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This splendid Mosque was built by Hayat Baksh Begum in 1666 A.D. during the reign of Abdullah Qutb Shah.
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Nestled at the foot of the majestic Golconda Fort, the Qutb Shahi Heritage Park is spread over 106 acres. This necropolis of the Qutb Shahi dynasty, that ruled the region for 169 years in the 16th – 17th centuries, includes 40 mausoleums, 23 mosques, 6 baolis (step-wells), a hamam (mortuary bath), pavilions and garden structures set within a heritage zone of international significance. No other ensemble of structures in the Deccani kingdoms of Ahmednagar, Berar, Bidar, Bijapur or Gulbarga includes as many monuments of striking grandeur and complexity reflecting a unique synthesis of architectural styles.
On 9 January 2013, Government of Telangana's department of Archaeology and Museums, the Greater Hyderabad Municipal corporation’s Quli Qutb Shah urban development Authority, Aga Khan Foundation and the Aga Khan trust for culture signed a MoU that, over a ten-year period, will enable conservation of all monuments and landscape restoration of the Heritage Park. Following the MoU, Sir Dorabji Tata Trust & Allied trusts have provided required funding for the conservation works on ten major monuments.
Historical Significance
The Qutb Shahi dynasty ruled present-day Hyderabad region from 1518 AD to 1687 AD, and was founded by Sultan Quli Qutb-ul-Mulk.As great builders and patrons of learning, the Qutb Shahis’ strengthened Golconda - one of India’s most formidable citadels.The funerary architecture of the Qutb Shahi Tomb complex evolved through their rule with most of the mausoleums built by the rulers and their family during their own lifetimes. Similarly, they encouraged the development of Indo-Persian and Indo-Islamic literature and culture in the kingdom.
Architectural Significance
The monuments in the complex blend Persian, Pathan and Hindu architectural styles and are built with local granite. Surfaces of the historic buildings are ornamented with intricate incised plasterwork and few monuments also bear glazed tilework.The tomb structures are derivations of the geometrical designs of the earlier Bahmani tombs of Bidar though the stucco ornamentation carried out here is more intricate and on a far greater scale. During the Qutb Shahi period, these tombs were held in great veneration.
Project Objective
Conservation Proposal: Through 2012, exhaustive recording, documentation, condition assessment, surveys and research exercise carried out by the multi-discipinary Aga Khan Trust for Culture team as a precursor to the Conservation Plan that forms the foundation for the project. Over 2000 drawings of the monuments alone have been prepared, in addition to topographical surveys wherein each minor feature of the site has been mapped including all trees. Further archival research and archaeological excavations are being carried out to guide the landscape restoration and enhance the understanding of the site. The conservation works will include further documentation including state-of-art technology such as High Definition Survey’s using 3D Laser scanning technology.
Routed in the Indian context where building craft traditions have been passed from father to son for centuries yet respectful of UNESCO emphasis on retaining authenticity, the conservation works will be implemented by master craftsmen.This are expected to generate over 300,000 man-days of employment for master craftsmen working with stone, lime and ceramic glazed tiles, thus leading a revival of building crafts in the region. No works will be based on conjecture and every effort will be made to ensure conservation efforts are explained through on-site exhibits leading to an enhanced understanding and cultural significance.
Through the conservation works coupled with landscaping of the setting, the project aims to ensure long term preservation, in a public-private partnership model for conservation of our built and intangible heritage in a manner the original builders intended the structures to appear. This major conservation effort will lead to a ripple effect thus attracting a significantly higher number of visitors and tourists, instilling a sense of pride in the city’s residents and creating potential economic opportunities for local businesses.
Conservation works will be carried out in a phased manner to ensure only portions of the site are inaccessible to visiting public at any given time.With its experience in Delhi and projects worldwide,AKTC believes that high degree of supervision by architects, engineers and master craftsmen trained/experienced in handling conservation works is critical to ensuring a proper understanding of the monuments and thus to ensure success of the initiative.
On the basis of investigations, it was found that most of the tomb structures are in a similar state of preservation and suffer from similar patterns of material decay as well as structural defects. Due to dampness and the water seepage, plaster work of the wall surfaces and dome surfaces have deteriorated. One of the common problems in all the structures is the inappropriate application of modern finish completely all over the internal wall surfaces. This has led to disfiguring the historic architectural character.
