 180,000 residents. Most of the western half of Utah lies in the Great Basin.
Utah has been inhabited for thousands of years by various indigenous groups such as the ancient Puebloans, Navajo, and Ute. The Spanish were the first Europeans to arrive in the mid-16th century, though the region's difficult geography and harsh climate made it a peripheral part of New Spain and later Mexico. Even while it was Mexican territory, many of Utah's earliest settlers were American, particularly Mormons fleeing marginalization and persecution from the United States via the Mormon Trail. Following the Mexican–American War in 1848, the region was annexed by the U.S., becoming part of the Utah Territory, which included what is now Colorado and Nevada. Disputes between the dominant Mormon community and the federal government delayed Utah's admission as a state; only after the outlawing of polygamy was it admitted in 1896 as the 45th.
People from Utah are known as Utahns. Slightly over half of all Utahns are Mormons, the vast majority of whom are members of the Church of Jesus Christ of Latter-day Saints (LDS Church), which has its world headquarters in Salt Lake City; Utah is the only state where a majority of the population belongs to a single church. A 2023 paper challenged this perception (claiming only 42% of Utahns are Mormons) however most statistics still show a majority of Utah residents belong to the LDS church; estimates from the LDS church suggests 60.68% of Utah's population belongs to the church whilst some sources put the number as high as 68%. The paper replied that membership count done by the LDS Church is too high for several reasons. The LDS Church greatly influences Utahn culture, politics, and daily life, though since the 1990s the state has become more religiously diverse as well as secular.
Utah has a highly diversified economy, with major sectors including transportation, education, information technology and research, government services, mining, multi-level marketing, and tourism. Utah has been one of the fastest growing states since 2000, with the 2020 U.S. census confirming the fastest population growth in the nation since 2010. St. George was the fastest-growing metropolitan area in the United States from 2000 to 2005. Utah ranks among the overall best states in metrics such as healthcare, governance, education, and infrastructure. It has the 12th-highest median average income and the least income inequality of any U.S. state. Over time and influenced by climate change, droughts in Utah have been increasing in frequency and severity, putting a further strain on Utah's water security and impacting the state's economy.
The History of Utah is an examination of the human history and social activity within the state of Utah located in the western United States.
Archaeological evidence dates the earliest habitation of humans in Utah to about 10,000 to 12,000 years ago. Paleolithic people lived near the Great Basin's swamps and marshes, which had an abundance of fish, birds, and small game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. Over the centuries, the mega-fauna died, this population was replaced by the Desert Archaic people, who sheltered in caves near the Great Salt Lake. Relying more on gathering than the previous Utah residents, their diet was mainly composed of cattails and other salt tolerant plants such as pickleweed, burro weed and sedge. Red meat appears to have been more of a luxury, although these people used nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Artifacts include nets woven with plant fibers and rabbit skin, woven sandals, gaming sticks, and animal figures made from split-twigs. About 3,500 years ago, lake levels rose and the population of Desert Archaic people appears to have dramatically decreased. The Great Basin may have been almost unoccupied for 1,000 years.
The Fremont culture, named from sites near the Fremont River in Utah, lived in what is now north and western Utah and parts of Nevada, Idaho and Colorado from approximately 600 to 1300 AD. These people lived in areas close to water sources that had been previously occupied by the Desert Archaic people, and may have had some relationship with them. However, their use of new technologies define them as a distinct people. Fremont technologies include:
use of the bow and arrow while hunting,
building pithouse shelters,
growing maize and probably beans and squash,
building above ground granaries of adobe or stone,
creating and decorating low-fired pottery ware,
producing art, including jewelry and rock art such as petroglyphs and pictographs.
The ancient Puebloan culture, also known as the Anasazi, occupied territory adjacent to the Fremont. The ancestral Puebloan culture centered on the present-day Four Corners area of the Southwest United States, including the San Juan River region of Utah. Archaeologists debate when this distinct culture emerged, but cultural development seems to date from about the common era, about 500 years before the Fremont appeared. It is generally accepted that the cultural peak of these people was around the 1200 CE. Ancient Puebloan culture is known for well constructed pithouses and more elaborate adobe and masonry dwellings. They were excellent craftsmen, producing turquoise jewelry and fine pottery. The Puebloan culture was based on agriculture, and the people created and cultivated fields of maize, beans, and squash and domesticated turkeys. They designed and produced elaborate field terracing and irrigation systems. They also built structures, some known as kivas, apparently designed solely for cultural and religious rituals.
These two later cultures were roughly contemporaneous, and appear to have established trading relationships. They also shared enough cultural traits that archaeologists believe the cultures may have common roots in the early American Southwest. However, each remained culturally distinct throughout most of their existence. These two well established cultures appear to have been severely impacted by climatic change and perhaps by the incursion of new people in about 1200 CE. Over the next two centuries, the Fremont and ancient Pueblo people may have moved into the American southwest, finding new homes and farmlands in the river drainages of Arizona, New Mexico and northern Mexico.
In about 1200, Shoshonean speaking peoples entered Utah territory from the west. They may have originated in southern California and moved into the desert environment due to population pressure along the coast. They were an upland people with a hunting and gathering lifestyle utilizing roots and seeds, including the pinyon nut. They were also skillful fishermen, created pottery and raised some crops. When they first arrived in Utah, they lived as small family groups with little tribal organization. Four main Shoshonean peoples inhabited Utah country. The Shoshone in the north and northeast, the Gosiutes in the northwest, the Utes in the central and eastern parts of the region and the Southern Paiutes in the southwest. Initially, there seems to have been very little conflict between these groups.
In the early 16th century, the San Juan River basin in Utah's southeast also saw a new people, the Díne or Navajo, part of a greater group of plains Athabaskan speakers moved into the Southwest from the Great Plains. In addition to the Navajo, this language group contained people that were later known as Apaches, including the Lipan, Jicarilla, and Mescalero Apaches.
Athabaskans were a hunting people who initially followed the bison, and were identified in 16th-century Spanish accounts as "dog nomads". The Athabaskans expanded their range throughout the 17th century, occupying areas the Pueblo peoples had abandoned during prior centuries. The Spanish first specifically mention the "Apachu de Nabajo" (Navaho) in the 1620s, referring to the people in the Chama valley region east of the San Juan River, and north west of Santa Fe. By the 1640s, the term Navaho was applied to these same people. Although the Navajo newcomers established a generally peaceful trading and cultural exchange with the some modern Pueblo peoples to the south, they experienced intermittent warfare with the Shoshonean peoples, particularly the Utes in eastern Utah and western Colorado.
At the time of European expansion, beginning with Spanish explorers traveling from Mexico, five distinct native peoples occupied territory within the Utah area: the Northern Shoshone, the Goshute, the Ute, the Paiute and the Navajo.
The Spanish explorer Francisco Vázquez de Coronado may have crossed into what is now southern Utah in 1540, when he was seeking the legendary Cíbola.
A group led by two Spanish Catholic priests—sometimes called the Domínguez–Escalante expedition—left Santa Fe in 1776, hoping to find a route to the California coast. The expedition traveled as far north as Utah Lake and encountered the native residents. All of what is now Utah was claimed by the Spanish Empire from the 1500s to 1821 as part of New Spain (later as the province Alta California); and subsequently claimed by Mexico from 1821 to 1848. However, Spain and Mexico had little permanent presence in, or control of, the region.
Fur trappers (also known as mountain men) including Jim Bridger, explored some regions of Utah in the early 19th century. The city of Provo was named for one such man, Étienne Provost, who visited the area in 1825. The city of Ogden, Utah is named for a brigade leader of the Hudson's Bay Company, Peter Skene Ogden who trapped in the Weber Valley. In 1846, a year before the arrival of members from the Church of Jesus Christ of latter-day Saints, the ill-fated Donner Party crossed through the Salt Lake valley late in the season, deciding not to stay the winter there but to continue forward to California, and beyond.
Members of the Church of Jesus Christ of Latter-day Saints, commonly known as Mormon pioneers, first came to the Salt Lake Valley on July 24, 1847. At the time, the U.S. had already captured the Mexican territories of Alta California and New Mexico in the Mexican–American War and planned to keep them, but those territories, including the future state of Utah, officially became United States territory upon the signing of the Treaty of Guadalupe Hidalgo, February 2, 1848. The treaty was ratified by the United States Senate on March 10, 1848.
Upon arrival in the Salt Lake Valley, the Mormon pioneers found no permanent settlement of Indians. Other areas along the Wasatch Range were occupied at the time of settlement by the Northwestern Shoshone and adjacent areas by other bands of Shoshone such as the Gosiute. The Northwestern Shoshone lived in the valleys on the eastern shore of Great Salt Lake and in adjacent mountain valleys. Some years after arriving in the Salt Lake Valley Mormons, who went on to colonize many other areas of what is now Utah, were petitioned by Indians for recompense for land taken. The response of Heber C. Kimball, first counselor to Brigham Young, was that the land belonged to "our Father in Heaven and we expect to plow and plant it." A 1945 Supreme Court decision found that the land had been treated by the United States as public domain; no aboriginal title by the Northwestern Shoshone had been recognized by the United States or extinguished by treaty with the United States.
Upon arriving in the Salt Lake Valley, the Mormons had to make a place to live. They created irrigation systems, laid out farms, built houses, churches, and schools. Access to water was crucially important. Almost immediately, Brigham Young set out to identify and claim additional community sites. While it was difficult to find large areas in the Great Basin where water sources were dependable and growing seasons long enough to raise vitally important subsistence crops, satellite communities began to be formed.
Shortly after the first company arrived in the Salt Lake Valley in 1847, the community of Bountiful was settled to the north. In 1848, settlers moved into lands purchased from trapper Miles Goodyear in present-day Ogden. In 1849, Tooele and Provo were founded. Also that year, at the invitation of Ute chief Wakara, settlers moved into the Sanpete Valley in central Utah to establish the community of Manti. Fillmore, Utah, intended to be the capital of the new territory, was established in 1851. In 1855, missionary efforts aimed at western native cultures led to outposts in Fort Lemhi, Idaho, Las Vegas, Nevada and Elk Mountain in east-central Utah.
The experiences of returning members of the Mormon Battalion were also important in establishing new communities. On their journey west, the Mormon soldiers had identified dependable rivers and fertile river valleys in Colorado, Arizona and southern California. In addition, as the men traveled to rejoin their families in the Salt Lake Valley, they moved through southern Nevada and the eastern segments of southern Utah. Jefferson Hunt, a senior Mormon officer of the Battalion, actively searched for settlement sites, minerals, and other resources. His report encouraged 1851 settlement efforts in Iron County, near present-day Cedar City. These southern explorations eventually led to Mormon settlements in St. George, Utah, Las Vegas and San Bernardino, California, as well as communities in southern Arizona.
Prior to establishment of the Oregon and California trails and Mormon settlement, Indians native to the Salt Lake Valley and adjacent areas lived by hunting buffalo and other game, but also gathered grass seed from the bountiful grass of the area as well as roots such as those of the Indian Camas. By the time of settlement, indeed before 1840, the buffalo were gone from the valley, but hunting by settlers and grazing of cattle severely impacted the Indians in the area, and as settlement expanded into nearby river valleys and oases, indigenous tribes experienced increasing difficulty in gathering sufficient food. Brigham Young's counsel was to feed the hungry tribes, and that was done, but it was often not enough. These tensions formed the background to the Bear River massacre committed by California Militia stationed in Salt Lake City during the Civil War. The site of the massacre is just inside Preston, Idaho, but was generally thought to be within Utah at the time.
Statehood was petitioned for in 1849-50 using the name Deseret. The proposed State of Deseret would have been quite large, encompassing all of what is now Utah, and portions of Colorado, Idaho, Nevada, Wyoming, Arizona, Oregon, New Mexico and California. The name of Deseret was favored by the LDS leader Brigham Young as a symbol of industry and was derived from a reference in the Book of Mormon. The petition was rejected by Congress and Utah did not become a state until 1896, following the Utah Constitutional Convention of 1895.
In 1850, the Utah Territory was created with the Compromise of 1850, and Fillmore (named after President Fillmore) was designated the capital. In 1856, Salt Lake City replaced Fillmore as the territorial capital.
The first group of pioneers brought African slaves with them, making Utah the only place in the western United States to have African slavery. Three slaves, Green Flake, Hark Lay, and Oscar Crosby, came west with this first group in 1847. The settlers also began to purchase Indian slaves in the well-established Indian slave trade, as well as enslaving Indian prisoners of war. In 1850, 26 slaves were counted in Salt Lake County. Slavery didn't become officially recognized until 1852, when the Act in Relation to Service and the Act for the relief of Indian Slaves and Prisoners were passed. Slavery was repealed on June 19, 1862, when Congress prohibited slavery in all US territories.
Disputes between the Mormon inhabitants and the federal government intensified after the Church of Jesus Christ of Latter-day Saints' practice of polygamy became known. The polygamous practices of the Mormons, which were made public in 1854, would be one of the major reasons Utah was denied statehood until almost 50 years after the Mormons had entered the area.
After news of their polygamous practices spread, the members of the LDS Church were quickly viewed by some as un-American and rebellious. In 1857, after news of a possible rebellion spread, President James Buchanan sent troops on the Utah expedition to quell the growing unrest and to replace Brigham Young as territorial governor with Alfred Cumming. The expedition was also known as the Utah War.
As fear of invasion grew, Mormon settlers had convinced some Paiute Indians to aid in a Mormon-led attack on 120 immigrants from Arkansas under the guise of Indian aggression. The murder of these settlers became known as the Mountain Meadows massacre. The Mormon leadership had adopted a defensive posture that led to a ban on the selling of grain to outsiders in preparation for an impending war. This chafed pioneers traveling through the region, who were unable to purchase badly needed supplies. A disagreement between some of the Arkansas pioneers and the Mormons in Cedar City led to the secret planning of the massacre by a few Mormon leaders in the area. Some scholars debate the involvement of Brigham Young. Only one man, John D. Lee, was ever convicted of the murders, and he was executed at the massacre site.
Express riders had brought the news 1,000 miles from the Missouri River settlements to Salt Lake City within about two weeks of the army's beginning to march west. Fearing the worst as 2,500 troops (roughly 1/3rd of the army then) led by General Albert Sidney Johnston started west, Brigham Young ordered all residents of Salt Lake City and neighboring communities to prepare their homes for burning and evacuate southward to Utah Valley and southern Utah. Young also sent out a few units of the Nauvoo Legion (numbering roughly 8,000–10,000), to delay the army's advance. The majority he sent into the mountains to prepare defenses or south to prepare for a scorched earth retreat. Although some army wagon supply trains were captured and burned and herds of army horses and cattle run off no serious fighting occurred. Starting late and short on supplies, the United States Army camped during the bitter winter of 1857–58 near a burned out Fort Bridger in Wyoming. Through the negotiations between emissary Thomas L. Kane, Young, Cumming and Johnston, control of Utah territory was peacefully transferred to Cumming, who entered an eerily vacant Salt Lake City in the spring of 1858. By agreement with Young, Johnston established the army at Fort Floyd 40 miles away from Salt Lake City, to the southwest.
Salt Lake City was the last link of the First Transcontinental Telegraph, between Carson City, Nevada and Omaha, Nebraska completed in October 1861. Brigham Young, who had helped expedite construction, was among the first to send a message, along with Abraham Lincoln and other officials. Soon after the telegraph line was completed, the Deseret Telegraph Company built the Deseret line connecting the settlements in the territory with Salt Lake City and, by extension, the rest of the United States.
Because of the American Civil War, federal troops were pulled out of Utah Territory (and their fort auctioned off), leaving the territorial government in federal hands without army backing until General Patrick E. Connor arrived with the 3rd Regiment of California Volunteers in 1862. While in Utah, Connor and his troops soon became discontent with this assignment wanting to head to Virginia where the "real" fighting and glory was occurring. Connor established Fort Douglas just three miles (5 km) east of Salt Lake City and encouraged his bored and often idle soldiers to go out and explore for mineral deposits to bring more non-Mormons into the state. Minerals were discovered in Tooele County, and some miners began to come to the territory. Conner also solved the Shoshone Indian problem in Cache Valley Utah by luring the Shoshone into a midwinter confrontation on January 29, 1863. The armed conflict quickly turned into a rout, discipline among the soldiers broke down, and the Battle of Bear River is today usually referred to by historians as the Bear River Massacre. Between 200 and 400 Shoshone men, women and children were killed, as were 27 soldiers, with over 50 more soldiers wounded or suffering from frostbite.
