View allAll Photos Tagged Insignificant
Pont y Pandy - Slate Mill or Ynysypandy and Nant y Pandy, near Porthmadog . The most impressive and best location visited on the trip to North Wales was this glorious building. The light from the sun going down gave great colous and a perfectly clear night made for a spectacular display of stars as well as the Milky way. I felt quite insignificant when I looked in to the sky that night.
The Nikon FM2n is the best medium-compact mechanical shutter SLR camera ever made. There are other bodies from other manufacturers that have been favorably compared, such as the Olympus OM-3 and the Leica R6.2. These other cameras indeed have certain features, e.g., spot metering capability, that are not found on the FM2n. However, they have disadvantages, too. The Olympus system is smaller than Nikon, and lenses and accessories are presumably less abundant on the used market. The Leica system is substantially more expensive used, especially the lenses, and the Leica R series never became that popular (as opposed to Leica's M-Series). The design of the FM2n has been highly refined over several generations of the FM product line. It is part of the enormous Nikon system of manual focus and auto focus cameras. Many Nikon bodies are available on the used market. And the FM2n is just an absolutely great camera.
The FM2n is the final all-mechanical version of the FM Series that began with the FM in 1977 as an upgrade to the classic Nikkormat FT3 (early 1977). The FM was subsequently updated and modernized with various versions of the FM, FM2 (1982) and FM2n which were developed over the years, with the FM2n finally introduced in 1984. The FM2n remained in production until 2001. There was actually one additional major upgrade after the FM2n, which was the FM3A (2001-2006; 1991). The FM3A is the most advanced of the FM Series, with a hybrid mechanical/electronic shutter, an FE2 style readout, and all of the other features of the FE2. From a technological point of view, the FM3A is really cool and unique. However, due to some of the feature advantages that I will discuss below, the FM2n is still a very attractive option for all manual film shooting . The FM3A is relatively more expensive on the used market, with relatively high prices for the occasional NIB sample, or even very clean used camera.
Check out the FM3A here:
www.flickr.com/photos/trphotoguy/23145338649/in/album-721...
The standard FM2n was available in silver chrome and black paint. Both look great.
There were a few special versions of the FM2n that were introduced. The most interesting one is the FM2/T (1993-1997). The FM2/T is exactly the same mechanically as the latest FM2n, except that the top and bottom covers are made out of titanium. Please refer to my separate page on the FM2/T, which is one of the most beautiful SLR cameras ever made:
www.flickr.com/photos/trphotoguy/16514084188/in/album-721...
My own experience with the FM line actually started with the FM2n. Previously, I had been using the Nikon F2 Photomic AS and Nikon FE combination; my F2 was the reliable all-mechanical body, and I used the FE as an electronic backup when needing something smaller than the F2, or when wanting to shoot quicker with the FE in aperture priority mode, or just for a different kind of film. (Back then, photographers still looked askance at electronic cameras compared with tried and true mechanical ones.) However, when I finally upgraded from the F2 to the new F3HP, it was time to switch around and get the FM2n as a mechanical backup to the electronic F3HP.
Since my experience with the FM Series started with the FM2n, and given that the FM2n would be the best body of the series to go with on the used market today, I will focus my comments on the FM2n.
As with the prior models of the FM Series, the FM2n takes either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. Quite standard for Nikon bodies of the that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too, as needed. Since the small batteries are used only for the light meter, they seem to last forever and are not necessary for camera operation at all shutter speeds.
The FM series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FM2n to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the concurrent F3HP. It is not as small as the Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FM2n weighs in at only 540g without lens, and of course the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. The FM2n fits great in a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses. It is an excellent size for travel use.
The FM2n body by itself, like all those in the FM Series, feels a bit light and even insubstantial when held without a lens attached. However, once a lens is attached, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod filler ring to keep the lens rings from touching the tripod head.