Conservation works required to be carried out on structures located within the Quli Qutb Shah Heritage Park range from preservation of original material fabric to reconstruction of collapsed building portions such as the step-wells. The intention of the conservation works is to ensure the significance of the site is preserved and the architectural integrity is maintained which on occasion will require removal of modern material inserted into the built fabric.
Conservation Works: Conservation works could commence only in November 2013 when a Wakf Tribunal order prohibiting works was lifted following the collapse of the Badi Baoli and some other structures.
As a priority, over 600 cu.m. of stone masonry walls of the Badi Baoli were rebuilt prior to monsoons in 2014. Conservation works here included removal of 400 cu.m. of collapsed masonry from within the well in a dangerous operation.
At Jamshed Quli Qutb Shah’sTomb, the removal of deteriorating cement plaster from the domed surface and restoration of traditional lime mortar was carried out to prevent further water ingress which was causing significant cracks.The stucco plasterwork is also being restored on both the internal and external wall surfaces as is the stone edging of the lower plinth – clearly visible in archival images.
On the request of the local community emergency repair works have also commenced on the Abdullah Qutb Shah’s mosque, the roof of which was leaking and from where over 400 mm of cement concrete weighing over 110 tones was manually removed.
Two international peer reviews have already been held to discuss ongoing works and project team has accumulated significant archival material that will help define an appropriate conservation action for each of the monuments within the complex
Landscape Analysis and Studies
The proposed landscape masterplan, based on site surveys and available archival material, is aimed at an enhanced setting for the monuments and an improved internal visitor circulation. Significant area will be dedicated for ecological zones on the northern and southern sections of the site coupled while reviving water structures, leading to a significantly improved environment within a densely populated city. Ecological trails will allow visiting school children, to have an improved understanding of heritage and ecology issues.
A detailed vegetation survey is being undertaken, to record species, height, spread, girth and condition of each individual tree to inform the landscape plan.
The proposed landscape plan would appropriately utilize the space of the‘Deccan Park’ as a generously proportioned entrance zone hence establishing an effective presence on the public road, and avoiding the present anomaly of the indirect approach that does not encourage an even spread of visitor activity across the complex. Judicious modification and re-organisation of entrances and paths will increase accessibility of the older parts of the complex and allow visitors to easily traverse the whole site and understand its sequential development rather than restrict their experience to only a part.A path system based on the history of the place would play a vital role in enriching the visitors’ experience of this large, deep and complex historical site.
Aga Khan Trust for Culture, Qutb Shahi Heritage Park, Towlichowki, Hyderabad 500 008, Andhra Pradesh.
KC;SYNOPSIS
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DESCRIPTION
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sqrt EXPR no charge
sqrt #Return the square root of EXPR. If EXPR is omitted, returns
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Math::Complex module.
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#cookies Sincerely, B N
—
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Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]
The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]
Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]
In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]
Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]
In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]
Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]
Characteristics of Vedic era deities[edit]
In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]
The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]
The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]
Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]
The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".
— Ananda Coomaraswamy, Journal of the American Oriental Society[65]
Characteristics of medieval era deities[edit]
In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]
The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]
Symbolism[edit]
Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]
In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]
The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]
Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]
Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.
Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]
Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]
Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]
In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]
In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]
The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]
The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]
Number of deities[edit]
Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]
The Rigveda states in hymn 1.139.11,
ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।
अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]
O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,
Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.
– Translated by Ralph T. H. Griffith[112]
Gods who are eleven in heaven; who are eleven on earth;
and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.
– Translated by HH Wilson[113]
— Rigveda 1.139.11
Millions, one or one-ness?[edit]
Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]
This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]
Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]
A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]
A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]
In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]
The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]
Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]
Examples[edit]
Main articles: List of Hindu deities and Rigvedic deities
Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]
While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]
Trimurti and Tridevi[edit]
The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,
They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.