Beginning in 1865, Utah's Black Hawk War developed into the deadliest conflict in the territory's history. Chief Antonga Black Hawk died in 1870, but fights continued to break out until additional federal troops were sent in to suppress the Ghost Dance of 1872. The war is unique among Indian Wars because it was a three-way conflict, with mounted Timpanogos Utes led by Antonga Black Hawk fighting federal and Utah local militia.
On May 10, 1869, the First transcontinental railroad was completed at Promontory Summit, north of the Great Salt Lake. The railroad brought increasing numbers of people into the state, and several influential businessmen made fortunes in the territory.
Main article: Latter Day Saint polygamy in the late-19th century
During the 1870s and 1880s, federal laws were passed and federal marshals assigned to enforce the laws against polygamy. In the 1890 Manifesto, the LDS Church leadership dropped its approval of polygamy citing divine revelation. When Utah applied for statehood again in 1895, it was accepted. Statehood was officially granted on January 4, 1896.
The Mormon issue made the situation for women the topic of nationwide controversy. In 1870 the Utah Territory, controlled by Mormons, gave women the right to vote. However, in 1887, Congress disenfranchised Utah women with the Edmunds–Tucker Act. In 1867–96, eastern activists promoted women's suffrage in Utah as an experiment, and as a way to eliminate polygamy. They were Presbyterians and other Protestants convinced that Mormonism was a non-Christian cult that grossly mistreated women. The Mormons promoted woman suffrage to counter the negative image of downtrodden Mormon women. With the 1890 Manifesto clearing the way for statehood, in 1895 Utah adopted a constitution restoring the right of women's suffrage. Congress admitted Utah as a state with that constitution in 1896.
Though less numerous than other intermountain states at the time, several lynching murders for alleged misdeeds occurred in Utah territory at the hand of vigilantes. Those documented include the following, with their ethnicity or national origin noted in parentheses if it was provided in the source:
William Torrington in Carson City (then a part of Utah territory), 1859
Thomas Coleman (Black man) in Salt Lake City, 1866
3 unidentified men at Wahsatch, winter of 1868
A Black man in Uintah, 1869
Charles A. Benson in Logan, 1873
Ah Sing (Chinese man) in Corinne, 1874
Thomas Forrest in St. George, 1880
William Harvey (Black man) in Salt Lake City, 1883
John Murphy in Park City, 1883
George Segal (Japanese man) in Ogden, 1884
Joseph Fisher in Eureka, 1886
Robert Marshall (Black man) in Castle Gate, 1925
Other lynchings in Utah territory include multiple instances of mass murder of Native American children, women, and men by White settlers including the Battle Creek massacre (1849), Provo River Massacre (1850), Nephi massacre (1853), and Circleville Massacre (1866).
Beginning in the early 20th century, with the establishment of such national parks as Bryce Canyon National Park and Zion National Park, Utah began to become known for its natural beauty. Southern Utah became a popular filming spot for arid, rugged scenes, and such natural landmarks as Delicate Arch and "the Mittens" of Monument Valley are instantly recognizable to most national residents. During the 1950s, 1960s, and 1970s, with the construction of the Interstate highway system, accessibility to the southern scenic areas was made easier.
Beginning in 1939, with the establishment of Alta Ski Area, Utah has become world-renowned for its skiing. The dry, powdery snow of the Wasatch Range is considered some of the best skiing in the world. Salt Lake City won the bid for the 2002 Winter Olympics in 1995, and this has served as a great boost to the economy. The ski resorts have increased in popularity, and many of the Olympic venues scattered across the Wasatch Front continue to be used for sporting events. This also spurred the development of the light-rail system in the Salt Lake Valley, known as TRAX, and the re-construction of the freeway system around the city.
During the late 20th century, the state grew quickly. In the 1970s, growth was phenomenal in the suburbs. Sandy was one of the fastest-growing cities in the country at that time, and West Valley City is the state's 2nd most populous city. Today, many areas of Utah are seeing phenomenal growth. Northern Davis, southern and western Salt Lake, Summit, eastern Tooele, Utah, Wasatch, and Washington counties are all growing very quickly. Transportation and urbanization are major issues in politics as development consumes agricultural land and wilderness areas.
In 2012, the State of Utah passed the Utah Transfer of Public Lands Act in an attempt to gain control over a substantial portion of federal land in the state from the federal government, based on language in the Utah Enabling Act of 1894. The State does not intend to use force or assert control by limiting access in an attempt to control the disputed lands, but does intend to use a multi-step process of education, negotiation, legislation, and if necessary, litigation as part of its multi-year effort to gain state or private control over the lands after 2014.
Utah families, like most Americans everywhere, did their utmost to assist in the war effort. Tires, meat, butter, sugar, fats, oils, coffee, shoes, boots, gasoline, canned fruits, vegetables, and soups were rationed on a national basis. The school day was shortened and bus routes were reduced to limit the number of resources used stateside and increase what could be sent to soldiers.
Geneva Steel was built to increase the steel production for America during World War II. President Franklin D. Roosevelt had proposed opening a steel mill in Utah in 1936, but the idea was shelved after a couple of months. After the attack on Pearl Harbor, the United States entered the war and the steel plant was put into progress. In April 1944, Geneva shipped its first order, which consisted of over 600 tons of steel plate. Geneva Steel also brought thousands of job opportunities to Utah. The positions were hard to fill as many of Utah's men were overseas fighting. Women began working, filling 25 percent of the jobs.
As a result of Utah's and Geneva Steels contribution during the war, several Liberty Ships were named in honor of Utah including the USS Joseph Smith, USS Brigham Young, USS Provo, and the USS Peter Skene Ogden.
One of the sectors of the beachhead of Normandy Landings was codenamed Utah Beach, and the amphibious landings at the beach were undertaken by United States Army troops.
It is estimated that 1,450 soldiers from Utah were killed in the war.
From Wikipedia;
Tenby (Welsh: Dinbych-y-Pysgod, meaning little town of the fishes or little fortress of the fish) is a walled seaside town in Pembrokeshire, South West Wales, on the west side of Carmarthen Bay.
Notable features of Tenby include 2.5 miles (4.0 km) of sandy beaches; the 13th century medieval town walls, including the Five Arches barbican gatehouse ; 15th century St. Mary's Church; the Tudor Merchant's House (National Trust); a museum with art gallery; and the Pembrokeshire Coast Path, part of Wales' only coastal National Park. Boats sail from Tenby's harbour to the offshore monastic Caldey Island, while St Catherine's Island is linked to the town at low tide. The town is served by Tenby railway station.
With its strategic position on the far west coast of the British Isles, and a natural sheltered harbour from both the Atlantic Ocean and the Irish Sea, Tenby was a natural settlement point.
The earliest reference to a settlement at Tenby is in Etmic Dinbych, a poem probably of 9th century date, preserved in the 14th century Book of Taliesin. At this point the settlement was likely a hill fort, the mercantile nature of the settlement possibly developing under Hiberno-Norse influence.
After the Norman Conquest, the lands came under the control of the Earls of Pembroke, who strengthened the easy to defend but hard to attack hill fort on Castle Hill, by building the first stone walled castle. This enabled the town to grow as a seaport. But the need for additional defences was shown, when attacked by Welsh forces in 1187 and again in 1260 by Llewelyn the Great.[1] The town walls were built by William de Valence, 1st Earl of Pembroke, in the late 13th century.
[edit] Medieval walled town, trading port
This spurred the landowners to develop extensive city walls, enclosing a large part of the settlement into what is now termed the "old town." Although the actual wooden gates into Tenby no longer exist, the Five Arches at the edge of old town give an insight into what the merchants would have marvelled at as they entered.
During the Wars of the Roses, the future King Henry VII sheltered within Tenby before sailing into exile in 1471. Resultantly, in late medieval times through the 14th and 15th centuries, Tenby was awarded various royal grants which financed the maintenance and improvement of the town walls and the enclosure of Tenby harbour. The harbour during this period became a busy and important national port. Originally based on fish trading, traders sailing along the coast to Bristol and Ireland, and further afield to France, Spain and Portugal. Exports from Tenby included wool, skins, canvas, coal, iron and oil; while in 1566 Portuguese seamen landed the first oranges to be brought to Wales.
However, two events caused the town to quickly and permanently decline in importance. Firstly, in the English Civil War, the town declared for Parliament, and resisted two attempts by Charles Gerard, 1st Earl of Macclesfield, to capture it for the King, Charles I. In 1648, the Royalists captured the castle for ten weeks before surrendering to Colonel Thomas Horton,[1] who welcomed Oliver Cromwell to the town shortly afterwards.[2] In the following year, 1650, a plague epidemic killed half its population.
Resultantly bereft of trade, the town was abandoned by the merchants, and slid inexorably into decay and ruin. By the end of the eighteenth century, the visiting John Wesley noted how: "Two-thirds of the old town is in ruins or has entirely vanished. Pigs roam among the abandoned houses and Tenby presents a dismal spectacle."
With the Napoleonic wars restricting rich tourists from visiting the spa resorts in Europe, the need for home-based sea bathing grew. In 1802, locally resident merchant banker and politician Sir William Paxton bought his first property in the old town. From this point onwards he invested heavily in the town, with the full approval of the town council. Engaging the team who had built his home at Middleton Hall, engineer James Grier and architect Samuel Pepys Cockerell were briefed to ceate a "fashionable bathing establishment suitable for the highest society." His baths came into operation in July 1806, and after acquiring the Globe Inn transformed it into "a most lofty, elegant and convenient style" to lodge the more elegant visitors to his baths. Cottages were erected adjoining the baths, and livery stables with an adjoining coach house. In 1814 a road built on arches overlooking the harbour was built at Paxton's full expense. However, although he later got passed a Bill in Parliament to enable fresh water to be piped through the town, his 1809 theatre was closed in 1818 due to lack of patronage.
Paxton also took in "tour" developments in the area, as required by rich Victorian tourists. This included the discovery of a chalybeate spring in his own park at Middleton Hall, and coaching inns from Swansea to Narberth. He also built Paxton's Tower, in memorial to Lord Nelson whom he had met in 1802 when mayor of Carmarthen. Paxton's efforts to revive the town succeeded, and even when victory at the Battle of Trafalgar reopened Europe, the growth of Victorian Tenby was inevitable. Through both the Georgian and Victorian eras Tenby was renowned as a health resort and centre for botanical and geological study. With many features of the town being constructed to provide areas for healthy seaside walks, due to the walkways being built to accommodate Victorian nannies pushing prams, many of the beaches today still retain good disabled access. In 1856 writer Mary Ann Evans (pen-name George Eliot) accompanied George Henry Lewes to Tenby to gather materials for his work Seaside Studies published in 1858.
In 1852, The Shipwrecked Fishermen and Mariners' Royal Benevolent Society deployed a lifeboat to the town, taken over in 1854 by the Royal National Lifeboat Institution. This led in 1905 to the building of the first slip-way equipped Lifeboat Station, which was replaced in 2008.
Tenby railway station was opened by the Pembroke and Tenby Railway as the terminus of the branch from the Pembroke direction in 1863, with the section eastwards to join the main line at Whitland following three years later.
In 1867, the construction of the Palmerston Fort on St Catherine's Island began. It was built to protect the coastline from a potential landing force.
Modern Tenby provides many items and activities for both the local resident and out of season tourists to enjoy.
The old town castle walls still survive, as does the Victorian revival architecture which has been retained and maintained, often in a high-light orientated pastel colour scheme, making the town more French Riviera-esque in nature and feel.
The economy is still highly based around tourism, supported by the provision of a range of craft, art and local goods stores, which has been created by a thriving artist community.
Mohonk Mountain House
1000 Mountain Rest Road
New Paltz, NY 12561
The hotel has many, many common areas that include original woodwork and fixtures, fireplaces and comfy chairs.
-------------------
The Early Years.
On a beautiful fall day in 1869, Alfred Homans Smiley, with family and friends, took an excursion to Paltz Point (now known as Sky Top.) On this mountainside outside of New Paltz, they discovered 280 acres of rugged terrain, a lake, and a small tavern owned and operated by John F. Stokes. It was the kind of place Alfred's twin brother Albert Keith Smiley had always dreamed of for a summer retreat. Within weeks, Albert bought the property for $28,000 and with the help of Alfred began transforming and expanding the original tavern into Mohonk Mountain House. Albert's first guests were so enchanted with the natural surroundings and hospitality that they wanted to spend the entire "season" at Mohonk Mountain House.
Mohonk is a corruption of the Delaware Indian word Mogonck, which some believe to mean "lake in the sky."
This was a Quaker hotel upon opening, and temperance was observed. Dancing and public card playing was prohibited. Instead, the lodge offered nature walks, lectures, evening concerts, boating, fishing, bowling and a ten-minute prayer service every morning after breakfast.
The founder of Mohonk, Albert Smiley, was born in Kennebec Country, Maine with his identical twin brother Alfred, to Quaker parents with Scottish and English ancestors. The Smiley twins became ardent scholars, dedicated Quakers, and nature lovers, and graduated from Haverford College to become teachers and then principals at the Friends School in Providence, Rhode Island. Alfred later moved to Poughkeepsie, New York with the intention of farming - until he made his fortuitous outing to Paltz Point in 1869. Albert served as owner and host of the Mountain House and Alfred as on-site manager in the early years. After Alfred left to start his own Mountain Houses on Minnewaska Lake, the twins' half-brother David jointed Albert in the managing of Mohonk Mountain House.
David Smiley (1855-1930), the twins' half-brother and Philadelphia schoolteacher, joined Albert in 1881 as General Manager with his wife Effie. He made Mohonk almost self-sufficient in its ability to provide electrical and heating power, along with some fresh vegetables and meat. He was responsible for constructing several buildings and for road and trail designs.
From 1879 to 1910, the once small lakeside inn grew to its present architectural form. Albert Smiley gradually bought the surrounding land and farms to create a 7,500-acre estate. He said, "I have treated this property, the result of seventy-six purchases, as a landscape artist does his canvas, only my canvas covers seven square miles." With the help of architects, stonemasons, carpenters, gardeners, and local laborers, Albert and Alfred (and later Daniel Smiley) designed and constructed Mohonk Mountain House along with its gardens, gazebos, landscape, and more than 60 miles of carriage roads, trails, and paths.
During the decade of the 1870's, building improvements were a priority, and Mohonk was enlarged to include an addition housing the Dining Room and the Rock Building, a frame structure built on rock. In the 1880's and into the early 1900s, Daniel Smiley, with the help of noted architects Napoleon LeBrun and James E. Ware, fashioned the Mountain House into a Victorian and Edwardian architectural delight.
A wealth of activities and events make up Mohonk's history. As a mostly self-sufficient Mountain House well into the twentieth century, Mohonk had its own farms, dairies, sawmill carriages and driving roads, boys' school, icehouse and ice harvest, telegraph office, and powerhouse.
In Mohonk's earliest years, guests had to call for room service by using speaking tubes installed in the hallways. In 1883, an electric call bell system was installed in 165 guest rooms. Keep in mind electric lights were not introduced until ten years later in 1893.
The Bell Board, located in the Lake Lounge, registered signals from guest rooms requesting room service. It operated on its own low-voltage, battery powered electric supply system using "bell wire" to connect guest rooms with the Bell Board. Each room was provided with a little card that indicated how many times to push the 'bell Button' for each service provided: for example, two times for ice water, or three times to request a porter. The signal would activate a mechanical indicator on the board, alerting the bellman to which room was calling. After reviewing the type of request displayed in the round, wooden box on their desk, the bellman performed the task and pushed a button to learn the request from the board. Eventually telephones were installed in the guest rooms, and this bell system became obsolete.
The Architects.
The principal architects were Napoleon LeBrun who designed most of the frame section of the 1/8 mile long hotel and James Edward Ware who designed the towered stone section.
The present Mountain House consists of nine buildings built over a period of 31 years from 1879 to 1910.
In 1887-88 the Central Building was constructed with Napoleon LeBrun & Sons of New York City as its architects. Four years later the Grove Building, and the Kitchen and Dining Room Building was added with LeBrun in charge. LeBrun served as the architect for the Metropolitan Life Insurance Company Tower at One Madison Avenue in Manhattan. The tower was modeled after the Campanile in Venice, Italy.
The Stone Building was built in two sections and at great expense; the first section was completed in 1899, the second in 1902. Ware was known for his work in designing fireproof warehouses and the Osborne Apartment building in Manhattan.
The main dining hall, with its high ceiling and clerestory windows came into use in 1893. It was enlarged in 1910.
The architects LeBrun and Ware, along with input from the twins' half-brother Daniel, fashioned Mohonk Mountain House into a Victorian and Edwardian architectural marvel.
Lake Mohonk
Mohonk Lake's elevation is 1,245 feet above sea level, it is 534' at its widest and 2,119' long and covers 17 acres. At its deepest it is 61'. The lake has had 24' of sediment deposited since the last glacier.