Operation of the FM2n is really smooth. All of the top controls are on the right side of the camera. The shutter speed ring is tall, large and has an easy-to-turn knurled grip. It is easy to grab with thumb and forefinger when the film advance lever is pulled out to turn on the camera. The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stoke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is embedded into the top of the shutter speed dial. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FM2n is 12 - 6400, wide enough to handle virtually all situations. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The mechanical shutter release button is large and located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button has a fairly long travel, but it works well with just the right amount of resistance to allow you to half press for an exposure reading, and then make a short continued push to achieve an immediate shutter release. The shutter has a relatively quiet, pleasing and precision-like sound. The film counter is just in front of release crank and is easy to read.
One of the biggest advantage of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses (pre-G type) can be used on all old manual focus bodies. I don't know of any other SLR manufacturer that can make such a claim. Thus, it is convenient to use the FM2N together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
Loading Nikkor lenses onto any FM Series is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meet pin on the body; this old system became obsolete after the Nikkormat FT2/EL generation. Unfortunately, the FM Series lens mount lost the retractable meter coupling lever after the original FM body; thus the FM2n won't accept (in stop down mode) any pre-Ai or non-Ai's lenses that you might own. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
The only control on the top left of the camera is the film rewind/back opening mechanism. Twist the back opening lever counter-clockwise and put the rewind crank upwards to open the camera back. Since the camera only has a manual exposure meter mode, unlike the FE/FE2, the rewind crank mechanism includes no exposure compensation dial. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the latch in the spool engages a film perforation. This system is more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. With the FM2n, if you are careful when you load the film, you can get an extra exposure on frame 0.
The viewfinder of the FM Series has been gradually improved over the life of the series, but remains essentially the same in the FM2n version. A slight disadvantage of the FM series viewfinder is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FM's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in will be captured on your film. (Maybe it wasn't a problem with mounted slides?) The viewfinder contains all of the information that you need for convenient camera setting. There is a mechanical readout for the selected shutter speed on the left side of the viewfinder. There is also a aperture direct readout (ADR) at the center top of the viewfinder. The exposure meter indicator on the right of the viewfinder utilizes three red light emitting diodes. This is my favorite type of exposure meter readout design, which I learned to like on the earlier Nikon F2 Photomic AS. It is also the same system as that on cameras such as the Leica M6TTL or current MP. First of all and most importantly, the diodes are easy to see in all lighting conditions, light and dark. The LEDs are bright enough to be clearly visible on a sunny day, but also not so bright that they blind you in a dark location. Also, exposure adjustment is extremely rapid and precise.
I normally set the shutter speed first, depending on what I am trying to do. Then push the shutter release button down half way and twist the lens aperture ring on the lens until only the center LED circle lights up. As you move away from correct exposure, the LED display changes to a combined +o or o- (when you are over or underexposed by between 1/5 and one stop-), and finally to a single + or - (when you are over or underexposed by more than one stop).The three-diode system of the FM Series is superior to the match needle system of the aperture priority capable FE Series and the hybrid FM3A. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments - although the meter itself is very sensitive. On the other hand, an advantage of the match needle system is that you receive direct visual indication of a wider range of exposure divergence, compared with the LED system. Also, you can directly see intermediate shutter speeds in Aperture Priority mode.
The FM2 and FM2n exposure meter uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the original FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FM2n is EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports a aperture/shutter speed range of 1 sec. at f/1.4 through 1/4000 sec. at f/8. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FM2n is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the Nikon F4.
Since the FM Series cameras have manual exposure mode only, there is obviously no exposure lock button. Exposure lock is one thing that can be frustrating on cameras like the F3HP and FE/FE2. It is often easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. It is quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button down will recomposing a shooting. Anyway, you don't need to worry about any of that on the manual mode only FM2n.
The center of the viewfinder display, with the standard K2-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings, focusing is quick and accurate. The FM2n system provides three different interchangeable focusing screen types for various applications.Mostly, the standard K2-Type screen is sufficient. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens were further improved on the final FM3A to avoid split-image blackout with lenses with maximum aperture of f/5.6 or less.