— Vayu Purana, 5.17, Translated by Jan Gonda[151]
The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]
Avatars of Hindu deities[edit]
Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]
The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]
In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]
Broadstairs is a coastal town on the Isle of Thanet in the Thanet district of east Kent, England, about 80 miles (130 km) south-east of London. It is part of the civil parish of Broadstairs and St Peter's, which includes St. Peter's and had a population in 2001 of about 24,000. Situated between Margate and Ramsgate, it is one of Thanet's seaside resorts, known as the "Jewel in Thanet's crown". The town's crest motto is Stella Maris ("Star of the Sea"). The name derives from a former flight of steps in the chalk cliff, which led from the sands up to the 11th-century shrine of St Mary on the cliff top.
The town spreads from Poorhole Lane in the west (named from the mass graves dating from the Black Death) to Kingsgate in the north (named after the landing of King Charles II in 1683) and to Dumpton in the south (named after the yeoman Dudeman who farmed there in the 13th century). The hamlet of Reading (formerly Reden or Redyng) Street was established by Flemish refugees in the 17th century.
The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.
Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]
Overall Race Summary
Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.
Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races
Course: This is an undulating course with some good flat stretches on the Curragh.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links
GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313
Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html
Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare
Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306
Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/
Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/
A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)
Can I use the photograph with the watermark?
Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.
How can I get a full resolution, no watermark, copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Couroupita guianensis, whose common names include Ayahuma and the Cannonball Tree, is an evergreen tree allied to the Brazil Nut (Bertholletia excelsa), and is native to tropical northern South America and to the southern Caribbean. In India it has been growing for the past two or three thousand years at least, as attested by textual records[citation needed]; hence it is possible that it is native to India also. It's part of the family Lecythidaceae and grows up to 25m (82ft) in height. The "Cannonball Tree" is so called because of its brown cannon-ball-like fruits. The majority of these trees outside their natural environment have been planted as a botanical curiosity, as they grow very large, distinctive flowers. Its flowers are orange, scarlet and pink in color, and form large bunches measuring up to 3m in length. They produce large spherical and woody fruits ranging from 15 to 24cm in diameter, containing up to 200 or 300 seeds apiece.
Final Project:
You will be required to work on a project that includes photographing (a minimum of) five different individuals in the style of your choice. Once you have selected the style, keep it consistent throughout the series.
You will also need:
1. an establishing shot (an image that tells us something about your idea. For example if you were to do a series of chefs the establishing shot could be a close-up of a measuring spoons.)
2. a self-portrait, with a brief artist statement
Side Note: A lot of thing didn't come through like I had wanted. Had flakey models, then scored on a really expressive friend of a friend, and I got these new to me models that showed up and kicked ass, then I got severely sick and ended up in urgent care Monday, etc. But hopefully I was able to get domestic abuse portrayed like I wanted to. I decided not to try for sexual abuse because no matter how I tried it, it could be construed as porn, and that isn't something I wish to ever touch upon.
Artist's Statement:
Emmy's work is influenced by elements in the world that most people consider to be imperfect, broken, or weak. She builds upon imperfection because it is the only true indicator of character and beauty. She captures imperfection as the summit of her art. She is inspired by things that surround her every day, and uses them as a creative base. As the proud divorced, single mother of five closely spaced children she has no shortage of material from which to draw.
With her work, it is difficult to ignore the obvious experience and background Emmy has in graphic design. In addition to photography and graphic design, she is an entrepreneur, business ideas person, CEO of a small assessment corporation, movie scriptwriter, mother, and friend to all, even those pesky telemarketers if they happen to catch her on the telephone at home.
The most important thing to Emmy is the opportunity to create art. To be an artist, even an unknown one, is more important to her than going forth and finding notoriety. She feels the only way for her to create is to continue growing as an artist whether by introducing new techniques, new mediums, or a combination of both. Her primary focus is on creating art that reaches across boundaries. She creates art that speaks figuratively and demands its own place within its world. She tries to create art that will link people to her, and with her.
Includes pics that have been dropped from Explore. Thanks to the folks who faved the latest sunset shot and helped it make Explore.