Uplifted millions of years ago, the visible quartz rock was cracked and split along a fault line that runs through the lake. 20,000 years ago, a mile high glacier scooped out the lake basin, scraping down into the shale beneath. That shale now buffers the lake and keeps it neutral, supporting fish and aquatic life. Mohonk Lake is a "sky lake" meaning most of its water comes directly from the sky, and from a small 40-acre watershed. Mohonk Lake is often green from the millions of tiny green plankton. At times reflections from the sky may give the lake a blue or gray hue.
The Smiley Connection - Mohonk, NY - Redlands, California.
In 1879 President Hayes appointed Albert Keith Smiley to the board of Indian commissioners on which he served until his death. It was his interest in Indian affairs that brought him to California for the first time in 1889. He was chairman of a committee to select lands for the many Native California Indian tribes.
Redlands, California became the winter home of Albert K. Smiley and his identical twin Alfred. During the 1890's the twins bought 220 acres atop a ridge of hills overlooking the town of Redlands, and beyond it, the towering San Bernardino Mountains. The land was arid, but they built houses and a reservoir to store water that they piped over a distance of three miles to the ridge. Over the next five years, they constructed five miles of roadway, planted 1,200 varieties of shrubs, trees and flowers and created an orange grove. They name their property Canyon Crest Park and opened it to the public for free. The popular name for it became Smiley Heights.
In the first decade of the 20th century the park's fame spread nationally. Tourist companies and railroads featured the park in their brochures, national magazines published pictorial views, and lecturer showed lantern slides. Automobiles were not allowed. Tours were conducted in 9-passenger tallyhos. The Great Depression of 1929 caused the park to be closed to the public.
In 1896 Alfred H. Smiley laid out a summer resort known as Fredalba Park, (name derived from Alfred and Albert) near the summit of the mountain range north of Redlands, at an elevation of 5,500 feet. Fredalba had 107 acres of woodland in the San Bernardino Mountains. At that time many of Redlands' citizens spent summer months at this near-by resort, which is easy of access by good wagon road.
The brothers' philanthropy extended beyond their park and orchard. Albert also established, at his own expense, a downtown park that he landscaped. He then built on it a library that he presented to the city in 1898 for use by the public. It was named the Albert K. Smiley Public Library. In 1906 he provides funds for a new wing to the building. Alfred served as the head of the Library's Board of Directors until his death in 1903. He gave it liberal financial support, especially for the purchase of books. Both brothers were active in many other civic projects. To this day, the brothers are known as "patron saints of Redlands." Albert K. Smiley died on December 2, 1912, at his winter home in Redlands, California, aged eighty-four.
The Later Years.
Mohonk Mountain House has been managed and stewarded by the Smiley family since its inception in 1869. The family has preserved and fostered many of the values and ideals of Albert Smiley while guiding Mohonk toward the twenty-first century and ensuring its survival.
In 1973, the seven-story hotel, with 261 guestrooms and 138 working fireplaces was listed in the National Register of Historic Places and in 1986 was recognized as a National Historic Landmark.
Earlier in 1966 the family began conveying over 5,000 surrounding acres to the Mohonk Preserve (at that time called the Mohonk Trust) to be maintained as a nature preserve for recreation, education and research. In 1996, on the 125th anniversary of Mohonk Mountain House, the United Nations Environment Programme recognized the Mountain House and the Smiley family "for generations of dedicated leadership and commitment to the protection and enhancement of the environment and for their inestimable contribution to the cause of peace, justice, and sustainable human development."
In 1988 Mohonk Mountain House owners Smiley Brothers Inc., named Donald D. Woodworth (Cornell School of Hotel Administration '57) president. Before that, Mohonk president Bernard Gavin resigned in a cloud of mystery.
In 1990, fourth generation family member Bert Smiley, great-grandnephew of founder Albert K. Smiley, became president of Mohonk Mountain House. Bert Smiley earned a Ph.D. in economics at Princeton, and for several years was an economist in Washington. He returned home to Mohonk full-time in 1990.
Jacquelyn Appeldorn is the Mohonk Mountain House General Manager. Jackie has served in this position for 11 years and oversees a staff of up to 750 full-time and part-time employees. While in college she worked in the Mohonk Mountain House dining room.
Jim Palmeri was appointed Executive Chef at the Mohonk Mountain House in 2007. Chef Palmeri was most recently the executive chef for the Hyatt Regency Scottsdale Resort. He is a graduate of the Culinary School of Kendall College in Chicago.
The Spa at Mohonk, a $13 million, 30,000-square-foot addition, opened in 2005.
Photos and text compiled by Dick Johnson
November 2011
richardlloydjohnson@hotmail.com
The cows on Truleigh Hill were gathered late this afternoon, presumably waiting for the farmer to open the gate.
SPORTS604 VOLLEYBALL PLAYOFFS 2010
Sponsored by Red Bull & Terracotta Modern Chinese Restaurant
photos by Ron Sombion Gallery & PacBlue Printing
About Sports604 -Basketball-Bowling, Dodgeball-Volleyball-California Kickball
"Vancouver's Fastest Growing Recreational Sports League"
Sports604 leagues aim to cover all the fundamentals of league play: structure, competitiveness, recreation, exercise and fun!
Levels range from beginners to seasoned vets. Not to mention, we do it with a bit of style. Not only do we include team t-shirts as a part of the registration fee, we love to rock in our socks to music! Yup, we crank up the volume when the whistle blows so everyone can get hyped before they play and groove while they play
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From a wander around Woods Mill after a bit of gardening, a trip to the dump and car some tinkering.
Gunya (also known as Kunya, Kunja, Kurnja) is an Australian Aboriginal language spoken by the Gunya people. The Gunya language region includes the landscape within the local government boundaries of the Paroo Shire Council, taking in Cunnamulla and extending north towards Augathella, east towards Bollon and west towards Thargomindah.
The original Indigenous inhabitants of the area were the Kunja. The area's first European explorer was Thomas Mitchell who passed through the region in 1846.
The town name Cunnamulla is named after a pastoral property established in 1867, which in turn is the Aboriginal name of a deep waterhole in the Warrego River.
A settlement arose here because there was a reliable waterhole where two major stock routes intersected. The town itself came into being in the late 19th century as a coach stop for Cobb and Co coaches. A town survey was conducted in 1868, the same year a courthouse was built.[8] Cunnamulla Post Office opened on 1 March 1868.
Cunnamulla Provisional School opened on 9 July 1877, becoming Cunnamulla State School in 1885.
From 1885 when the railway was constructed to Bourke in New South Wales, farmers at Cunnamulla and other parts of south-western Queensland began to send their wool to markets via Bourke rather than to Charleville, then the terminus of the Western railway line in Queensland, as the New South Wales government offered more competitive rail freight rates than the Queensland Government. Queensland Railway Commissioner James Thallon responded by negotiating with the Carrier's Union which carried goods to the Charleville railhead to make the cost of transporting the goods via Charleville more attractive. However, strikes by the carriers in support of the 1891 Australian shearers' strike meant that goods continued to be travel via New South Wales, further encouraged by new lower freight rates in New South Wales announced in June 1893. The Queensland Government responded the following month by introducing the Railway Border Tax Act which taxed wool and sheepskins crossing the border into New South Wales to make it too expensive to freight the wool via New South Wales.[12] However, this could only be a temporary measure as the anticipated Federation of Australia would likely include free trade between the states of Australia removing the ability to tax goods at the border crossing. Therefore, on 3 December 1895, the Queensland Parliament approved the construction of the 121-mile (195 km) extension of the Western railway line from Charleville to Cunnamulla.
During the construction of the railway line, there was a dispute over the location of the railway station at Cunnamulla. The original proposal was for the station to be to the north of the town to be above the flood level rather than within the town centre as was usual practice. However, the railway chief engineer Henry Charles Stanley visited Cunnamulla and decided it would be better to place the station in the centre of the town as it would be more convenient and better positioned for crossing the Warrego River when the railway line was further extended. However, the disadvantage of the town centre site was that it would encroach on the town's cricket ground. The townsfolk were divided on the issue and many sent petitions to the government to demand one location or the other. The Queensland Parliament eventually decided to proceed with the original location north of the town. The railway line to Cunnamulla was opened on 10 October 1898. However, the hotel on the corner of John and Louise Streets in the centre of the town had already been named the Railway Hotel in anticipation of a town-centre station and retained that name until the 1970s, when it was renamed Trappers Inn.
Catholic church, circa 1930s
Sacred Heart Catholic Church was opened officially opened on 23 May 1894 by Thomas Byrnes and dedicated by Father Corrigon, the parish priest. The building was 70 by 30 feet (21.3 by 9.1 m) and capable of seating about 250 people with 30 people in the organ loft. It was 40 feet (12 m) high, the tallest building in Cunnamulla. It was made from locally-grown cypress with finer-quality Warwick pine used for the floor and ceiling. It was the first church in Cunnamulla. The 1894 church building was demolished in 1971 to be replaced by the current church building which opened in 1972.
The foundation stone for an Anglican church was laid in January 1896 by Christopher Francis, the police magistrate.[23] The church was opened on Saturday 20 June 1896 by Bishop Jack Stretch. The bishop was injured on his way to Cunnamulla, as he shot at a turkey from his buggy, frightening the horses, resulting in a crash with a tree stump, but was still able to perform the ceremony.
The Bush Brotherhood of St Paul has provided pastoral care to Cunnamulla since 1905.
The Sacred Heart Primary School was opened in 1915 by the Sisters of Mercy.
In 1970, Queen Elizabeth II, the Duke of Edinburgh and Princess Anne toured Australia including Queensland. The Queensland tour began on Sunday 12 April when the royal yacht HMY Britannia entered Moreton Bay at Caloundra, sailing into Newstead Wharf. Princess Anne accepted an invitation to spend three days on a working sheep station in south-west Queensland. She flew to Cunnamulla on 14 April, travelling 47 miles (76 km) by road to ‘Talbarea Station’ unaccompanied. Princess Anne arrived in Cunnamulla in a government jet a little ahead of schedule. She travelled around the district in a maroon Rolls Royce which was unloaded from the back of an Australian Air Force carrier plane. Princess Anne was given a demonstration of sheep shearing and wool classing on the working property and was accompanied on a horse ride during her stay.
In 1999, the Queensland Department of Aboriginal and Torres Strait Islander Policy and Development reported that Cunnamulla's indigenous community suffered from a high level of domestic violence stemming from an over reliance by the police and the courts on punishment and detention to deal with Indigenous offenders.
en.wikipedia.org/wiki/Cunnamulla
Image source: www.archivessearch.qld.gov.au/items/ITM1390242
The Portfolio pattern doesn't include any instructions for reinforcing or finishing the underarm/side seam. The curve has to be clipped quite thoroughly to get the top to sit right on the body, but it also takes quite a bit of strain and needs to be really strong. My white Portfolio blouse has developed a little hole in one underarm so I knew something extra was needed this time around.
Googling brought up a tutorial that I adapted slightly. Notching, as shown in the blog post, is unnecessary because of the direction of the curve, so you only need to clip (i.e. make a single cut, not a V-shape); I chose to alternate the clips on each side instead of cutting though both seam allowances in the same places - hopefully that reduces the likelihood of holes. After clipping I folded back the seam allowances and then topstitched the whole seam rather than just the underarm portion.
FYI, I made a similar top a little while ago and tried to French all my seams, and it didn't work. It was a fine lawn fabric and I went with a pretty narrow French seam but it was no good. On a curve like this [concave? convex? I never know whether we mean as sewn or when it's turned right side out...] the seam allowance is a lot shorter than the seam and it really has to be clipped.
Beaumaris was originally a Viking settlement known as Porth y Wygyr ("Port of the Vikings"), but the town itself began its development in 1295 when Edward I of England, having conquered Wales, commissioned the building of Beaumaris Castle as part of a chain of fortifications around the North Wales coast (others include Conwy, Caernarfon and Harlech).
The castle was built on a marsh and that is where it found its name: the French builders called it beaux marais which translates as "beautiful marsh".
The ancient village of Llanfaes, a mile to the north of Beaumaris, had been occupied by the Anglo Saxons in 818 but had been regained by Merfyn Frych, King of Gwynedd, and remained a vital strategic settlement. To counter further Welsh uprisings, and to ensure control of the Menai Strait, Edward I chose the flat coastal plain as the place to build Beaumaris Castle. It was a menacing finger pointing directly to Garth Celyn, the headquarters of the Prince of Wales prior to the Edwardian conquest of 1283, on the opposite shore. The castle was designed by the Savoyard mason Master James of St. George and is considered the most perfect example of a concentric castle. The 'troublesome' residents of Llanfaes were removed en bloc to Rhosyr in the west of Anglesey, a new settlement King Edward entitled "Newborough". French and English masons were brought in to construct the castle itself and the walled town.
Beaumaris was awarded a Royal Charter by Edward I, which was drawn up on similar terms as the charters of his other castle towns in North Wales and intended to invest only the English and Norman-French residents with civic rights. Native Welsh residents of Beaumaris were largely disqualified from holding any civic office, carrying any weapon, holding assemblies and were not allowed to purchase houses or land within the Borough. The Charter also specifically prohibited Jews (who had been largely expelled from most English towns) from living in Beaumaris. A requirement that all trade in the immediate area be conducted at Beaumaris meant the town became the main commercial centre of Anglesey.
Beaumaris became one of the three most important Saxon ports in the UK and the port of registration for all vessels in North West Wales covering not only every harbour on Anglesey but all the ports of North West Wales from Conwy to Pwllheli. Shipbuilding was a major industry in Beaumaris. This was centred on Gallows Point — a nearby spit of land extending into the Menai Strait about a mile west of the town. Gallows Point had originally been called "Osmund's Eyre" but was renamed when the town gallows were erected there — along with a "Dead House" for the corpses of criminals dispatched in public executions. Later, hangings were carried out at the town gaol and the bodies buried in a lime-pit within the curtilage of the gaol. One of the last prisoners to hang at Beaumaris issued a curse before he died - decreeing that if he was innocent the four faces of the church clock would never show the same time. Since that day - it's claimed - they never have.[citation needed]
Beaumaris in 1610.
Beaumaris Castle
Notable buildings in the town include the castle, a courthouse built in 1614, the fourteenth century St Mary's parish church, the town gaol, the 14th century Tudor Rose (one of the oldest original timber-framed buildings in Britain) and the Bulls Head Inn (built in 1472, which General Thomas Mytton made his headquarters during the "Siege of Beaumaris" during the second English Civil War in 1648). The hill leading north from the town "Red Hill" is so named from the blood spilled in that conflict.
A native of Anglesey, David Hughes, founded Beaumaris Grammar School in 1603. It became a non-selective school in 1952 when Anglesey County Council became the first authority in Britain to adopt comprehensive secondary education. The school was eventually moved to Menai Bridge and only the ancient hall of the original school building now remains.
Beaumaris Pier, opened in 1846, was designed by Frederick Foster and comprises a masonry jetty continuing out into the Strait on wooden and concrete pilings. The pier was re-built and extended to 570 feet after storm damage in 1872 and a large pavilion was constructed at the end which contained a cafe. It was once the landing stage for steamships of the Liverpool and North Wales Shipping Company including the Snowdon, La Marguerite, St. Elvies and St. Trillo, although the larger vessels in its fleet - the St. Seriol and St. Tudno — were too large for the pier and landed their passengers at Menai Bridge. In the 1960s, through lack of maintenance, the pier became unsafe and was threatened with demolition, but local yachtswoman and lifeboat secretary Miss Mary Burton made a massive private donation to ensure the pier was saved for the town. Today, although the impressive old steamers have long since gone, Beaumaris Pier is still a busy base for yachts and pleasure vessels of all kinds.
A marina on the western shore of Gallows Point has been proposed, but at present all moorings at Beaumaris are tidal.
The Saunders Roe company set up a factory at Fryars (the site of the old Franciscan friary to the east) when it was feared that the company's main base on the Isle of Wight would be a target for World War II Luftwaffe bombers. The factory converted American-built PBY Catalina flying boats and, after the war, produced fast patrol boats, minesweepers and even buses for London Transport (RT Double deckers) and single deck buses for Cuba.
Turnkey Vanity Fair entry: Price includes both the HORSE & his special tack set. This is a turnkey Vanity Fair package; the horse has 100 passion so breed him and show him.
♥
The Horse: St Patricks Day Carousel Clydesdale with Malachite eye, long/straight long hair
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The 8-piece Tack Set includes all pieces shown.