The outer circle encloses the central area which carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to manually compensate the exposure by appropriately changing the aperture or shutter speed.
Two contemporaneous Nikon bodies with the FM2n, the F3HP and the FA had different exposure metering patterns. The F3HP applies a heavier weight of 80% to the viewfinder's 12mm circle, making it easier to isolate an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include a multi-segment metering pattern, in addition to 60/40 centerweight. The 5-segment pattern on the FA and first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most low contrast situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, which was found on the FM2n. Of course, you have to know what you are doing in such situations! On later-generation cameras, the more highly refined high-tech multi-pattern (matrix) systems, such as on the F5, F6 and the newest digital SLRs, finally do a good job even with difficult lighting. Modern Nikon bodies generally use a 75/25 weight in their default center-weight metering modes.
The latest FM2n incorporates a vertical-travel, metal focal plane shutter with aluminum curtains. Older versions of the FM2N have shutters with titanium curtains. Shutter speed range on the FM2N is 1 sec. through 1/4000 sec. For those of us who started back when the fastest shutter speed as 1/1000 sec. or even slower, 1/4000 sec. sounds amazingly fast. In fact, 1/4000 sec. is plenty fast enough for most situations with film. On the slow end, the camera itself can only operate up to 1 sec., but it is an easy matter to calculate and shoot exposures of any length at the Bulb setting, using a tripod, a standard shutter release cable, and a hand-held light meter. Of course, since the camera has a mechanical shutter, you can shoot exposures of any length and never worry about draining your battery. One slight disadvantage of the FM2n's mechanical shutter is that it cannot be set for intermediate shutter speeds. On an electronic body such as the FE2 or FM3A, you can utilize any intermediate shutter speed in aperture priority mode. (Of course, unlike the FE/FA series, the FM-series meters can't measure Bulb setting shutter speeds.)
There are just a few more features that should be mentioned. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set to maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FM Series bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. The FM2n does not support automatic TTL flash control. You need to use an FE2 or FM3A if you want that feature. (If you know how to use guide numbers and manual flash, you can still do full-flash or fill-flash photography without any problem, of course). However, the FM2n, like the FE2, has a very fast maximum flash synch speed of 1/250 sec. There is an extra contact on the hot shoe that communicates the flash charging status to the camera a lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FM2n works with any Nikon flash unit. The contemporaneous SB-24 and SB-26 work great. However, if you will be doing a lot of flash photography in the FM line, the FE2 and FM3A are more useful as they both offer automatic TTL flash control.
In addition to the vast selection of Nikkor (and third-party) lenses that are available for the Nikon F mount, the FM2n also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive. This motor drive unit works on all FM Series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. Years ago, I used to keep it attached to the camera and carried it around much of the time. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack (particularly useful for the FM2n, which would be the perfect camera to take on a dog sled expedition to the North Pole!), the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
(DSC_1616fin1)
AKA the Holocaust memorial.
It is extremely difficult to shot such a subject and not being insignificant or, on the other hand, exceed in drama.
I have developed at least five different versions of this photo, an in the end I decided to publish this in which I take the freedom of giving a different interpretation of the monument, turning its dark gray into a much lighter one.
Also on INSTAGRAM: www.instagram.com/cinghius74/
The only headlights seen on the old Chicago & North Western passenger line through Glendale, Shorewood, and Milwaukee's Lower East Side these days are those of evening and nighttime cyclists, but this section of Milwaukee's Oak Leaf Trail system echoes with the ghosts of C&NW's famous '400' fleet of trains, and lesser haulers, which ascended a not-insignificant hill up the lakefront bluff from the station at the foot of Wisconsin Avenue on Lake Michigan in downtown Milwaukee. North Western trademarks litter this urban pathway, from the railroad's instantly-recognizable rough-hewn stone bridge abutments and retaining walls (the nearest one here is new, though) to the occasional leftover code line pole. Walking through this dense, busy neighborhood, it's amazing to think of what must have been the volcanic chuff of steam locomotives and the roar of first-generation diesels from all the major builders echoing through the cut and off the buildings.