1. IMG_6640, 2. Scavenger Hunt 101 #31: Sunset, 3. IMG_4777, 4. Now Mortal, Caprica/Six Has Fallen on Hard Times, 5. IMG_4154, 6. Three Fridges Enjoying a Sunny Day, 7. The Real Reason Why Stormtrooper Sleepovers are No Longer Permitted, 8. The Juggler,
9. Fixing the Money Pipeline, 10. Carl Jung and Sigmund Freud Disagree on How to Treat the Patient's Stormtrooper Delusion, 11. Which One of You Has My Helmet?, 12. Clerical Workers Sharpen Pencils in the Death Star Library, 13. Stormtroopers Stewie and Steve Put on a Show, 14. Mine!, 15. IMG_0624, 16. Stoop Musicians Hold a Jam Session,
17. New Dollhouse is Here, 18. Rubik's Cube, 19. Sunbathing at Egg Beach, 20. Stormtroopers Return Home After Taking Advantage of January Sales, 21. Stormtrooper Christmas Party, 22. The Line for the Bathroom, 23. Stormtrooper Practices His Kicks, 24. Stormtrooper Love,
25. IMG_7437, 26. Washed Up Empire State Building, 27. IMG_5438, 28. Sitting on a Stack of Crackers, 29. Floating!, 30. IMG_2547, 31. Bacon Waffles with Syrup, 32. Supergirls,
33. Bald Pirate, 34. Pirate, 35. 17Jan2007 011, 36. LadiesNight1, 37. April202006 001, 38. Unisphere, 39. NYC WTC1, 40. Miniature Study
Created with fd's Flickr Toys.
.S&C. Zoey, Includes 3 Tops and Pants, Plus Azz and Breast Appliers, NS:: Variety Waist Sweater, worn Black Lines, Includes 7 Different Textured Sweaters, ::LC:: Majestic Clutch Berry (No Pose Version), Available at the Soho Market, Baby Monkey Tigris Mules in Black,
Includes Color Change HUD 32 Colors, for Slink High Feet, SLink AvEnhance High Feet Female, (marukin) GAME Pose Set, Available at Collabor88, Truth Hair Thelma from Black & White Pack, Exclusive for Current Collabor88 Round, Morphine Ghail Skin in Tan Skin Tone, worn with Light Cherry Lips and Trinity Enchant Eyes, *GA* Mesh Lashes Utopia, Morphine Ghail Chic Pink Earrings and Necklace, New Group Gift, Maxi Gossamer Bali Gypsy for SLink Casual Hands, Available FaMESHed, .Figure. Party Nails SLink Applier Set.
Available at the Soho Market and SLink AvEnhance Hands Female Casual
Original Blog Post:
auroratown.wordpress.com/2014/05/16/sugar-cyanide-ns-cute...
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Sign for various trail lengths for hiking trails in the Red Rock Canyon Parkway in Waterton Lakes National Park Canada. Includes Blakiston Falls and Valley
The Bluebells are out - from an enjoyable wander around the woods at Patching with the South East Gang
Bells #9 for 52 in 2015
Petroxestes pera Wilson & Palmer, 1988 - bivalve borings in the Ordovician of Ohio, USA.
These slit-shaped structures are borings made by fossil clams. Borings are one of many categories of trace fossils - any indirect evidence of ancient life. Other examples of trace fossils include burrows, tracks, trails, footprints, and bitemarks. Traces (also called ichnofossils) record the behavior of ancient organisms. Trace fossils are given scientific names in a similar style as living organisms or body fossils.
The Petroxestes borings shown here near Cincinnati, Ohio were made by the bivalve Corallidomus scobina. Bivalves are bilaterally symmetrical molluscs having two calcareous, asymmetrical shells (valves) - they include the clams, oysters, and scallops. In most bivalves, the two shells are mirror images of each other (the major exception is the oysters). They occur in marine, estuarine, and freshwater environments. Bivalves are also known as pelecypods and lamellibranchiates.
Bivalves are sessile, benthic organisms - they occur on or below substrates. Most of them are filter-feeders, using siphons to bring in water, filter the water for tiny particles of food, then expel the used water. The majority of bivalves are infaunal - they burrow into unlithified sediments. In hard substrate environments, some forms make borings, in which the bivalve lives. Some groups are hard substrate encrusters, using a mineral cement to attach to rocks, shells, or wood.
The fossil record of bivalves is Cambrian to Recent. They are especially common in the post-Paleozoic fossil record.