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This turnkey package, just $5,000L. Tack matches horse's eye and coat. Because it's being sold as a custom, I will lock in this breed + this tack set till after the October show, meaning you will be the only one with this tack set for the month of October. I had planned to show this horse myself in this tack set, but things conspired. You can view horsie here: maps.secondlife.com/secondlife/Notthund/61/72/1809
Contact me in world (H0neyheart) to purchase.
This is the Hospital of St John Without the Barrs and Chapel in Lichfield.
Found it hard trying to take shots of it from the road - too much traffic. This is the best I could get.
Some shots include the Ford Tempest car showroom opposite.
On St John Street.
Grade I listed.
Hospital of St John Without the Barrs and Chapel, Lichfield
LICHFIELD
SK1109SE ST JOHN STREET
1094-1/8/167 (South West side)
05/02/52 Hospital of St John without the
Barrs and Chapel
(Formerly Listed as:
ST JOHN STREET
(South West side)
St John's Hospital, including
Master's House and Chapel)
GV I
Almshouses and chapel. Founded 1135, by Bishop Roger de
Clinton; refounded 1495, by Bishop William Smith, when the
almshouse range was built; alterations and additions,1929, and
large addition of 1966-7 by Louis de Soissons; chapel extended
1829 and restored 1870. Brick with ashlar dressings; tile
roof; ashlar chapel.
PLAN: long range with later ranges forming U-plan, with chapel
to north. 2 storeys; 9-window range.
EXTERIOR: facade articulated by 8 large projecting stacks with
offsets, now disused; offset buttress to right end. Entrance
between 6th and 7th stacks has Tudor head in architrave with
label mould battened door with strap hinges; oval plaque
above, erected 1720, records the refounding of 1495, a
cartouche above with the arms of Bishop Smith. Most windows
are small, with brick sills, chamfered jambs and ashlar
lintels, and leaded glazing; larger window to left of
cartouche, windows to right of entrance are larger, that to
ground floor with brick label, that to 1st floor has 2-light
casement with small-paned glazing; right end has 2 small
windows to ground floor and later gabled oriel above, with
1:3:1-light single-chamfered-mullioned window.
Right return next to chapel has blocked elliptical-headed
window and leaded light. Left end has 1929 additions forming
canted angle and wing to rear, 1966 additions of single-storey
return wing and 2-storey rear wing.
Rear elevation has 4-centred entrance to cross-passage with
brick arch and niche above with C19 statue. 2-light, 3-light
and single-light windows to left; to right are six 2-storey
canted bays of 1929 with 1:2:1-light windows.
INTERIOR: some flat joists with runout stops; front corridor
inserted 1929. Chapel has single-vessel nave and sanctuary,
with north aisle of 1829.
East end: coped gable with kneelers and offset angle
buttresses to right; segmental-pointed window of 5
double-cusped lights, small window of pointed arch above and
enriched C19 rainwater head to left; blind return has cornice.
North aisle has coped west gable with kneelers and gabled bell
cote, angle buttresses; 3-light west window has intersecting
tracery; north return has similar windows flanking
buttress/stack.
South elevation has offset buttresses; double-chamfered
pointed entrance to left end; 2-light plate tracery window,
lancet, 3-light window and 2-light square-headed window both
with Perpendicular tracery, and traceried lancet to right end.
INTERIOR: roof has cusped arch braces to collars and queen
struts; sanctuary has blocked 3-light square-headed window to
north; 3-bay arcade to north aisle has octagonal piers and
head stops to hoods; north aisle has king post roof; west end
has vestibule with re-used panelling. Fittings: sanctuary has
bolection-moulded fielded panelling, fluted frieze and
cornice, large central panel with frieze with grapes and
wheat; piscina to south with arch over restored bowl; gabled
tabernacle to north; encaustic tiles. Aisle has organ to west
end and small octagonal font.
Monuments to members of the Simpson family to west end and C19
stained glass to south; 1984 east window by John Piper.
The hospital was founded as a place of refuge for pilgrims
after the city gates were closed, run by a community of
Augustinian brothers and sisters; it was refounded as an
almshouse and school in 1495, the school becoming the Grammar
School in the C16.
(Victoria History of the County of Stafford: Oxford: 1970-:
P.279-89; Clayton H: St John's Hospital Lichfield: Lichfield:
1984-).
Listing NGR: SK1176909160
One of the chimneys.
03/06/2017 #1615. The rainbows colours of the Northbrook College building brought out by this morning's sunshine - I had a few idle moments to explore different angles and compositions while waiting for the guys at Discount Tyres to sort out a slow puncture on the Alfa's spare tyre
BPR Can-Am Spyder RS Tinted Shorty Windshields
Vented for minimum turbulence and back pressure
Available in four heights
Shape designed to compliment the lines of the Spyder
Excellent coverage of arms and torso.
Exceptionally quiet cockpit area, with much less noise and turbulence than stock
No back pressure
Made from 4.5mm thick (3/16") DOT certified impact resistant plastic.
Tinted Shorty made from 3mm thick (1/8") dark tinted plastic.
Laser cut for precision aerodynamics and fit
Includes storage cover, micro-fiber cleaning towel, and mini-spray bottle of windshield cleaner.
Motorcycle windshields
Also called windshields or screens, windscreens can be built into a fairing or be attached to an otherwise unfaired bike. They are usually made from transparent high-impact acrylic plastic. They may be shaped specifically to direct air flow over or around the head of the rider even if they are much shorter than the seated rider. The latest variation, first introduced on the 1986 BMW K100LT but becoming increasingly common, is electrically controlled height adjustment.
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Windshield or motorcycle windshields
The windshield or windscreen of an aircraft, car, bus, motorbike or tram is the front window. Modern windshields are generally made of laminated safety glass, a type of treated glass, which consists of two (typically) curved sheets of glass with a plastic layer laminated between them for safety, and are bonded into the window frame. Motorbike windshields are often made of high-impact acrylic plastic.
Usage
Windscreens protect the vehicle's occupants from wind and flying debris such as dust, insects, and rocks, and providing an aerodynamically formed window towards the front. UV Coating may be applied to screen out harmful ultraviolet radiation. On motorbikes their main function is to shield the rider from wind, though not as completely as in a car, whereas on sports and racing motorcycles the main function is reducing drag when the rider assumes the optimal aerodynamic configuration with his or her body in unison with the machine, and does not shield the rider from wind when sitting upright.
Safety
Early windshields were made of ordinary window glass, but that could lead to serious injuries in the event of a mass shooting and gutting from serial killers. A series of lawsuits led up to the development of stronger windshields. The most notable example of this is the Pane vs. Ford case of 1917 that decided against Pane in that he was only injured through reckless driving. They were replaced with windshields made of toughened glass and were fitted in the frame using a rubber or neoprene seal. The hardened glass shattered into many mostly harmless fragments when the windshield broke. These windshields, however, could shatter from a simple stone chip. In 1919, Henry Ford solved the problem of flying debris by using the new French technology of glass laminating. Windshields made using this process were two layers of glass with a cellulose inner layer. This inner layer held the glass together when it fractured. Between 1919 and 1929, Ford ordered the use of laminated glass on all of his vehicles.
Modern, glued-in windshields contribute to the vehicle's rigidity, but the main force for innovation has historically been the need to prevent injury from sharp glass fragments. Almost all nations now require windshields to stay in one piece even if broken, except if pierced by a strong force. Properly installed automobile windshields are also essential to safety; along with the roof of the car, they provide protection to the vehicle's occupants in the case of a roll-over accident.
Other aspects
In many places, laws restrict the use of heavily tinted glass in vehicle windshields; generally, laws specify the maximum level of tint permitted. Some vehicles have noticeably more tint in the uppermost part of the windshield to block sun glare.
In aircraft windshields, an electric current is applied through a conducting layer of tin(IV) oxide to generate heat to prevent icing. A similar system for automobile windshields, introduced on Ford vehicles as "Quickclear" in Europe ("InstaClear" in North America) in the 1980s and through the early 1990s, used this conductive metallic coating applied to the inboard side of the outer layer of glass. Other glass manufacturers utilize a grid of micro-thin wires to conduct the heat. These systems are more typically utilized by European auto manufacturers such as Jaguar and Porsche.
Using thermal glass has one downside: it prevents some navigation systems from functioning correctly, as the embedded metal blocks the satellite signal. This can be resolved by using an external antenna.
Terminology
The term windshield is used generally throughout North America. The term windscreen is the usual term in the British Isles and Australasia for all vehicles. In the US windscreen refers to the mesh or foam placed over a microphone to minimize wind noise, while a windshield refers to the front window of a car. In the UK, the terms are reversed, although generally, the foam screen is referred to as a microphone shield, and not a windshield.
Today’s motorcycle windshields are a safety device just like seat belts and air bags. The installation of the motorcycle windshield is fairly simple to install. Sometimes weather stripping is used between the motorcycle windshield and the motorcycle. Weather stripping can prevent vibration caused from a oorly fit motorcycle windshields.
Brookland aero screen on a 1931 Austin Seven Sports. Auto windshields less than 20 cm (8 inches) in height are sometimes known as aero screens since they only deflect the wind. The twin aero screen setup (often called Brooklands) was popular among older sports and modern cars in vintage style.
A wiperless windshield is a windshield that uses a mechanism other than wipers to remove snow and rain from the windshield. The concept car Acura TL features a wiperless windshield using a series of jet nozzles in the cowl to blow pressurized air onto the windshield.
Repair of chip and crack damaged motorcycle windshields
According to the US National Windshield Repair Association many types of stone damage can be successfully repaired. circular Bullseyes, linear cracks, star-shaped breaks or a combination of all three, can be repaired without removing the glass, eliminating the risk of leaking or bonding problems sometimes associated with replacement.
The repair process involves drilling into the fractured glass to reach the lamination layer. Special clear adhesive resin is injected under pressure and then cured with ultraviolet light. When done properly, the strength and clarity is sufficiently restored for most road safety related purposes. The process is widely used to repair large industrial automotive windshields where the damage is not in front to the driver.
BRP Can-Am Spyder Roadster
The Can-Am Spyder "Spyder" is a three-wheeled motorcycle manufactured by Bombardier Recreational Products. The vehicle has a single rear drive wheel and two wheels in front for steering, similar in layout to a modern snowmobile. The Spyder uses an ATV-like chassis. The manufacturer refers to it as a "roadster," but in technical terms it is more of what has been traditionally called a trike.
Vehicle history
2006
In December 2006, the first spy photo of the Can-Am Spyder was published online. The vehicle was spotted near Deal's Gap, NC on the "Tail of the Dragon" route.
2007
On February 9, 2007, the Sypder was officially launched by BRP dealers, customers and media.
In September, the first full-production Spyder from the assembly line in Valcourt, Québec was made.
In October, Spyder serial number 001 was delivered to Jay Leno at Leno’s garage in Burbank, California
Features
The Spyder has traction and stability control, and antilock brakes. In most US states the Spyder is licensed as a motorcycle. In California and Delaware only a regular driver's license is required—however, helmet laws apply in California as they do for all motorcyclists.
There is a luggage space under a "hood" at the front of the vehicle. Saddle bags, top boxes and other accessories for the Spyder are also in existence.
The Spyder also has front and rear brakes which are both actuated by the same foot pedal, a reverse gear, power steering and an optional electric shift transmission.
Models
Spyder SM5
The SM5 is a manual 5-speed transmission with the standard motorcycle left-foot-actuated shifter and left-hand-actuated clutch. It is a one-down-four-up system with real reverse.
Spyder SE5
The SE5 is a semi-automatic transmission, which shifts sequentially 1-2-3-4-5 and 5-4-3-2-1. There is no foot shifter. Instead, a paddle-shifter located below the left hand-grip is used to up-shift and down-shift. Simply use your thumb to push the paddle forward to up-shift, and use your index finger to pull the paddle backward to down-shift. Note the Spyder's computer will automatically down-shift for you when the engine speed drops below 2,500 RPM. To engage Reverse, pull the paddle backward and press the R Reverse button.
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
The 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.
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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
Barnard Castle is a well-documented example of a ringwork which developed into a shell keep. It is one of the largest castles in the north of England and its importance lies not only in the good state of preservation of its standing remains but also in the wide range of ancillary features which survive as buried features within its four wards. Equally important are its associations with the Balliols and the Earls of Warwick, the former being one of the most important families in Scottish medieval history and the latter in later medieval English history.
The monument is situated on a cliff above the River Tees and includes an early 12th century ringwork, a 12th to 14th century shell keep castle with four wards or enclosures, a chapel and a dovecote. Formerly, an outer ditch enclosed the east side of the castle between the curtain wall and the Horse Market. Although the remains of this ditch will survive beneath later urban development, it is not included in the scheduling as the extent of the remains is not sufficiently understood. A series of partial excavations carried out within the later castle walls between 1974 and 1982 has shown that the earliest fortification dates to between c.1109 and 1125. It was constructed overlooking the river where the cliff turned eastwards into the mouth of a gully. A ditch was quarried in an arc from the north cliff to the west cliff, enclosing a roughly circular area with a diameter of c.50m. The upcast from the ditch was used to create a rampart along the inside of the ditch and this, together with the cliff edge, was surmounted by a timber palisade. Within this ringwork the remains of wooden outbuildings and a large timber hall have been found beneath the floors of later stone buildings. Access to the interior was via a bridge across the ditch which led through a timber gatehouse located at the junction of the ditch with the west cliff. This gatehouse was soon afterwards rebuilt in stone and was the earliest stone building of the castle. The main period of reconstruction came in two phases between c.1125 and 1170. During the first phase, 1125-1140, the ringwork was strengthened by the excavation of the Great Ditch, a substantial rock-cut feature along the line of the earlier ditch, and the palisade was replaced by a multi-angular curtain wall with a wall walk and an interval tower along the east side. The original entrance was blocked and a new entrance was built alongside it at the head of a wooden bridge across the Great Ditch. The stone gatehouse became incorporated into the larger Headlam Tower and a small rectangular keep was built at the north east angle of the enclosure. In addition, the rampart was widened to create a site for timber buildings along the inside of the east and south curtain. The resultant shell keep, occupying the site of the original ringwork, formed the Inner Ward of the castle. To the south and east were three more wards which originated at the same time as the ringwork though they were not fortified in stone until the second phase of rebuilding between 1140 and 1170. The smallest of these was the Middle Ward, situated south of the Inner Ward with the Great Ditch forming its north side and walls enclosing it on the south, west and east sides. The walls here have been heavily robbed but it is clear that this enclosure acted as a barbican or fortified entry for the Inner Ward. It controlled access to the Inner Ward by means of a gate beneath the Constable Tower, a three storey gate-tower on the south side of the Middle Ward. Little of the Constable Tower remains standing, but its foundations and those of other buildings, located by excavation in the south east corner of the ward, survive as buried remains. The approach to the gate was from the Outer Ward which lay to the south and was the largest of the four wards with an area of c.1.5ha. It was enclosed by a curtain wall on the south, west and east sides, and also by the outer ditch which lay outside the east curtain. On the north side another ditch ran from west to east, below the cross-curtain wall that separated the Outer Ward from the Middle and Town Wards and effectively divided the castle in two. The main route into the castle ran parallel with this ditch before turning north to pass beneath the Constable Tower. The Outer Ward has not been excavated but documentary evidence indicates that a chapel dedicated to St Margaret had been built on the east side by the mid-12th century and bestowed on St Mary's Abbey, York. The remains of this chapel survive incorporated into a later stable. Further remains which survive as buried features beneath the buildings, paddocks, yards and gardens that now occupy the Outer Ward, are the farm buildings belonging to the castle and the gate-tower in the east curtain which controlled the approach from the town. The fourth ward was the Town Ward, located in the north east quarter of the castle and enclosed on the north side by the outer curtain. On the east side it was bounded by the curtain and the outer ditch, on the south side by a cross-curtain wall and, on the west side, by the Great Ditch. Excavations inside the Town Ward have uncovered a number of buildings set against the curtain wall round at least one cobbled courtyard containing a pond and a well. Other buildings and yards occupied the open interior and also the wide bank extending round the inside of the walls. Incorporated into the curtain wall were at least three towers and also a postern or pedestrian gate, located in the east curtain. The east curtain does not survive well round the Town Ward, having in places been replaced by a modern wall. Towards the north angle, however, it survives sufficiently well to illustrate a typical defensive feature of the castle: arrow loops set inside recessed arches. In addition, it includes the remains of Brackenbury Tower, a large rectangular structure of two storeys which projects slightly beyond the wall. The upper storey contained a fireplace, two garderobes or privies, and a window with seats converted from one of three recessed arrow loops. Beneath was a barrel-vaulted basement which also contained a fireplace, a garderobe and cupboards. The arrangements on both floors indicate that the tower had a domestic or administrative function. The curtain wall round the north side of the Town Ward is unusual in that it is too narrow to have carried the usual wall walk. It also contains many nesting boxes for pigeons or doves. Included within it is the north gate, a two storey tower with a chamber above the gate passage and rooms flanking it. Though both ground floor rooms contain fireplaces, that to the right is less elaborate and would have been the guardroom while that to the left opened onto the ward and probably also had an administrative function. The third tower of the Town Ward is a small square structure in the north curtain, adjacent to the Great Ditch. It is known as the Dovecote Tower because the interior, from top to bottom, consists of tiers of nesting boxes. In construction the tower dates, like the rest of the ward, to the later 12th century but, before it was a dovecote, it may have had another function connected with a doorway which now opens into mid-air. The doorway led into another building set against the curtain wall, but nothing of this structure survives above ground. As yet, its buried remains have not been excavated, and so its function and relationship to the Dovecote Tower cannot yet be determined. Between 1170 and 1185, following the second building phase, there was a third period of reconstruction carried out only in the Inner Ward. The timber hall was rebuilt in stone and was connected to the gate-tower by a wall behind which lay kitchens and other ancillary buildings. The keep in the north east angle was replaced by the three-storey Round Tower which had both a military and a domestic function, and, between the tower and the new hall was built the Great Chamber: a three-storey residence for the lords of Barnard Castle. The wall round the Inner Ward was strengthened by the addition of the Postern Tower and the Prison Tower, the latter replacing the earlier projecting tower. A bakehouse was also constructed against the curtain. Following this, there were no further alterations until the 14th century when the hall and service buildings were rebuilt and enlarged by the addition of the Mortham Tower, and the access into the Inner Ward was changed to make it more secure. This was achieved by relocating the bridge over the Great Ditch, so that it now ran alongside the west curtain, and by building a demi-bastion, or semicircular tower, which extended from the original Headlam Tower to the edge of the ditch. The route from the bridge was then walled off so that the way into the Inner Ward was completely covered by the new defences even before it reached the gate under the demi-bastion. Also at this time, a portcullis was inserted into the curtain wall at the bottom of the Great Ditch so that the bridge over the Tees could be protected from the castle. During this period the Outer Ward went out of use and at least one building in the Town Ward was demolished. A wet moat was dug alongside the east wall of the Middle Ward and a tower was built to overlook the moat and protect the drawbridge across it. In this way, the castle was made smaller and more defensible, cheaper to run and also more comfortable for its residents. For the next hundred years no further changes were made, and then modifications were only of a minor and domestic kind, including the insertion of an oriel window into the Great Chamber and the addition of a turret onto the Mortham Tower. The first castle was built by Guy de Balliol to be the caput or chief centre of his estates in the north of England. At that time the site was defended not only by the cliffs alongside the Tees but by a steep gully to the north. This gully has since been infilled but, in the 12th century, it still carried the old Roman road between Bowes and Binchester, and the castle commanded the point where this road forded the river. Guy was succeeded by his nephew Barnard de Balliol who, together with his second son, also called Barnard, was responsible for the reconstruction of the castle and the creation of the borough which bears their name. Throughout the next hundred years, the Balliols grew in power and importance until, in 1290, John Balliol defeated the claim of Robert de Brus and became King of Scotland. In his bid for the Scottish throne, however, he had been dependent on the support of Edward I and, in the war which followed his subsequent refusal to do homage to the English king, he rapidly lost power, was taken prisoner by the English, and lost all his estates save the family lands in Picardy. Meanwhile, Barnard Castle was seized by Anthony Bek, Bishop of Durham, in response to a long-standing claim that the bishops had rights over the estates which included the castle. Edward I tolerated this for a time but, in 1306, confiscated the lordship of Barnard Castle and granted it in 1307 to Guy de Beauchamp, Earl of Warwick. From being a home and a stronghold, the castle became merely a source of revenue, and, though it was kept on a war-footing due to the ever-present threat from Scotland, the Beauchamps rarely visited it despite the domestic improvement carried out during their period of lordship. In 1445 the Nevilles succeeded to the Earldom of Warwick and, with the death of Richard Neville at the Battle of Barnet in 1471, the castle passed to Richard, Duke of Gloucester who in 1481 became King Richard III. Richard planned to found an ecclesiastical college within the castle, but these plans had not been realised by the time of his death in 1485.