I often take photographs of people in amongst a landscape. I love how when we are in these surrounding we realise how small and insignificant we are in comparison to mother natures creations
I really think the fellow seen on the left crossed over some barrier to reach that vantage point.
Grand Canyon National Park, North Rim, Arizona.
~ Goethe
Nature will bear the closest inspection. She invites us to lay our eye level with her smallest leaf, and take an insect view of its plain.
~ Henry David Thoreau
People are not disturbed by things, but by the view they take of them.
~ Epictetus
"You'll come to learn a great deal if you study the Insignificant in depth."
-Odysseus Elytis-
I sometimes enjoy the irony that the macro world presents. The reality is this: these are cooling jackets inside a small vacuum tube. In processing the image, I was struck by how large it began to appear. And, shooting through the curved glass added a mysterious motion blur, as if the blades were spinning. With the illusion complete, you'd think you were looking at huge whirring turbines installed in a mega power installation somewhere deep inside a mountain. It really is intriguing how something so small can look so big.
During the last few months, David_W_1971 & I have been working on an ID guide to the 'Micro Ladybird' species in Shropshire. David's done the lion's share with most of the superbly detailed photos, and putting the guide together. We hope it will be useful in helping people to identify their finds in Shropshire, and beyond. We will be adding more species as and when they turn up in Shropshire. We've already had a new species turn up just last month - Scymnus femoralis!
The full guide can be downloaded here: drive.google.com/drive/folders/1n2jitUAbb0nrKTHQ0eQlO7Jdw... with more ID resources for other Families here:
drive.google.com/drive/folders/1wUeiPcfPbWcTGUia7IHknho2Z...
El poderoso paisaje, corresponde al descenso desde termas de colina en Chile, un lugar magico entre montañas donde te sientes insignificante pero a la vez tremendamente bendecido por la naturaleza y su entorno.
- Un abrazo foto-vidente y gracias por pasar !
________
The powerful landscape corresponds to hill descent from hot springs in Chile, a magical place between mountains, where you feel insignificant yet tremendously blessed by nature and environment.
- Photo- sighted A hug and thanks for stopping by !
Another one of those insignificant flowers growing in the grass and seldom noticed - diameter approx 5 mm.
Taken along the Schapenberg MTB trail, Sir Lowry's Village, Western Cape.
Shortly after noon on Friday, June 3, 2016, a Union Pacific a 90+ tank car oil train containing volatile Bakkan oil derailed at Mosier, Oregon in the Columbia Gorge National Scenic Area.
The derailed oil train stretched from the smoke and flames on the west of Mosier to Mosier's far east side. As successive derailed cars burned, they set on fire the next car.
The top inset zoom emphasizes the proximity of the tank cars to the elementary school which was in session that day. The nearest tank car was roughly 500 feet from the school.
We are incredibly lucky that the usual June west winds - which blow 20-40 miles per hour - were absent.
With June high winds fanning flames, an uncontrollable chain reaction of successively exploding tank cars and wild fire might have obliterated the elementary school and town of Mosier.
On July 13, 2016, The Oregonian reported:
"At the time of the derailment, the NTSB, in a move criticized by [Sen.] Wyden at the time, cited a lack of staffing in its decision not to investigate the derailment.
"The agency [NTSB] added that it did not send a team to Mosier because the incident involved no injuries or deaths and because initial findings provided by Union Pacific Railroad, first responders and the Federal Railroad Administration "indicated that the circumstances of this incident did not pose any new significant safety issues."
Wow! Does that mean all of the safety implications were already known and not addressed, or that the new safety issues posed were insignificant? I'm appalled.