Petroxestes borings very rarely have a bivalve body fossil still occupying the slit. The type specimen of Petroxestes pera is a boring incised into a solid, calcareous, bryozoan colony. The examples shown here were drilled into a carbonate hardground, which is a synsedimentarily-cemented surface directly exposed on the seafloor. Some hard-substrate seafloor surfaces are composed of other rock types - such as basalt - and are called rockgrounds. Many marine hardground environments were in moderately high-energy, relatively shallow water. Organisms occupying such settings frequently physically attached themselves to the hardground seafloor (= encrusters) or drilled into the substrate (= borers).
Petroxestes pera borings were sometimes so abundant on ancient Cincinnatian hardgrounds that early stratigraphers called the surfaces "turkey tracks", in reference to their similar appearance with certain bird footprints (e.g., see: www.flickr.com/photos/jsjgeology/26798916929).
That the term "turkey track" referred to Petroxestes hardgrounds has been forgotten over the decades. Modern Cincinnatian geologists misidentify Trichophycus venosum-burrowed surfaces as the "turkey tracks" of old - I've seen this in the literature and in museum exhibits.
The best true turkey track layer I know of is the one shown here - it's an extensive horizon at Caesar Creek Lake State Park in Ohio. Exposures and talus blocks can be seen in the emergency spillway and along the Flat Fork trail and at creek cuts along Flat Fork itself. Some of the best examples in the spillway have been vandalized. The only occurrences I have seen for certain are in the upper Waynesville Formation. I have also encountered this, or a similar, horizon in the Waynesville Formation near Dayton, Ohio.
Stratigraphy: Turkey Track Layer, upper Waynesville Formation, Richmondian Stage, upper Cincinnatian Series, upper Upper Ordovician
Locality: talus block along the cut wall of Caesar Creek Lake's emergency spillway (between Clarksville Road and Roaring Run), northeastern Warren County, southwestern Ohio, USA
Ardagh is an Irish Heritage Village about 7 miles outside Longford town that includes Ardagh House, built by the Fetherston family during the early 18th century.
The Fetherson family were landed gentry of Westmeath who had settled in Ardagh from the early 1700’s and lived in Ardagh House until the early 1920’s. By the end of the 19th century their estate extended over 11,000 acres that was sold off in smaller parcels of land during the early years of the Irish Free State. George Ralph Fetherston (1865-1923) was the last of his line to have connections with Ardagh and in 1927 the house and its grounds were sold to the Sisters of Mercy who ran it as a convent and St. Brigid’s domestic science school until 2007. I understand it still belongs to the Sisters of Mercy but no longer used as a college.
.
References:
www.ardaghvillagelandscapes.com/ArdaghPages/ArdaghInfo.htm
www.ardaghvillagelandscapes.com/ArdaghPages/Fetherston.htm (The Fetherstons of Ardagh, County Longford).
www.buildingsofireland.ie/niah/highlights.jsp?county=LF&a... (Architectural buildings of Ireland - Ardagh).
www.buildingsofireland.ie/niah/search.jsp?type=record&... (Ardagh House).
maps.google.ie/?ll=53.667362,-7.693176&spn=0.003935,0... (Google Maps image of Ardagh village – St. Patrick’s CoI & village green in centre, Ardagh House to the north, older church with graveyard (17th century) to east and St. Brigid’s RC church to south).
www.longfordcoco.ie/uploadedFiles/LongfordCoCo/Our_Depart... (Ardagh local Area Plan 2006-2012).
Inside back page from the theatre programme for a production of "The Geisha" at the Hippodrome Theatre, Keighley, staged by Keighley Amateur Operatic and Dramatic Society in September 1919. This page includes a note of thanks from the committee and a list of KAODS officers.
Keighley Amateur Operatic and Dramatic Society's production of "The Geisha" played at the Hippodrome Theatre in Keighley for six nights from Monday 22nd September to Saturday 27th September 1919. The Japanese musical comedy was written by Owen Hall with music by Sidney Jones. The KAODS production was produced by Edwin Bryan, with musical director Joseph Harker.
This was only the second production staged by the Keighley Amateur Operatic and Dramatic Society, following their debut with "Haddon Hall" in 1914. The outbreak of the First World War meant further productions were put on hold for over five years.