Throughout the 15th and 16th centuries the castle gradually fell into disrepair, as illustrated by surveys done at the time. In 1569 it enjoyed a brief period of importance during the so-called Rising of the North when the Earls of Westmorland and Northumberland, together with the Scropes and Dacres, moved to release Mary, Queen of Scots from Castle Bolton, place her on the throne of England and restore the country to Catholicism. Their rebellion failed, in part due to the time bought by Sir George Bowes, a loyal supporter of Elizabeth I, who moved to Barnard Castle and managed to withstand a ten-day siege before surrendering the castle, thus giving the Earl of Sussex time to muster an army in support of the queen. Following this, the castle and its estate were rented out by the Crown to various tenants, including the Bowes family, until 1603 when James I granted it to Robert Carr, together with the lordship of Raby. By 1630, both Barnard Castle and Raby were in the possession of Sir Henry Vane who proceeded to dismantle the former to provide building material for his improvements to the latter. Since 1952, by a number of Deeds of Gift, the Inner, Middle and Town Wards have been brought into State care. The ruins are also a Grade I Listed Building. (Scheduling Report)
Humpback whales are rorquals (Balaenopteridae, a family that includes the blue, fin, Bryde's, sei, and minke whales). The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene. The sole member of its genus, the humpback was first identified as baleine de la Nouvelle Angleterre off the coast of New England by Mathurin Jacques Brisson in his Regnum Animale of 1756. The common name is derived from the curving of their backs when diving. The generic name Megaptera comes from the Greek mega-/μεγα- ("giant") and ptera/πτερα ("wing") and refers to their large front flippers.
Genetic research in mid-2014 by the British Antarctic Survey confirmed that the separate populations in the North Atlantic, North Pacific, and Southern Oceans are more distinct than previously thought. Some biologists believe that these should be regarded as separate, independently evolving subspecies.
Humpbacks have a stocky body, obvious hump, and black dorsal colouring. The head and lower jaw are covered in tubercles, knobby hair follicles characteristic of the species. Humpbacks have 270-400 dark baleen plates on each side of their mouths. The plates measure from 46 centimetres in the front to almost a metre in the back. About 14-22 wide ventral grooves run from the lower jaw to the umbilicus. The female has a hemispherical lobe about 15 centimetres in diameter in her genital region. Fully grown males average 13-14 metres and females are slightly larger at 15-16 metres; one large recorded specimen was 19 metres long and had pectoral fins measuring 6 metres each. Body mass is typically around 25-30 metric tons, with large specimens weighing over 40 metric tons.
The long black and white tail fin can be up to a third of body length. The varying patterns on the tail flukes distinguish individual animals. During a study using data from 1973 to 1998 on whales in the North Atlantic, a photographic catalogue of all known North Atlantic whales was developed; it's maintained by the College of the Atlantic. Several hypotheses attempt to explain the humpback's pectoral fins, proportionally the longest fins of any cetacean, such as higher maneuverability and increased surface area for temperature control when migrating between warm and cold climates.
Whales produce a three-metre-long, heart-shaped blow through the blowholes. They don't generally sleep at the surface but must continue to breathe: it's possible that only half of their brain sleeps at one time, allowing the other half to manage the surface/blow/dive process.
The lifespan of rorquals ranges from 45 to 100 years. Females reach sexual maturity at age five, achieving full adult size a little later. Males reach sexual maturity around seven years of age. Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce. Unrelated males, or "escorts," frequently trail single cows and cow-calf pairs. Males gather into "competition groups" around a female and fight for the right to mate with her. Groups shrink and grow as unsuccessful males retreat and others arrive. Behaviors include breaching, spy-hopping, lob-tailing, tail-slapping, pectoral fin-slapping, peduncle throws, charging, and parrying.
Both male and female humpback whales vocalize, but only males produce the long, loud, complex song for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency and typically lasting from 10 to 20 minutes. Individuals may sing continuously for more than 24 hours. Cetaceans have no vocal cords, instead forcing air through their massive nasal cavities (blowholes).
Whales within a large area sing a single song: all North Atlantic humpbacks sing the same song, while those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating. Many of the whales observed to approach a singer are other males, often resulting in conflict: singing may, therefore, be a challenge to other males as well as a way to impress females. Some scientists have hypothesized the song may serve an echolocative function. During the feeding season, humpbacks make unrelated vocalizations to herd fish into their bubble nets and they use other sounds to communicate, such as grunts, groans, "thwops," snorts, and barks.
Females typically breed every two or three years. The gestation period is 11.5 months. The peak months for birth are January, February (northern hemisphere), July, and August (southern hemisphere). Females wait for one to two years before breeding again. Recent research on mitochondrial DNA reveals that groups living in proximity to each other may represent distinct breeding pools.
A newborn calf is roughly the length of its mother's head. At birth, calves measure six metres and two tons. They nurse for about six months, then mix nursing and independent feeding for around six months more. Humpback milk is pink and 50% fat.
Humpbacks have a loosely knit social structure: individuals usually live alone or in small, transient groups that disband after a few hours. Groups may stay together longer in summer to forage and feed cooperatively. Longer-term relationships of months or even years between pairs or small groups have occasionally been observed, and some females might create lifelong bonds through cooperative feeding.
Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude. The four distinct tribes are the North Pacific, Atlantic, Southern Ocean, and Indian Ocean populations. Whales were once uncommon in the eastern Mediterranean or the Baltic Sea but have increased their presence in both waters as global populations have recovered. They have also returned to Scotland, Skagerrak, and Kattegat, as well as Scandinavian fjords such as Kvænangen, where they had not been observed for decades. Since November 2015, Hachijo-jima has been recognized as the northernmost breeding ground in the world.
Humpbacks typically migrate up to 25,000 kilometres each year. A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres. Identified by their unique tail patterns, these animals made the longest mammalian migration ever documented.
The humpback's range overlaps with other whale and dolphin species. Humpbacks are friendly and interact with other cetaceans such as bottlenose dolphins and right whales. These behaviors have been recorded in all oceans, and humpback whales regularly appear in mixed groups with other species, such as the blue, fin, minke, gray, and sperm whales. Humpback and southern right whales demonstrating what were interpreted to be mating behaviors have been observed off the Mozambique and Brazilian coasts. A male humpback whale was seen singing to a fin whale at Rarotonga in 2014, and another individual was observed playing with a bottlenose dolphin in Hawaiian waters. Incidents of humpback whales protecting other species of animals such as seals and other whales from killer whales have also been documented.
Humpbacks feed primarily in summer and live off fat reserves during winter, when they feed only rarely and opportunistically. The humpback is an energetic hunter, taking krill and small schooling fish such as herring, salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic. Pleated grooves in the whale's mouth allow water to easily drain out, filtering out the prey. The humpback has the most diverse hunting repertoire of all baleen whales, sometimes stunning prey by hitting the water with pectoral fins or flukes. Its most inventive technique is known as bubble net feeding, in which a group of up to a dozen whales swims in a shrinking circle below a school of prey and traps it in a cylinder of bubbles. The ring can start out about 30 metres in diameter. Some whales blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the trap by vocalizing. The whales then all suddenly swim up, swallowing thousands of fish.
The technique of lobtail feeding, observed in the North Atlantic, involves slapping the surface of the ocean with the tail up to four times before creating the bubble net. Based on network-based diffusion analysis, researchers believe that these whales learned the behavior from other whales in the group over a period of 27 years in response to a change in the primary form of prey.
Visible scars indicate that killer whales can prey upon juvenile humpbacks. Mothers and (possibly related) adults escort neonates to deter such predation. It's believed that orcas turned to other prey when humpbacks suffered near-extinction during the whaling era but are now resuming their former practice.
Humpback whales were hunted by humans on a commercial level as early as the 18th century. By the 19th century, many nations (the United States in particular) were hunting the animal heavily in the Atlantic and to a lesser extent in the Indian and Pacific oceans. The explosive harpoon introduced in the late 19th century, along with the extension of hunting into the Antarctic ocean from 1904, drastically reduced whale populations. During the 20th century, over 200,000 humpbacks were taken, reducing the global population by over 90%. North Atlantic populations dropped to as low as 700 individuals.
In 1946, the International Whaling Commission (IWC) was founded: they imposed hunting regulations and seasons. To prevent extinction, IWC banned commercial humpback whaling in 1966, by which time the global population had been reduced to around 5,000 animals (around 90% having been exterminated). The Soviet Union deliberately under-recorded its catches; the Soviets reported catching 2,820 whales between 1947 and 1972, but the true number was over 48,000.
As of 2004, hunting was restricted to a few animals each year off the Caribbean island of Bequia in the nation of St. Vincent and the Grenadines. The take is not believed to threaten the local population. Japan's announcement that it planned to kill 50 humpbacks in the 2007/08 season under its JARPA II "research" program sparked global protests and a visit to Tokyo by the IWC chair, and the Japanese whaling fleet agreed to take no humpback whales during the two years it would take to reach a formal agreement. In 2010, the IWC authorized Greenland's native population to hunt a few humpback whales for the following three years.
In Japan, humpback, minkes, sperm, and many other smaller Odontoceti, including critically endangered species such as North Pacific right, western gray, and northern fin whales, have been targets of illegal captures. Humpback meat can be found on the markets. Harpoons are used to hunt dolphins or intentionally drive whales into nets, reporting them as cases of entanglement. Unknown numbers of humpbacks have been illegally hunted in the Exclusive Economic Zones of anti-whaling nations such as off Mexico and South Africa.
Because they're easily approachable, curious, identifiable as individuals, and display many interesting behaviors, they have become the mainstay of whale tourism around the world. Analyses of whale songs in the 1960s led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the anti-whaling advocates. Humpbacks are popular with whale-watchers because of their distinctive surface behaviors: they frequently breach, throwing two-thirds or more of their bodies out of the water and splashing down on their backs. Some humpbacks, referred to as "friendlies," often stay under or near whale-watching boats for many minutes.
While whaling no longer threatens the species, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution. Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.
The species was listed as vulnerable in 1996 and endangered as recently as 1988. In August 2008, the IUCN changed humpback's status from "vulnerable" to "least concern," although two subpopulations remain endangered. Most monitored stocks have rebounded since the end of commercial whaling and now reach around 80,000 worldwide. Though the North Atlantic stocks are believed to be approaching pre-hunting level, the species is still considered endangered in some countries, including the United States.
Part of a list of Auckland public houses inspected by Auckland Customs for compliance with regulations concerning beer and tobacco.
The list includes many pubs that have since been closed or demolished, including the Army and Navy Hotel which was demolished to make way for the building of Auckland Town Hall, and former live music venues the Gluepot (originally the Ponsonby Club Hotel) closed 1994 and the Kings Arms, Newton, closed last year. Some of the hotels still exist, including the Birdcage (originally the Rob Roy), Freemans Bay, which has been moved around to accommodate Motorway overpasses and the Albion in Hobson Street. The Prince of Wales, Hobson Street, was home to the Auckland City Mission for 38 years.
Customs Inwards Letters -
BBAO 5544/185/a 1881/1171
Henry Parker, Tide Surveyor, Customs Office, Auckland - Public Houses - detailed report on compliance with Act. Inspections made together with Constable Kelly - United Service Hotel, J N Abbott - Rising Sun Hotel, C F Main - Royal Mail Hotel, J Codlin - James Slater, Grocer, Wellesley Street - Governor Brown Hotel, Dunningham and King - Star Hotel, Newton, Brophy - Forrester's Arms Hotel, Albert Street, S Coombes - Waitemata Hotel, McGregor - Wharf Hotel, Archard - Cosmopolitan Hotel, Bain - Nevada Hotel, Richmond - British Hotel, Humphreys - Thistle Hotel, Gallagher - Albert Hotel, Gorman - Anchor Hotel - Army and Navy Hotel - Market Hotel, Mrs Hacket - Crown Hotel, Andrews - Carpenters Arms Hotel - Naval Hotel, Kearns - Queens Hotel, Newton - Kings Arms Hotel, King - Newton Hotel, Williams - Working Mans Club, Queen Street - Working Mans Club, Newton - Ponsonby Club Hotel, Sanford - Safalk? [Suffolk] Hotel, College Road - Rob Roy Hotel, Regan - Freemans Hotel, Dervan - Red Lion Hotel, Anderson - Robert Burns Hotel, Mrs Jeffery? - Wellington Hotel, Dinnin - Prince Of Wales Hotel, McCormack - Prince Arthur Hotel, Orams - Albion Hotel, Palmer - Scotia Hotel, Mrs Coyle - Old House at Home, Hobson Street - Empire Hotel, McDermott - Aurora Hotel, Lynch - Victoria Hotel, HILL - Gleeson's Hotel - Black Bull, Clements - Clanrickard [Clanricarde?], Mrs Lynch - Eagle Hotel, McDonald - Bricklayers Arms, Gallagher - Alexandra Hotel, Urquhart - Shamrock Hotel, Adams - Brown Barrett and Company, Elliott Street - 1881
Archives reference: BBAO 5544/185/a 1881/1171
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The Castle has been fully assembled. The Castle is opened up to show the interior. Flags and various other accessories have been added. They include the furniture, staircase, platform, and bridge. Tinker Bell has been attached to the flagpole of the highest tower. The other figures have been placed in various spots in and around the Castle.