“You are not welcomed here Argemedes.”
“Do you two insignificant children honestly believe you can stop me?”
“We will defend our home to the end reinforcements are coming behind us.”
“I am just passing through, I do not want any trouble. Leave me be.”
“Then we will escort you, your reputation of honesty is the only thing that is sheathing out swords.”
Flori seems quite small and insignificant amongst an avenue of trees we came across, on the banks of the river Aveyron, near Najac, in southern France.
Insignificantly, taken only from my iPhone 7 a day back. It had been a dull early morning, but as we arrived the Sun came out and the light streamed into the tiny Church through the beautiful Chagall designed stained glass windows. This window on the East Wall depicts a tragedy of a young woman drowning with her companion from a sailing accident off the coast of Rye in Sussex. The girl's father was Jewish but the mother and her two daughters were Anglican, and All Saints in the Weald of Kent was their place of worship.
The former Norman Church, built on the site of earlier Saxon Church, was largely rebuilt in the 18thC, and, as a memorial for the daughter, the Church was to be restored in 1966, and Chagall accepted the Commission for the Window.
Portraying the young woman drowning it is sad but beautiful, with the Mother in the lower corner cradling her two baby daughters. Yet, the girl climbs the ladder to live again. Chagall was present at the ceremony and was so delighted he offered to design all the windows in All Saints, and the offer was accepted.
Less than a mile away Thomas a Beckett preached beneath a Yew Tree which remains to this day. After his murder, a Chapel was built in his name, known as the Capel. Once surrounded by hop fields and apple orchids, the Capel has been designated as a World Heritage Site.
One of the London families who came each year for generations to pick hops, was the family of my wife June. So in the fields to the side of the Capel from a baby and a young girl, and a young woman, June picked hops. Sadly hop picking by hand all came to an end in the late fifties and a tradition was ended.
After June"s passed away from Covid just over a year ago, we were given permission to plant a Cherry Sapling in the grounds and around June' ashes were scattered.
And me, my family did not go Hopping. Except during the War we lived in Flats by East Lane in South London. Above us in 1943, lived Daisy and her family who did go hopping. But Daisy could not read and write so my mum helped her to carry out the necessary writing. While carrying this out my Mum said to Daisy, I could take my family. So that September, we too pushed our Hopping Carts to London Bridge Station. Somehow we missed the special steam train and arrived in Kent late. The farmer sent a horse and cart to pick up the two families and when we arrived, all the huts were filled. So the farmer made ready the upper floor of his barn and we took over opposite sides, and our families picked the hops. I was Eight. One sunny day on our way to the Hopfield, a farm hand came down the road between the two churches, shouting Italy Has Surrendered.
And where was our farm. It was the other side of the Capel to June's farm, but we never did meet then.
Ah, the joy of sipping on the yellow nectar of these fuzzy red Hot Lips! Yes, that's what these flowers are really called!
There are over 2,000 species of Psychotria, the genus under which Hot Lips falls. Where does Hot Lips grow? Psychotria elata is part of the tropical rainforest understory flora of the Americas. It is a unique plant with small insignificant yellow flowers but fabulous red lip-like bracts. The plant can difficult to grow because it requires specific growing conditions.
Hot lips grows as a shrub or small tree. The plant has deeply veined simple leaves of matte green. The flower is actually a pair of modified leaves that "pout" around the tiny star-like white to cream flowers. These become small bluish-black berries. The plant is very attractive to butterflies and hummingbirds.
Heliconius melpomene, the postman butterfly, common postman or simply postman, is one of the heliconiine butterflies found from Mexico to northern South America. Several species in the genus have very similar markings and are difficult to distinguish.
Postman, Heliconius melpomene cythera, longwing
Hot Lips, labios de puta, psychotria peoppigiana
Wings of the Tropics, Fairchild Tropical Botanic Garden, Miami FL
August 20, 2010
Malibu Beach
The sea makes me feel insignificant, but damn I still admire its beauty.