The story is set in a Japanese Tea House run by Chinaman Wun-Hi (played by Ernest Marsden). A troupe of Geisha are attached to the Tea House, including the celebrated O Mimosa San (Mabel Rothera). A party of English sailors from H. M. S. 'The Turtle' and English ladies from the yacht of Lady Constance Wynne (Gladys Broster) visit the Tea House. Officer Reginald Fairfax (Harry Shackleton) falls for the charms of Mimosa, despite being engaged to Molly Seamore (Ethel Bird). But Provincial Governor Marquis Imari (W. Bruce Johnston) also has his heart set on Mimosa and threatens to close down the Tea House and auction off the geisha. When this is carried out Lady Constance wins the bidding for Mimosa but Molly has disguised herself as a geisha and ends up being bought by the Marquis. Later at the Marquis' Palace, his wedding to Molly is about to take place when Lady Constance, Reginald and others from the English party arrive and set about sorting out the confusion. Reginald and Molly are reunited, the Marquis ends up with Tea House interpreter Juliette (Annie Battle), and Mimosa ends up with her intended, Captain Katana (Arthur G. Ramsden).
The show also starred Mary Stell, Marion Holmes, Maud Holmes, Agnes Battle, Doris Capper, Annie Watson, Nancy Wilkinson, Florence McDonnell, J. Louis Midgley, Harry Ambler, Dick Bird, Norah B. Holmes, and Frank Shuttleworth.
The Keighley News of Saturday 27th September 1919 reviewed the production: "A word of commendation is due to the members of the Keighley Amateur Operatic and Dramatic Society on the way in which they took in hand the task of reorganising their affairs and on the thoroughness with which the work was done to enable 'The Geisha' to be presented at the Keighley Hippodrome this week... The selection of 'The Geisha' proved a happy one. Light and catchy music, opportunities for dainty and vivacious acting by the ladies, and a breezy, nautical touch - all in keeping with present-day demand - are the characteristics of this popular comic opera."
"Evidence of excellent support was forthcoming immediately the booking of seats commenced, and it was obvious at an early date that the financial success of the affair was assured. It was therefore with extreme gratification that the committee were able to announce at the close of Monday night's performance that they had achieved a first night record and that in view of the initial success a performance would be given the Saturday afternoon in addition to those announced for each evening of the week."
The 40-page programme was printed by Wadsworth & Co. of Russell Street, Keighley. It measures approximately 195mm by 125mm. The programme was part of an anonymous donation given in 2022.
"The Canyon Diablo meteorites include the many fragments of the asteroid that created Barringer Crater (Meteor Crater), Arizona, United States. Meteorites have been found around the crater rim, and are named for nearby Canyon Diablo, which lies about three to four miles west of the crater
The biggest fragment ever found is the Holsinger Meteorite, weighing 639 kilograms (1,409 lb), now on display in the Meteor Crater Visitor Center on the rim of the crater."
"Meteor Crater is a popular tourist attraction privately owned by the Barringer family through the Barringer Crater Company, with an admission fee charged to see the crater. The Meteor Crater Visitor Center on the north rim features interactive exhibits and displays about meteorites and asteroids, space, the Solar System, and comets. It features the American Astronaut Wall of Fame and such artifacts on display as an Apollo boilerplate command module (BP-29), a 1,406-pound (638 kg) meteorite found in the area, and meteorite specimens from Meteor Crater that can be touched. Formerly known as the Museum of Astrogeology, the Visitor Center includes a movie theater, a gift shop, and observation areas with views inside the rim of the crater. Guided tours of the rim are offered daily, weather permitting" wiki
Judging at Henfield Camera Club this evening. I arrived as the biscuits for the break were being set out.
A kerbside puddle after a very shower of rain this evening - I delayed my pedal home from work until it had passed.
Includes marquee and bezel art. Will fit Williams cabinet, but on bezel art gets cut at bottom when control panel is closed
Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]
The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]
Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]
In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]
Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]
In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]
Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]
Characteristics of Vedic era deities[edit]
In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]
The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]
The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]
Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]
The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".
— Ananda Coomaraswamy, Journal of the American Oriental Society[65]
Characteristics of medieval era deities[edit]
In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]
The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]
Symbolism[edit]
Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]
In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]
The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]
Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]
Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.
Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]
Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]
Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]
In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]
In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]
The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]
The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]
Number of deities[edit]
Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]
The Rigveda states in hymn 1.139.11,
ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।
अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]
O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,
Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.