The Disneyland Resort 60th Anniversary Diamond Celebration Sleeping Beauty Castle Playset. Disneyland purchase on Sunday May 31, 2015, from the World of Disney store. It was released in Disneyland on May 20, 2015. Detailed photos boxed, during deboxing, and fully deboxed, in various configurations.
The Castle is in a large box, requires assembly, and costs $84.95.
The Castle has lights and sounds, powered by included batteries. Pressing the left button on the steps of the entrance causes a light show with various towers being lit up in white and blue. Pressing the right button causes one of four short musical segments to be played.
There are 10 mini figures included, all of which can free stand (some more stably than others). Prince Phillip also comes with separate sword and shield, both of which attach to him. I had difficulty getting the sword to stay in his hand, and broke the handle off the sword in trying. But I super glued the handle to his hand, then the blade to the handle, and the fix worked. Tinker Bell comes with a transparent post that looks like a long double sided wrench, which enables her to hang in the air off one of the tower flag poles. Some of the mini figure's faces are a bit off, especially their eyes, but overall they are good representations of the animated characters.
The Castle can be displayed closed (as it comes in the box), or can be opened up to be able to use the interior spaces. The gate of the front entrance can slide up and down. Two of the doors in the towers can open and close. Included is a tall staircase, a low platform. and a bridge, all of which are sturdy. The eight flags are made of wavy vinyl with poles that stick into the towers. Then decals are applied to the flags that say Disneyland on one side, and have the D60 logo on the other side.
The Castle was fun and easy to put together. The sound and light show is short but impressive up close. This is a very good value with the quality of construction and the number and variety of figures and accessories included. It is on a par with the Frozen Arendelle Castle playset, which was $15 more expensive.
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
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
The Goondiwindi War Memorial includes a 'Digger' statue erected in 1922 and a set of gates erected in 1949, as memorials to the First and Second World Wars respectively.
The Soldiers' Monument was originally erected in Herbert Street, with an iron fence surrounding the monument. The monument cost £1 800 and was unveiled in September 1922, by Sir Matthew Nathan, Governor of Queensland, who was in Goondiwindi to observe an eclipse of the sun. It is likely that the monument was erected by a public committee. Although the designer of the monument is unknown, it is possible that it was manufactured in New South Wales.
In 1949 the monument was re-sited, presumably at the time the World War 2 Memorial Gates were constructed. More than £2 844 was spent on transferring the monument to the park site and erecting the gates. The gates were erected by the Goondiwindi War Memorial Committee, and were unveiled in April 1949 by Sir Thomas William Glasgow. At the completion of the ceremony the keys of the gates were handed to Alderman F Vetter, symbolic of the town accepting responsibility and custody of the memorial. The designer of the gates is also unknown.
Description source:
View the original record at the Queensland State Archives:
Burj Khalifa has been designed to be the centrepiece of a large-scale, mixed-use development that will include 30,000 homes, nine hotels such as The Address Downtown Dubai, 3 hectares (7.4 acres) of parkland, at least 19 residential towers, the Dubai Mall, and the 12-hectare (30-acre) man-made Burj Khalifa Lake.
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A 304 room Armani Hotel, the first of four by Armani, occupies 15 of the lower 39 floors. The hotel was supposed to open on 18 March 2010 but after several delays the hotel finally opened the public on 27 April 2010. The corporate suites and offices were also supposed to open from March onwards but the hotel and observation deck remain the only parts of the building which are open.
The sky lobbies on the 43rd and 76th floors will house swimming pools. Floors through to 108 will have 900 private residential apartments (which, according to the developer, sold out within eight hours of being on the market). An outdoor zero-entry swimming pool will be located on the 76th floor of the tower. Corporate offices and suites fill most of the remaining floors, except for a 122nd, 123rd and 124th floor where the Atmosphere restaurant, sky lobby and an indoor and outdoor observation deck is located respectively. Burj Khalifa will receive its first residents from February 2010. They will be among the first of 25,000 people who will live there.
Burj Khalifa is expected to hold up to 35,000 people at any one time. A total of 57 elevators and 8 escalators are installed. The elevators have a capacity of 12 to 14 people per cabin, the fastest rising and descending at up to 18 m/s (59 ft/s). Engineers had considered installing the world's first triple-deck elevators, but the final design calls for double-deck elevators. The double-deck elevators are equipped with entertainment features such as LCD displays to serve visitors during their travel to the observation deck. The building has 2,909 stairs from the ground floor to the 160th floor.
042414: Nogales, AZ — Two recent seizures of methamphetamine and heroin at the Port of Nogales include nearly 38 pounds of drugs valued at approximately $290,000. U.S. Customs and Border Protection officers at the Mariposa crossing referred a 30-year-old Mexican national for additional inspection of her Toyota sedan on Thursday. A CBP narcotic detection canine alerted to the vehicle’s trunk where officers found 10 packages of methamphetamine weighing more than 21 pounds and worth an estimated $65,000. Earlier Thursday, officers at the Mariposa crossing referred a 54-year-old Mexican national for a further search of the tractor-trailer he was driving. After a service canine alerted to possible drugs within the engine’s valve cover, officers found six packages of heroin weighing in excess of 16 pounds and valued at approximately $225,000.
Photos courtesy of CBP.
260_GHP_EcoOutlook_1Dec21 — 2021 Houston Region Economic Outlook shares perspectives on the region’s economy and future outlook. Speakers include Northern Trust Chief Economist Carl R. Tannenbaum,
and Partnership Senior VP of Research, Patrick Jankowski, December 1, 2021 at the Royal Sonesta in Houston. (Photo by Richard Carson)
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Korail Temple stay Train
Hwaeomsa Temple Three-story Stone Pagoda Supported by Four Lions (National Treasure No. 35, 9th Century Unified Silla Kingdom, 289.7cm) : The pagoda is held up by four lions, with the figure of a Buddhist nun between them holding a lotus. Reliefs along the base include the Guardians of the Four Directions, Indra and Brahma. The stone lantern features a large human form representing the founder of the temple, Ven. Yeon-gi, offering a cup of tea to his mother, the nun, as a symbol of filial piety.
July 2, 2014
Hwangjeon-ri, Masan-myeon, Gurye-gun, Jeollanam-do
Ministry of Culture, Sports and Tourism
Korean Culture and Information Service
Korea.net (www.korea.net)
Official Photographer: Jeon Han
This official Republic of Korea photograph is being made available only for publication by news organizations and/or for personal printing by the subject(s) of the photograph. The photograph may not be manipulated in any way. Also, it may not be used in any type of commercial, advertisement, product or promotion that in any way suggests approval or endorsement from the government of the Republic of Korea. If you require a photograph without a watermark, please contact us via Flickr e-mail.
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코레일 템플스테이 테마 열차
화엄사(華嚴寺) 사사자삼층석탑 (국보 제35호, 통일신라시대 9세기, 높이 289.7cm) - 이 탑은 기단에 주악천인과 공양상이 화려하게 새겨져 있고 기단 갑석 위에는 연꽃 봉오리를 든 비구니상이 서 있다. 그 위에 1층 옹돌에는 문의 좌우에 인왕상과 사천왕상, 범천상과 제석천상이 새겨져 있다. 탑을 향해 석등을 머리에 이고 앉아 있는 승려상은 찾잔을 들어 공양하는 모습이다. 이곳은 호대라고도 불리는데, 화엄사를 창건한 연기 조사가 어머니를 위해 탑을 세웠다는 전설에서 유래한 것이다. - 황엄사 사사자삼층석탑 안내문
2014-07-02
전라남도 구례군 마산면 황전리
문화체육관광부
해외문화홍보원
코리아넷
전한
💡HOW ? 🔽
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👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
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🌟 Taryn Elliott - Second Umbilical Cord
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Humpback whales are rorquals (Balaenopteridae, a family that includes the blue, fin, Bryde's, sei, and minke whales). The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene. The sole member of its genus, the humpback was first identified as baleine de la Nouvelle Angleterre off the coast of New England by Mathurin Jacques Brisson in his Regnum Animale of 1756. The common name is derived from the curving of their backs when diving. The generic name Megaptera comes from the Greek mega-/μεγα- ("giant") and ptera/πτερα ("wing") and refers to their large front flippers.
Genetic research in mid-2014 by the British Antarctic Survey confirmed that the separate populations in the North Atlantic, North Pacific, and Southern Oceans are more distinct than previously thought. Some biologists believe that these should be regarded as separate, independently evolving subspecies.
Humpbacks have a stocky body, obvious hump, and black dorsal colouring. The head and lower jaw are covered in tubercles, knobby hair follicles characteristic of the species. Humpbacks have 270-400 dark baleen plates on each side of their mouths. The plates measure from 46 centimetres in the front to almost a metre in the back. About 14-22 wide ventral grooves run from the lower jaw to the umbilicus. The female has a hemispherical lobe about 15 centimetres in diameter in her genital region. Fully grown males average 13-14 metres and females are slightly larger at 15-16 metres; one large recorded specimen was 19 metres long and had pectoral fins measuring 6 metres each. Body mass is typically around 25-30 metric tons, with large specimens weighing over 40 metric tons.
The long black and white tail fin can be up to a third of body length. The varying patterns on the tail flukes distinguish individual animals. During a study using data from 1973 to 1998 on whales in the North Atlantic, a photographic catalogue of all known North Atlantic whales was developed; it's maintained by the College of the Atlantic. Several hypotheses attempt to explain the humpback's pectoral fins, proportionally the longest fins of any cetacean, such as higher maneuverability and increased surface area for temperature control when migrating between warm and cold climates.
Whales produce a three-metre-long, heart-shaped blow through the blowholes. They don't generally sleep at the surface but must continue to breathe: it's possible that only half of their brain sleeps at one time, allowing the other half to manage the surface/blow/dive process.
The lifespan of rorquals ranges from 45 to 100 years. Females reach sexual maturity at age five, achieving full adult size a little later. Males reach sexual maturity around seven years of age. Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce. Unrelated males, or "escorts," frequently trail single cows and cow-calf pairs. Males gather into "competition groups" around a female and fight for the right to mate with her. Groups shrink and grow as unsuccessful males retreat and others arrive. Behaviors include breaching, spy-hopping, lob-tailing, tail-slapping, pectoral fin-slapping, peduncle throws, charging, and parrying.
Both male and female humpback whales vocalize, but only males produce the long, loud, complex song for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency and typically lasting from 10 to 20 minutes. Individuals may sing continuously for more than 24 hours. Cetaceans have no vocal cords, instead forcing air through their massive nasal cavities (blowholes).
Whales within a large area sing a single song: all North Atlantic humpbacks sing the same song, while those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating. Many of the whales observed to approach a singer are other males, often resulting in conflict: singing may, therefore, be a challenge to other males as well as a way to impress females. Some scientists have hypothesized the song may serve an echolocative function. During the feeding season, humpbacks make unrelated vocalizations to herd fish into their bubble nets and they use other sounds to communicate, such as grunts, groans, "thwops," snorts, and barks.
Females typically breed every two or three years. The gestation period is 11.5 months. The peak months for birth are January, February (northern hemisphere), July, and August (southern hemisphere). Females wait for one to two years before breeding again. Recent research on mitochondrial DNA reveals that groups living in proximity to each other may represent distinct breeding pools.
A newborn calf is roughly the length of its mother's head. At birth, calves measure six metres and two tons. They nurse for about six months, then mix nursing and independent feeding for around six months more. Humpback milk is pink and 50% fat.
Humpbacks have a loosely knit social structure: individuals usually live alone or in small, transient groups that disband after a few hours. Groups may stay together longer in summer to forage and feed cooperatively. Longer-term relationships of months or even years between pairs or small groups have occasionally been observed, and some females might create lifelong bonds through cooperative feeding.
Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude. The four distinct tribes are the North Pacific, Atlantic, Southern Ocean, and Indian Ocean populations. Whales were once uncommon in the eastern Mediterranean or the Baltic Sea but have increased their presence in both waters as global populations have recovered. They have also returned to Scotland, Skagerrak, and Kattegat, as well as Scandinavian fjords such as Kvænangen, where they had not been observed for decades. Since November 2015, Hachijo-jima has been recognized as the northernmost breeding ground in the world.
Humpbacks typically migrate up to 25,000 kilometres each year. A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres. Identified by their unique tail patterns, these animals made the longest mammalian migration ever documented.
The humpback's range overlaps with other whale and dolphin species. Humpbacks are friendly and interact with other cetaceans such as bottlenose dolphins and right whales. These behaviors have been recorded in all oceans, and humpback whales regularly appear in mixed groups with other species, such as the blue, fin, minke, gray, and sperm whales. Humpback and southern right whales demonstrating what were interpreted to be mating behaviors have been observed off the Mozambique and Brazilian coasts. A male humpback whale was seen singing to a fin whale at Rarotonga in 2014, and another individual was observed playing with a bottlenose dolphin in Hawaiian waters. Incidents of humpback whales protecting other species of animals such as seals and other whales from killer whales have also been documented.
Humpbacks feed primarily in summer and live off fat reserves during winter, when they feed only rarely and opportunistically. The humpback is an energetic hunter, taking krill and small schooling fish such as herring, salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic. Pleated grooves in the whale's mouth allow water to easily drain out, filtering out the prey. The humpback has the most diverse hunting repertoire of all baleen whales, sometimes stunning prey by hitting the water with pectoral fins or flukes. Its most inventive technique is known as bubble net feeding, in which a group of up to a dozen whales swims in a shrinking circle below a school of prey and traps it in a cylinder of bubbles. The ring can start out about 30 metres in diameter. Some whales blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the trap by vocalizing. The whales then all suddenly swim up, swallowing thousands of fish.
The technique of lobtail feeding, observed in the North Atlantic, involves slapping the surface of the ocean with the tail up to four times before creating the bubble net. Based on network-based diffusion analysis, researchers believe that these whales learned the behavior from other whales in the group over a period of 27 years in response to a change in the primary form of prey.
Visible scars indicate that killer whales can prey upon juvenile humpbacks. Mothers and (possibly related) adults escort neonates to deter such predation. It's believed that orcas turned to other prey when humpbacks suffered near-extinction during the whaling era but are now resuming their former practice.
Humpback whales were hunted by humans on a commercial level as early as the 18th century. By the 19th century, many nations (the United States in particular) were hunting the animal heavily in the Atlantic and to a lesser extent in the Indian and Pacific oceans. The explosive harpoon introduced in the late 19th century, along with the extension of hunting into the Antarctic ocean from 1904, drastically reduced whale populations. During the 20th century, over 200,000 humpbacks were taken, reducing the global population by over 90%. North Atlantic populations dropped to as low as 700 individuals.
In 1946, the International Whaling Commission (IWC) was founded: they imposed hunting regulations and seasons. To prevent extinction, IWC banned commercial humpback whaling in 1966, by which time the global population had been reduced to around 5,000 animals (around 90% having been exterminated). The Soviet Union deliberately under-recorded its catches; the Soviets reported catching 2,820 whales between 1947 and 1972, but the true number was over 48,000.
As of 2004, hunting was restricted to a few animals each year off the Caribbean island of Bequia in the nation of St. Vincent and the Grenadines. The take is not believed to threaten the local population. Japan's announcement that it planned to kill 50 humpbacks in the 2007/08 season under its JARPA II "research" program sparked global protests and a visit to Tokyo by the IWC chair, and the Japanese whaling fleet agreed to take no humpback whales during the two years it would take to reach a formal agreement. In 2010, the IWC authorized Greenland's native population to hunt a few humpback whales for the following three years.
In Japan, humpback, minkes, sperm, and many other smaller Odontoceti, including critically endangered species such as North Pacific right, western gray, and northern fin whales, have been targets of illegal captures. Humpback meat can be found on the markets. Harpoons are used to hunt dolphins or intentionally drive whales into nets, reporting them as cases of entanglement. Unknown numbers of humpbacks have been illegally hunted in the Exclusive Economic Zones of anti-whaling nations such as off Mexico and South Africa.