Upon reading about cosmic insignificance at a young age, I have always been a firm believer in the idea that one crucial component and evolutionary advantage humans possess is self-importance and selfishness, in which we as individuals are dogmatic in ensuring our own comfort and autonomy, allowing us to accomplish before we recognize how insignificant we are.
"Who are we? We find that we live on an insignificant planet of a humdrum star lost in a galaxy tucked away in some forgotten corner of a universe in which there are far more galaxies than people."
Carl Sagan
We all of us little ones send you great joy and gladness in the day. We are standing upraised so that you can see that none, however small in size are insignificant. We all have a purpose. Ours is to lift up our heads and bring happiness to every being who looks toward us with love.
Please view on black and larger?
Explored
"We ourselves feel that what we are doing is just a drop in the ocean. But the ocean would be less because of that missing drop." - Mother Teresa
Appreciating what is small but not insignificant...
Both grass seed-heads and hoverflies are vital contributors to the life cycle, natural balance and survival of this planet we all live upon.
The Queen of the Alps (Eryngium alpinum), also knows as the alipne holly, is a pretty darn beautiful flower and as a not insignificant bonus
Beneath heaven's vast expanse we stand,
Mere whispers in cosmic grains of sand.
Insignificant sparks 'midst celestial fire,
Our existence but a fleeting desire.
Stars alight in ancient ballet,
Mock our presence, here to stay.
Heaven's canvas, infinite and bright,
Reminds us of our transient light.
Yet in our brevity, a chance to find,
Meaning in moments, heart and mind.
For though we're small in heaven's embrace,
Our lives still hold a sacred grace.
by me
Rolleiflex Automat RF 111A + KONO! Delight ART 100 120
Collab with LC Nevermind
Un engañosamente
nimio crujido
nos avisa
del peligro de desplome
colocamos soportes
apuntalamos
intentamos
mantenernos en pie.
Deceptively an insignificant
rustle warns to us
of the collapse danger
we placed supports
we propped up
we tried to stay still on.
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
References
"World Heritage Day: Five must-visit sites in India".
Khajuraho Group of Monuments UNESCO World Heritage Site
Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353
Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.
Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5
James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.
Khajuraho airport AAI, Govt of India
G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24
Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.
Devangana Desai 2005, p. 10.
also called Erakana
Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979
J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47
phonetically translated from Arabic sometimes as "Kajwara"
Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185
Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427
Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470
Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227
Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho
Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi
kharjUra Sanskrit English Dictionary, Koeln University, Germany
vAhaka Sanskrit English Dictionary, Koeln University, Germany
Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives
Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18
Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274
Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.
Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297
D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418
Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.
Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264
Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140
Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.
James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.
Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69
Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3
Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.
Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.
Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5
Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028
Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4
V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291
"Lost Worlds of the Kama Sutra" History channel
"Lost Worlds of the Kama Sutra," History Channel
Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225
Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster
From inscription or estimated from other evidence
Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE
Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446
See:
Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;
Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119
"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549
George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58
L. H. Gray, Journal of American Society, Vol. 27
H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48
Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.
The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48
Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)
Khajuraho Festival of Dances
I snapped this quick shot of the clouds one morning loving how the early morning light illuminated them, then noticed the teeny tiny plane. It does make you think about how small a part humans play in the bigger picture.
A short procedure at a hospital on Thursday morning turned into a 3 day ordeal for my wife!! She is at home and feeling great but in need of rest because of the ineptitude of the hospital staff! Not sure when I will be back on but wanted everyone to know where I was at!! Please no emails at this time!! Thank you!!
This is merely a left over photo from a previous session!! Comments were intentionally left off!!!
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An insignificant-looking walker having a little sit down outside a cave in limestone rocks at Wolfscote Dale, Derbyshire
A Red-shouldered Hawk mostly ignores a Northern Mockingbird trying to dislodge it from a perch above Horsepen Bayou.