– Translated by Ralph T. H. Griffith[112]
Gods who are eleven in heaven; who are eleven on earth;
and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.
– Translated by HH Wilson[113]
— Rigveda 1.139.11
Millions, one or one-ness?[edit]
Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]
This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]
Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]
A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]
A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]
In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]
The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]
Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]
Examples[edit]
Main articles: List of Hindu deities and Rigvedic deities
Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]
While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]
Trimurti and Tridevi[edit]
The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,
They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.
— Vayu Purana, 5.17, Translated by Jan Gonda[151]
The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]
Avatars of Hindu deities[edit]
Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]
The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]
In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
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In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
From a wander around Colorado Springs after the test cars had been picked up to be shipped to the UK
Construction includes an H-Frame design and included erection of 102 sets of concrete poles and over 52.5 miles of conductor. For environmental concerns and purposes, more than 30 miles of silt fencing was installed along with approximately 18 miles of brush barriers and a native warm season grass established along 17.5 miles of right of way.
ordinary. my ordinary will include a self portrait from time to time. Yes for some this may seem strange, others may find it conceited but I don’t care about possible thoughts other people may have. I do this for myself. I’m only this age today for one day. tomorrow my wrinkles may be a tad deeper, my red hair may fade just a little bit more. This is my ordinary, sitting in the light by myself taking a self portrait. I know for so many other woman my age this would not be the ordinary. But this IS my ordinary. I have out loud conversations, I know what it’s like to enjoy my own company, I like my own company and I often desire time alone. I was technically the first to be born. I’m the only one from the same set of parents. It didn’t work out and because of that I inherited another brother 6 years older than me but since he only lived with us off and on, I was the only child until my sister was born when I was 11. I also was given another brother and another sister who lived 3 1/2 hours away and I only got to see them about once a year. So even though I have two brothers and two sisters, it was like I was an only child for many years. Because I was often alone I learned to be my own best companion. I was well behaved and very quiet except when I was talking up a storm to myself. I spent countless hours drawing and writing in my journals. I think in many ways this was a blessing to learn to feel comfortable alone. My ordinary.
Ingredients include smoked salmon and Lingonberries. Baked in the wood-fired pizza oven at the Saturday farmer's market, McDonalds Corners, Lanark County, Ontario, Canada.
Pictures include the local yard job, Amtrak Heritage "The Big Game Train", and a PW cabless unit. Please follow!
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz's impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2013
Fintry Provincial Park includes 360 hectares of the former Fintry Estate, a heritage site with a colourful history. From the delta area to a forested area made up of ridges and deep slopes, this park offers two dramatically different topographical areas. There is over 2 km of waterfront with surrounding mountains and deep canyons. Shorts Creek passes through a deep canyon creating a series of waterfalls and deep pools. With almost two kilometres of waterfront property, the park has opportunities for camping, swimming, fishing, canoeing, kayaking, hiking and wildlife viewing. Recreational users can enjoy the natural sand beach while wildlife viewers can hike the Canyon trail and view a variety of birds, small mammals, deer and bighorn sheep in the higher regions. Historical features throughout the park include the Manor House, the octagonal barn and several other farm buildings. A small wetland area located south of the Packing House, a portion of lakeshore and the Shorts Creek corridor and canyon below Westside Road are designated Special Feature-Natural Conservation Areas. Notable features within the zone include a large eagle’s nest, old growth cottonwoods and several wildlife trees, Shorts Creek waterfall and kokanee spawning grounds. The Fintry Manor House, garden, the barns, remnant power generation and irrigation systems are special heritage features.
Fintry Protected Area was established on April 18, 2001, to enhance the ecological viability of the existing Park. This protected area protects important California bighorn sheep habitat and provides increased representation of the North Okanagan Basin ecosection by capturing an increased elevational gradient as well as providing a spectacular canyon and hiking and viewing opportunities.
www.env.gov.bc.ca/bcparks/explore/parkpgs/fintry/
en.wikipedia.org/wiki/Fintry_Provincial_Park_and_Protecte...