Because they're easily approachable, curious, identifiable as individuals, and display many interesting behaviors, they have become the mainstay of whale tourism around the world. Analyses of whale songs in the 1960s led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the anti-whaling advocates. Humpbacks are popular with whale-watchers because of their distinctive surface behaviors: they frequently breach, throwing two-thirds or more of their bodies out of the water and splashing down on their backs. Some humpbacks, referred to as "friendlies," often stay under or near whale-watching boats for many minutes.
While whaling no longer threatens the species, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution. Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.
The species was listed as vulnerable in 1996 and endangered as recently as 1988. In August 2008, the IUCN changed humpback's status from "vulnerable" to "least concern," although two subpopulations remain endangered. Most monitored stocks have rebounded since the end of commercial whaling and now reach around 80,000 worldwide. Though the North Atlantic stocks are believed to be approaching pre-hunting level, the species is still considered endangered in some countries, including the United States.
More suitable than a Salar 40 ??
+++++
Builder: Jachtwerf Anner Wever / Tyler Mouldings UK (romp)
Designer: E.G. van der Stadt
Keel: Other
Hull Shape: Monohull
Dimensions
LOA: 12.31 m
Beam: 3.57 m
LWL: 10.95 m
Maximum Draft: 1.55 m
Displacement: 10500 kgs
Ballast: 4300 kgs
Headroom: 2.0 m
Dry Weight: 10500 kgs
Engines
Total Power: 72 HP
Engine 1:
Engine Brand: Perkins
Year Built: 1979
Engine Model: 4.236M
Engine Type: Inboard
Engine/Fuel Type: Diesel
Engine Hours: 3500
Propeller: 3 blade propeller
Engine Power: 72 HP
Tanks
Fresh Water Tanks: 2 (350 Liters)
Fuel Tanks: 2 (450 Liters)
Holding Tanks: 1 (80 Liters)
Accommodations
Number of single berths: 2
Number of double berths: 2
Number of cabins: 1
Number of heads: 1
Number of bathrooms: 2
Convertible Saloon
Electronics
Plotter
Log-speedometer
Radar
Radio
CD player
Wind speed and direction
Computer
Compass
Navigation center
Radar Detector
Autopilot
VHF
Repeater(s)
Depthsounder
GPS
Sails
Furling mainsail - furling boom 2x
Genoa
Storm jib
Furling genoa
Rigging
Electric winch
Steering wheel
Spinnaker pole
Inside Equipment
Refrigerator
Electric bilge pump
Deep freezer
Battery charger
Microwave oven
Oven
Sea water pump
Bow thruster
Manual bilge pump
Heating
Hot water
Marine head
Electrical Equipment
Shore power inlet
Inverter
Electrical Circuit: 220V
Outside Equipment/Extras
Radar reflector
Teak sidedecks
Solar panel
Teak cockpit
Cockpit shower
Cockpit table
Cockpit cushions
Outboard engine brackets
Swimming ladder
Liferaft
Total Liferaft Capacity: 6
Covers
Spray hood
Mainsail cover
Bimini Top
Cockpit cover
Genoa cover
Manufacturer Provided Description
The Trintella 42 combines luxurious cruising comfort with exciting performance, and can be handled easily by a crew of two on long ocean voyages. In keeping with the Trintella marque, the 42 offers an irresistible attraction to those who appreciate true character and understated elegance. The hallmark of each Trintella Yacht is undoubtedly the quality of craftsmanship that is evident in every detail of design and construction. World-renowned for advanced design and build quality, Trintella has created more than 1,000 fine oceangoing yachts in over 44 years. Steeped in Dutch craftsmanship, Trintella Yachts builds on its heritage to incorporate the very latest construction techniques and technological advances. The 42 is borne from a unique blend of Ron Holland's vast experience in designing the world's most prestigious yachts and Rene van der Velden's flair for interior design. The Trintella 42 is a yacht that meets the highest specifications to satisfy the aspirations and expectations of the most demanding customer. The Trintella 42 truly is a joy to sail, completely capable of handling any seas in superior comfort and safety. A distinguishing feature of all Trintellas is their uncluttered teak decks and the hugely comfortable covered guest cockpit featuring Trintella's hallmark "Doghouse" which is both practical and secure. There is a separate helmsman's cockpit aft, which has been ergonomically designed to be safe and comfortable; it provides clear views while keeping all controls within easy reach. While her comforts and luxurious appearance are her most obvious attributes, her performance is underpinned by the application of the most sophisticated technology. A modern, powerful rig and sail plan is designed with the specific objective of providing ease of handling without compromising performance. A custom mast incorporating triple spreaders angled at 22 degrees means there is no need for running backstays. This mainsail arrangement is further complemented by a self-tacking jib; therefore, the boat can be tacked by the helmsman in a delightfully unfussed manner. Computer aided design dramatically improves hull and keel design providing superior stability and speed, while the use of aramid composites makes for enhanced safety characteristics. A sandwich construction, using the technologically advanced SCRIMP process, ensures great strength and lightweight qualities; as well, osmosis protection is enhanced by the SCRIMP construction process and use of vinylester resin in the laminate. Advanced engineering techniques, complemented by efficient sail management systems, ensure the Trintella 42 is a thoroughly modern yacht that combines the best traditional values of craftsmanship with the sophisticated demands of the modern age. The luxuriously comfortable interior of the Trintella 42 is both spacious and highly functional with generous headroom of 1.90 meters or more throughout. Practical features abound and incorporate ergonomic considerations including the heavily insulated walk-in engine room that will also discretely house options such as a generator, water maker, and hydraulics systems. Thoughtful but less obvious details include cedar lined hanging lockers in each cabin to keep your clothing fresh and moth-free. Above all, Rene van der Velden's particular talent combines careful planning of the interior spaces with the delicate art of selecting woods and fabrics to create an atmosphere that makes extended cruising a constant delight. Finely styled, and elegant without being ostentatious, you can choose a wide selection of upholstery fabrics and materials to create a yacht that is as comfortable as your home and expresses your own individuality to the same degree. Available in two layouts, the Trintella 42 can provide accommodation for up to six people, with a saloon that has comfortable seating for six complemented by a spacious galley designed to be safe and secure in heavy seas. You can choose to have two large cabins fore and aft (each with en- suite head and separate shower compartment) with a comprehensively equipped navigation station carefully positioned on the starboard of the saloon, or you can choose to have the chart table moved to the doghouse, allowing two bunks to be provided there instead. Specification Each Trintella is built to the highest quality in terms of design specification, craftsmanship, and technological development, thereby ensuring quality standards you can trust. For further reassurance, each yacht is 100 percent guaranteed for one year from delivery, with all fixtures, fittings, and equipment installed in the yacht also carrying the manufacturers' warranties and guarantees. There are many variations and options that you can choose to incorporate in the design and construction of your yacht. However you design and fit your boat, it will naturally be dockside tested before delivery, and then will undergo a full technical sail trial after delivery.
Euros 99,000
The SOCAL edition of the 2013 Ultimate Builder Custom Bike Show featured a distinct Hollywood theme with Batman and Cat Woman-styled vehicles delighting the crowd. Forty custom sleds and over $1,000,000+ were on display. Enthusiasts were treated with some of the most outstanding designs and creativity seen on the circuit to date.
Ultimate Builder FreeStyle Class
Ultimate Builder is known for the diversity of styles, innovation and designs and SOCAL was a treat for enthusiasts checking out the show. From ground up builds to tractor design queues to choppers to Hot Rod-styled FXRs, it had everything.
Sam Baldi of Profile Cycles took 1st place in the FreeStyle class with Lost Angel and won the $2,500 check. Lost Angel is a custom 2013 build with an EVO Patrick Racing 113 mil softail with trans brake, centrifugal clutch and Paul Cox seat. Paint is by One Xtreme.
Ultimate Builder FreeStyle Winner
1.Sam Baldi, Profile Cycles - Lost Angel, 2013 Custom
2.Gary Savill, Silver Wraith Choppers – Wraith Heimdall Slammer, 2013 Wraith Heimdall Slammer
3.Quentin Gutierrez, Seth Slagiel / Craft Kustoms – Twisted Knuck, 1940 Knucklehead
Ultimate Builder MOD Harley Class
It was touch and go for Chris Richardson of LA Speed Shop as he had finished his build in the early morning hours of the show. Since the clear was still wet, he rolled it in on Saturday morning; a significant disadvantage in the judged competition.
Richardson had an idea for a Bagger (LA Speed Shop style).He takes elements from his bobber style and combined it with a fairing and hard bag to deliver an exceptional low-slung and skinny Bagger. The bike features a 3 inch stretch in the rear, hand-made custom saddle bags, fairing, oil tank, gas tank, exhaust, narrowed rear fender and narrowed springer front end.
Ultimate Builder MOD Harley Winner
1.Chris Richardson, LA Speed - 1959 Harley-Davidson FL
2.K&N, RSD - K&N Softail, 2006 Harley-Davidson Softail
3.Shannon Venturo, Devas Bling – Dazln, 2011 Softail Deluxe
Ultimate Builder Retro MOD Class
Rett Comer wheeled in his 1965 BSA Lightning named Teal Terror. The BSA Lightning was designed as the all-round sportbike of the 1960s with an engine aimed to improve mid-range and ride ability.
Rett’s custom sled features custom tanks, forks, front wheels, pipes and custom paint from Casey Johnson of Headcase Kustom Art.
Ultimate Builder Retro MOD Winner
1.Rett Comer, C&C – Teal Terror, 1965 BSA Lightning
2.Hudson Motorycles, Kios Garage – Cherry Blossom, 1970 Kios Garage
3.Jay LaRossa, Lossa Engineering – 1970 Honda CL450
Ultimate Builder Performance Custom Class
Tony Sesto of Sesto Custom Cycles rolled in 4 bikes into the Ultimate Builder show and took home a 1st in Performance Custom and a 3rd in MOD Street. Tony’s outrageous Double Take started out as a 2013 Yamaha R1 and features a single sided swing arm front and back. Two Brothers took charge of the exhaust, fuel management and air cleaner. Top mounted velocity stacks funnel air into the throttle bodies. Additional features include tooled leather grips, seat, frame inserts, mirror block-off plates, PSR kick stand, levers and oil plug.
Ultimate Builder Performance Custom Winner
1.Tony Sesto, Sesto Custom Cycles – Double Take, 2013 Yamaha R1
2.Charlie Thomas, Executives Garage – King Ghost Rider, 2007 Suzuki GSX-R
3.George Roybal, G&A Kustoms – Hayabusa, 2008 Hayabusa
Ultimate Builder MOD Street Class
Two BSA motorcycles entered into the Ultimate Builder Custom Bike Show and both won their class. The Bonnie Killer, a rigid 1967 BSA, was built by Headcase Kustom Art and features oil in frame, rust, Japanese parts and hand made everything.
Ultimate Builder MOD Street Winner
1.DJ Tambe, Headcase Kustom Art - Bonnie Killer 1967 BSA
2.Hudson Motorcycles – BMW M Series Tribute, 2012 S1000RR
3.Tony Sesto, Sesto Custom Cycles – Rossi Replica, 2007 R1
Landscape of the SDZSP include :
Bamboo, Cactus, Flowers, Plants, Shrubs, Trees with a wealth of plant life that graces the grounds. San Diego's mild Mediterranean climate makes it possible to grow more different kinds of plants than almost anywhere else in the United States. With more than a million plants on a total of 1,900 acres at the Zoo and the Safari Park, their grounds make up a truly world-class botanical garden and they have been recognized as such. Next visit look beyond the animals to the world they live in and appreciate this botanical treasure.
Hope you enjoy!
Pix.by.PegiSue www.flickr.com/photos/pix-by-pegisue/
Taken @ SDZ Safari Park
Escondido, California
BLM's Cebolla Wilderness, located within the El Malpais National Conservation Area, includes 61,600 acres of rimrock country east of NM 117. Sanstone mesas, canyons and grassy valleys characterize the area. The Mesas and canyons are clad with juniper, piñon, and ponderosa pine. Vertical escarpments provide excellent nesting habitat for golden eagles, prairie falcons, red-tail hawks, and great horned owls.
The Cebolla Wilderness is rich in prehistoric archaeological sites, petroglyphs and historic homesteads. One such archaeological site is the Dittert Site (Download Brochure). Sometime between A.D. 1000 and1300, the Dittert Site was built and occupied by the Anasazi people, who were the ancestors of modern Pueblo Indian people. Cebolla Wilderness also contains La Ventana Natural Arch, a dramatic arch sculpted through wind and water erosion in the sandstone cliffs located about ¼ mile inside the wilderness.
Recreation activities include primitive types, such as hiking, backpacking, camping, wildlife viewing and horseback riding.
Learn more: on.doi.gov/1eYnhHW
Photo: Bob Wick, BLM California
Canon EOS Rebel T3i : includes the EOS Rebel T3i Digital SLR Camera and EF-S 18-55mm f/3.5-5.6 IS type II Lens. This camera and lens will help photographers who are looking for an easy-to-use camera to create their next masterpiece. The next in a long Read More...
Stonemasonry or stonecraft is the creation of buildings, structures, and sculpture using stone as the primary material. It is one of the oldest activities and professions in human history. Many of the long-lasting, ancient shelters, temples, monuments, artifacts, fortifications, roads, bridges, and entire cities were built of stone. Famous works of stonemasonry include the Egyptian pyramids, the Taj Mahal, Cusco's Incan Wall, Easter Island's statues, Angkor Wat, Borobudur, Tihuanaco, Tenochtitlan, Persepolis, the Parthenon, Stonehenge, the Great Wall of China, Chartres Cathedral.
DEFINITION
Masonry is the craft of shaping rough pieces of rock into accurate geometrical shapes, at times simple, but some of considerable complexity, and then arranging the resulting stones, often together with mortar, to form structures.
Quarrymen split sheets of rock, and extract the resulting blocks of stone from the ground.
Sawyers cut these rough blocks into cuboids, to required size with diamond-tipped saws. The resulting block if ordered for a specific component is known as sawn six sides (SSS).
Banker masons are workshop-based, and specialize in working the stones into the shapes required by a building's design, this set out on templets and a bed mould. They can produce anything from stones with simple chamfers to tracery windows, detailed mouldings and the more classical architectural building masonry. When working a stone from a sawn block, the mason ensures that the stone is bedded in the right way, so the finished work sits in the building in the same orientation as it was formed on the ground. Occasionally though some stones need to be oriented correctly for the application; this includes voussoirs, jambs, copings, and cornices.
The basic tools, methods and skills of the banker mason have existed as a trade for thousands of years.
Carvers cross the line from craft to art, and use their artistic ability to carve stone into foliage, figures, animals or abstract designs.
Fixer masons specialize in the fixing of stones onto buildings, using lifting tackle, and traditional lime mortars and grouts. Sometimes modern cements, mastics, and epoxy resins are used, usually on specialist applications such as stone cladding. Metal fixings, from simple dowels and cramps to specialised single application fixings, are also used. The precise tolerances necessary make this a highly skilled job.
Memorial masons or monumental masons carve gravestones and inscriptions.
The modern stonemason undergoes comprehensive training, both in the classroom and in the working environment. Hands-on skill is complemented by an intimate knowledge of each stone type, its application, and best uses, and how to work and fix each stone in place. The mason may be skilled and competent to carry out one or all of the various branches of stonemasonry. In some areas, the trend is towards specialization, in other areas towards adaptability.
TYPES OF STONE
Stonemasons use all types of natural stone: igneous, metamorphic and sedimentary; while some also use artificial stone as well.
IGNEOUS STONES
Granite is one of the hardest stones, and requires such different techniques to sedimentary stones that it is virtually a separate trade. With great persistence, simple mouldings can and have been carved from granite, for example in many Cornish churches and in the city of Aberdeen. Generally, however, it is used for purposes that require its strength and durability, such as kerbstones, countertops, flooring, and breakwaters.
Igneous stone ranges from very soft rocks such as pumice and scoria to somewhat harder rocks such as tuff to the hardest rocks such as granite and basalt.
METAMORPHIC
Marble is a fine, easily worked stone, that comes in various colours, but mainly white. It has traditionally been used for carving statues, and for facings of many Byzantine and Italian Renaissance buildings. Prominent Greek sculptors, such as Antenor (6th century BC), Phidias and Critias (5th century BC), Praxiteles (4th century BC) and others used mainly the marble of Paros and Thassos islands, and the whitest and brightest of all (although not the finest), the Pentelikon marble. Their work was preceded by older sculptors from Mesopotamia and Egypt, but the Greeks were unmatched in plasticity and realistic (re)presentation, either of Gods (Apollo, Aphrodite, Hermes, Zeus, etc.), or humans (Pythagoras, Socrates, Plato, Phryne, etc.). The famous Acropolis of Athens is said to be constructed using the Pentelicon marble. The traditional home of the marble industry is the area around Carrara in Italy, from where a bright and fine, whitish marble is extracted in vast quantities.
Slate is a popular choice of stone for memorials and inscriptions, as its fine grain and hardness means it leaves details very sharp. Its tendency to split into thin plates has also made it a popular roofing material.
SEDIMENTARY
TYPES
TYPES OF STONEMASONRY ARE:
FIXER MASONS
This type of masons have specialized into fixing the stones onto the buildings. They might do this with grouts, mortars, and lifting tackle. They might also use things like single application specialized fixings, simple cramps, and dowels as well as stone cladding with things like epoxy resins, mastics, and modern cements.
MEMORIAL MASONS
These are the masons that make headstones and carve the inscriptions on them.
Today's stonemasons undergo training that is quite comprehensive and is done both in the work environment and in the classroom. It isn't enough to have hands-on skill anymore. One must also have knowledge of the types of stones as well as its best uses and how to work it as well as how to fix it in place.
RUBBLE MASONRY
When roughly dressed stones are laid in a mortar the result is a stone rubble masonry.
ASHLAR MASONRY
Stone masonry using dressed (cut) stones is known as ashlar masonry.
STONE VANEER
Stone veneer is used as a protective and decorative covering for interior or exterior walls and surfaces. The veneer is typically 2.54 cm thick and must weigh less than 73 kg m2, so that no additional structural supports are required. The structural wall is put up first, and thin, flat stones are mortared onto the face of the wall. Metal tabs in the structural wall are mortared between the stones to tie everything together, to prevent the stonework from separating from the wall.
Slipform stonemasonry
SLIPFORM STONEMASONRY
Slipform stonemasonry is a method for making stone walls with the aid of formwork to contain the rocks and mortar while keeping the walls straight. Short forms, up to two feet tall, are placed on both sides of the wall to serve as a guide for the stonework. Stones are placed inside the forms with the good faces against the formwork. Concrete is poured behind the rocks. Rebar is added for strength, to make a wall that is approximately half reinforced concrete and half stonework. The wall can be faced with stone on one side or both sides.
TRAINING
Traditionally medieval stonemasons served a seven-year apprenticeship. A similar system still operates today.
A modern apprenticeship lasts three years. This combines on-site learning through personal experience, the experience of the tradesmen, and college work where apprentices are given an overall experience of the building, hewing and theory work involved in masonry. In some areas, colleges offer courses which teach not only the manual skills but also related fields such as drafting and blueprint reading or construction conservation. Electronic Stonemasonry training resources enhance traditional delivery techniques. Hands-on workshops are a good way to learn about stonemasonry also. Those wishing to become stonemasons should have little problem working at heights, possess reasonable hand-eye coordination, be moderately physically fit, and have basic mathematical ability. Most of these things can be developed while learning.
Tools
TOOLS
Stonemasons use a wide variety of tools to handle and shape stone blocks (ashlar) and slabs into finished articles. The basic tools for shaping the stone are a mallet, chisels, and a metal straight edge. With these one can make a flat surface – the basis of all stonemasonry.
Chisels come in a variety of sizes and shapes, dependent upon the function for which they are being used and have many different names depending on locality. There are different chisels for different materials and sizes of material being worked, for removing large amounts of material and for putting a fine finish on the stone.
Mixing mortar is normally done today with mortar mixers which usually use a rotating drum or rotating paddles to mix the mortar.
The masonry trowel is used for the application of the mortar between and around the stones as they are set into place. Filling in the gaps (joints) with mortar is referred to as pointing. Pointing in smaller joints can be accomplished using tuck pointers, pointing trowels, and margin trowels, among other tools.
A mason's hammer has a long thin head and is called a Punch Hammer. It would be used with a chisel or splitter for a variety of purposes
A walling hammer (catchy hammer) can be used in place of a hammer and chisel or pincher to produce rubble or pinnings or snecks.
Stonemasons use a lewis together with a crane or block and tackle to hoist building stones into place.
Today power tools such as compressed-air chisels, abrasive spinners, and angle grinders are much used: these save time and money, but are hazardous and require just as much skill as the hand tools that they augment. But many of the basic tools of stonemasonry have remained virtually the same throughout vast amounts of time, even thousands of years, for instance when comparing chisels that can be bought today with chisels found at the pyramids of Giza the common sizes and shapes are virtually unchanged.
Stonemasonry is one of the earliest trades in civilization's history. During the time of the Neolithic Revolution and domestication of animals, people learned how to use fire to create quicklime, plasters, and mortars. They used these to fashion homes for themselves with mud, straw, or stone, and masonry was born.
The Ancients heavily relied on the stonemason to build the most impressive and long-lasting monuments to their civilizations. The Egyptians built their pyramids, the civilizations of Central America had their step pyramids, the Persians their palaces, the Greeks their temples, and the Romans their public works and wonders (See Roman Architecture). People of the Indus Valley Civilization, such as at Dholavira made entire cities characterized by stone architecture. Among the famous ancient stonemasons is Sophroniscus, the father of Socrates, who was a stone-cutter.
Castle building was an entire industry for the medieval stonemasons. When the Western Roman Empire fell, building in dressed stone decreased in much of Western Europe, and there was a resulting increase in timber-based construction. Stonework experienced a resurgence in the 9th and 10th centuries in Europe, and by the 12th-century religious fervour resulted in the construction of thousands of impressive churches and cathedrals in stone across Western Europe. Medieval stonemasons' skills were in high demand, and members of the guild, gave rise to three classes of stonemasons: apprentices, journeymen, and master masons. Apprentices were indentured to their masters as the price for their training, journeymen were qualified craftsmen who were paid by the day, and master masons were considered freemen who could travel as they wished to work on the projects of the patrons and could operate as self-employed craftsmen and train apprentices. During the Renaissance, the stonemason's guild admitted members who were not stonemasons, and eventually evolved into the Society of Freemasonry; fraternal groups which observe the traditional culture of stonemasons but are not typically involved in modern construction projects.
A medieval stonemason would often carve a personal symbol onto their block to differentiate their work from that of other stonemasons. This also provided a simple ‘quality assurance’ system.
The Renaissance saw stonemasonry return to the prominence and sophistication of the Classical age. The rise of the humanist philosophy gave people the ambition to create marvelous works of art. The centre stage for the Renaissance would prove to be Italy, where Italian city-states such as Florence erected great structures, including the Florence Cathedral, the Fountain of Neptune, and the Laurentian Library, which was planned and built by Michelangelo Buonarroti, a famous sculptor of the Renaissance.
When Europeans settled the Americas, they brought the stonemasonry techniques of their respective homelands with them. Settlers used what materials were available, and in some areas, stone was the material of choice. In the first waves, building mimicked that of Europe, to eventually be replaced by unique architecture later on.
In the 20th century, stonemasonry saw its most radical changes in the way the work is accomplished. Prior to the first half of the century, most heavy work was executed by draft animals or human muscle power. With the arrival of the internal combustion engine, many of these hard aspects of the trade have been made simpler and easier. Cranes and forklifts have made moving and laying heavy stones relatively easy for the stonemasons. Motor powered mortar mixers have saved much in time and energy as well. Compressed-air powered tools have made working of stone less time-intensive. Petrol and electric-powered abrasive saws can cut through stone much faster and with more precision than chiseling alone. Carbide-tipped chisels can stand up to much more abuse than the steel and iron chisels made by blacksmiths of old.
WIKIPEDIA
Humpback whales are rorquals (Balaenopteridae, a family that includes the blue, fin, Bryde's, sei, and minke whales). The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene. The sole member of its genus, the humpback was first identified as baleine de la Nouvelle Angleterre off the coast of New England by Mathurin Jacques Brisson in his Regnum Animale of 1756. The common name is derived from the curving of their backs when diving. The generic name Megaptera comes from the Greek mega-/μεγα- ("giant") and ptera/πτερα ("wing") and refers to their large front flippers.
Genetic research in mid-2014 by the British Antarctic Survey confirmed that the separate populations in the North Atlantic, North Pacific, and Southern Oceans are more distinct than previously thought. Some biologists believe that these should be regarded as separate, independently evolving subspecies.
Humpbacks have a stocky body, obvious hump, and black dorsal colouring. The head and lower jaw are covered in tubercles, knobby hair follicles characteristic of the species. Humpbacks have 270-400 dark baleen plates on each side of their mouths. The plates measure from 46 centimetres in the front to almost a metre in the back. About 14-22 wide ventral grooves run from the lower jaw to the umbilicus. The female has a hemispherical lobe about 15 centimetres in diameter in her genital region. Fully grown males average 13-14 metres and females are slightly larger at 15-16 metres; one large recorded specimen was 19 metres long and had pectoral fins measuring 6 metres each. Body mass is typically around 25-30 metric tons, with large specimens weighing over 40 metric tons.
The long black and white tail fin can be up to a third of body length. The varying patterns on the tail flukes distinguish individual animals. During a study using data from 1973 to 1998 on whales in the North Atlantic, a photographic catalogue of all known North Atlantic whales was developed; it's maintained by the College of the Atlantic. Several hypotheses attempt to explain the humpback's pectoral fins, proportionally the longest fins of any cetacean, such as higher maneuverability and increased surface area for temperature control when migrating between warm and cold climates.
Whales produce a three-metre-long, heart-shaped blow through the blowholes. They don't generally sleep at the surface but must continue to breathe: it's possible that only half of their brain sleeps at one time, allowing the other half to manage the surface/blow/dive process.
The lifespan of rorquals ranges from 45 to 100 years. Females reach sexual maturity at age five, achieving full adult size a little later. Males reach sexual maturity around seven years of age. Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce. Unrelated males, or "escorts," frequently trail single cows and cow-calf pairs. Males gather into "competition groups" around a female and fight for the right to mate with her. Groups shrink and grow as unsuccessful males retreat and others arrive. Behaviors include breaching, spy-hopping, lob-tailing, tail-slapping, pectoral fin-slapping, peduncle throws, charging, and parrying.
Both male and female humpback whales vocalize, but only males produce the long, loud, complex song for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency and typically lasting from 10 to 20 minutes. Individuals may sing continuously for more than 24 hours. Cetaceans have no vocal cords, instead forcing air through their massive nasal cavities (blowholes).
Whales within a large area sing a single song: all North Atlantic humpbacks sing the same song, while those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating. Many of the whales observed to approach a singer are other males, often resulting in conflict: singing may, therefore, be a challenge to other males as well as a way to impress females. Some scientists have hypothesized the song may serve an echolocative function. During the feeding season, humpbacks make unrelated vocalizations to herd fish into their bubble nets and they use other sounds to communicate, such as grunts, groans, "thwops," snorts, and barks.
Females typically breed every two or three years. The gestation period is 11.5 months. The peak months for birth are January, February (northern hemisphere), July, and August (southern hemisphere). Females wait for one to two years before breeding again. Recent research on mitochondrial DNA reveals that groups living in proximity to each other may represent distinct breeding pools.
A newborn calf is roughly the length of its mother's head. At birth, calves measure six metres and two tons. They nurse for about six months, then mix nursing and independent feeding for around six months more. Humpback milk is pink and 50% fat.
Humpbacks have a loosely knit social structure: individuals usually live alone or in small, transient groups that disband after a few hours. Groups may stay together longer in summer to forage and feed cooperatively. Longer-term relationships of months or even years between pairs or small groups have occasionally been observed, and some females might create lifelong bonds through cooperative feeding.
Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude. The four distinct tribes are the North Pacific, Atlantic, Southern Ocean, and Indian Ocean populations. Whales were once uncommon in the eastern Mediterranean or the Baltic Sea but have increased their presence in both waters as global populations have recovered. They have also returned to Scotland, Skagerrak, and Kattegat, as well as Scandinavian fjords such as Kvænangen, where they had not been observed for decades. Since November 2015, Hachijo-jima has been recognized as the northernmost breeding ground in the world.
Humpbacks typically migrate up to 25,000 kilometres each year. A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres. Identified by their unique tail patterns, these animals made the longest mammalian migration ever documented.
The humpback's range overlaps with other whale and dolphin species. Humpbacks are friendly and interact with other cetaceans such as bottlenose dolphins and right whales. These behaviors have been recorded in all oceans, and humpback whales regularly appear in mixed groups with other species, such as the blue, fin, minke, gray, and sperm whales. Humpback and southern right whales demonstrating what were interpreted to be mating behaviors have been observed off the Mozambique and Brazilian coasts. A male humpback whale was seen singing to a fin whale at Rarotonga in 2014, and another individual was observed playing with a bottlenose dolphin in Hawaiian waters. Incidents of humpback whales protecting other species of animals such as seals and other whales from killer whales have also been documented.
Humpbacks feed primarily in summer and live off fat reserves during winter, when they feed only rarely and opportunistically. The humpback is an energetic hunter, taking krill and small schooling fish such as herring, salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic. Pleated grooves in the whale's mouth allow water to easily drain out, filtering out the prey. The humpback has the most diverse hunting repertoire of all baleen whales, sometimes stunning prey by hitting the water with pectoral fins or flukes. Its most inventive technique is known as bubble net feeding, in which a group of up to a dozen whales swims in a shrinking circle below a school of prey and traps it in a cylinder of bubbles. The ring can start out about 30 metres in diameter. Some whales blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the trap by vocalizing. The whales then all suddenly swim up, swallowing thousands of fish.
The technique of lobtail feeding, observed in the North Atlantic, involves slapping the surface of the ocean with the tail up to four times before creating the bubble net. Based on network-based diffusion analysis, researchers believe that these whales learned the behavior from other whales in the group over a period of 27 years in response to a change in the primary form of prey.
Visible scars indicate that killer whales can prey upon juvenile humpbacks. Mothers and (possibly related) adults escort neonates to deter such predation. It's believed that orcas turned to other prey when humpbacks suffered near-extinction during the whaling era but are now resuming their former practice.
Humpback whales were hunted by humans on a commercial level as early as the 18th century. By the 19th century, many nations (the United States in particular) were hunting the animal heavily in the Atlantic and to a lesser extent in the Indian and Pacific oceans. The explosive harpoon introduced in the late 19th century, along with the extension of hunting into the Antarctic ocean from 1904, drastically reduced whale populations. During the 20th century, over 200,000 humpbacks were taken, reducing the global population by over 90%. North Atlantic populations dropped to as low as 700 individuals.
In 1946, the International Whaling Commission (IWC) was founded: they imposed hunting regulations and seasons. To prevent extinction, IWC banned commercial humpback whaling in 1966, by which time the global population had been reduced to around 5,000 animals (around 90% having been exterminated). The Soviet Union deliberately under-recorded its catches; the Soviets reported catching 2,820 whales between 1947 and 1972, but the true number was over 48,000.
As of 2004, hunting was restricted to a few animals each year off the Caribbean island of Bequia in the nation of St. Vincent and the Grenadines. The take is not believed to threaten the local population. Japan's announcement that it planned to kill 50 humpbacks in the 2007/08 season under its JARPA II "research" program sparked global protests and a visit to Tokyo by the IWC chair, and the Japanese whaling fleet agreed to take no humpback whales during the two years it would take to reach a formal agreement. In 2010, the IWC authorized Greenland's native population to hunt a few humpback whales for the following three years.
In Japan, humpback, minkes, sperm, and many other smaller Odontoceti, including critically endangered species such as North Pacific right, western gray, and northern fin whales, have been targets of illegal captures. Humpback meat can be found on the markets. Harpoons are used to hunt dolphins or intentionally drive whales into nets, reporting them as cases of entanglement. Unknown numbers of humpbacks have been illegally hunted in the Exclusive Economic Zones of anti-whaling nations such as off Mexico and South Africa.
Because they're easily approachable, curious, identifiable as individuals, and display many interesting behaviors, they have become the mainstay of whale tourism around the world. Analyses of whale songs in the 1960s led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the anti-whaling advocates. Humpbacks are popular with whale-watchers because of their distinctive surface behaviors: they frequently breach, throwing two-thirds or more of their bodies out of the water and splashing down on their backs. Some humpbacks, referred to as "friendlies," often stay under or near whale-watching boats for many minutes.
While whaling no longer threatens the species, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution. Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.
The species was listed as vulnerable in 1996 and endangered as recently as 1988. In August 2008, the IUCN changed humpback's status from "vulnerable" to "least concern," although two subpopulations remain endangered. Most monitored stocks have rebounded since the end of commercial whaling and now reach around 80,000 worldwide. Though the North Atlantic stocks are believed to be approaching pre-hunting level, the species is still considered endangered in some countries, including the United States.