Nik Color Efex Pro - Tonal Contrast effect
This 112-sheet manuscript includes depictions of contestants equipped for various tournaments; a parade preceding a late form of tournament called a carrousel; participants in tournaments known as Gesellenstrechen, or bachelors' jousts, held in Nuremberg between 1446 and 1561; and depictions of pageant sleighs, some of which were used in a parade held in the winter of 1640–41. The illustrations are probably the work of a Briefmaler, or letter painter, who also would have written and embellished official documents and painted coats-of-arms.
In many instances, the names of the tournament participants are written above them. They are armed for the Gestech, the joust fought with blunt lances. A helmet and a four-pronged lance head similar to those in the album are also on display in gallery 373 (acc. nos. 29.156.67a, 42.50.40). Albums such as this provide an invaluable record of the jousters' colorful costumes, fanciful crests, and humorous, often satirical emblems that decorated the jouster's shields and horse trappings.
Questo manoscritto di 112 fogli include raffigurazioni di concorrenti attrezzati per vari tornei; una sfilata che precede una forma tardiva di torneo chiamata giostra ; partecipanti ai tornei conosciuti come Gesellenstrechen , o giostre degli scapoli, tenuti a Norimberga tra il 1446 e il 1561; e raffigurazioni di slitte da spettacolo, alcune delle quali furono utilizzate in una parata tenutasi nell'inverno del 1640-1641. Le illustrazioni sono probabilmente opera di un Briefmaler , o pittore di lettere, che avrebbe anche scritto e abbellito documenti ufficiali e dipinto stemmi.
In molti casi, i nomi dei partecipanti al torneo sono scritti sopra di essi. Sono armati per il Gestech, la giostra combattuta con lance contundenti. Nella galleria 373 sono esposti anche un elmo e una testa di lancia a quattro punte simili a quelli dell'album (acc. nn. 29.156.67a, 42.50.40). Album come questo forniscono una documentazione inestimabile dei costumi colorati dei giostratori, degli stemmi fantasiosi e degli emblemi umoristici, spesso satirici, che decoravano gli scudi dei giostratori e le bardature dei cavalli.
Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.
The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.
To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.
A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.
The original creator of Haunted Hotel - Kevin Larson Presents brings you:
4th Annual Haunted Hotel
Colorado’s Largest Halloween Party Experience!
THIS IS THE OFFICIAL HAUNTED HOTEL EVENT IN DTC
OFTEN IMITATED - NEVER DUPLICATED!!
Grand bloody staircase. Performer acts include grinders to fire, electro light costuming, living art exhibits, 2 bands, 10 DJ’s, 4 unique themed spaces. Kevin Larson Presents known for it’s theatrics and décor is once again taking it to whole new level. 4th year sell out, entire hotel takeover event at Hyatt DTC. Denver’s most comprehensive performance & décor ball.
A haunted hotel, dark corridors and sinister rooms…scared yet? Kevin Larson Presents brings you this 4th Annual blow-out spectacular. A complete takeover of the eerie Hyatt DTC hotel with 3,000 costumed guests. Bringing Colorado’s largest and scariest Halloween party experience yet. Beware; it’s where nightmares come true.
Brave it in the main room, where 13 of Denver’s artists unite to create spooky living art exhibits. Bands and DJs will set the party mood while 25+ theater performers entertain and amaze.
Use your Halloween creativity and enter our $2,000 Costume Contest!!
Stay and Play the night. Make the elevator your taxi.
Saturday, October 27th, 2012
9pm-2am
Hyatt Regency DTC
7800 East Tufts Ave
Denver, CO, 80237
BUY TICKETS: www.HauntedHotelColorado.com
21+
WHAT TO EXPECT:
The Haunted Hotel is a complete takeover of the Hyatt DTC hotel with 99% of the crowd decked out in full amazing costumes. Phenomenal live performances, live music and interactive games. This event has sold out for the past 3 years, so be sure to get your tickets in advance. Dress up and enter in the $2,000 costume contest!!
Entertainment:
80’s band-Kelli Said, 107.1 radio-DJ Sound Supreme, Playboy model and MMA fighter-DJ Miss Vicious
Asylum Dancers, Dance Troops, Human Laser Shows, LED & Fire Dance Performances, Aerial Performers and Cirque Acts, Trick or Treating for Adults, Themed Rooms, and more!