View allAll Photos Tagged RESPECT
In reality the mitigation of moral laws—to the extent it is not illusory—can represent an intrinsic superiority only on two conditions: first, that it confers a concrete advantage on society; and second, that it is not obtained at the cost of what gives meaning to life; respect for the human person must not open the door to a dictatorship of error and baseness, to the crushing of quality by quantity, to general corruption and the loss of cultural values, for if it does so it is, in relation to the ancient tyrannies, merely an opposite extreme and not the norm. When humanitarianism is no more than the expression of an over-valuation of the human at the expense of what is divine or the crude fact at the expense of truth, it cannot possibly be counted as a positive acquisition; it is easy to criticize the “fanaticism” of our ancestors when one has lost the very notion of saving truth, or to be “tolerant” when one derides religion. Whatever the morality of the Babylonians may have been, it must not be forgotten that certain kinds of behavior depend largely on circumstances and that collective man always remains a sort of wild animal, at least in the “Iron Age”: the conquerors of Peru and Mexico were no better than Nebuchadnezzar, Cambyses, or Antiochus Epiphanus, and one could find analogous examples in the most recent history. Religions can reform the individual man with his consent—and it is never the function of religion to make up for the absence of this consent—but no one can bring about a fundamental
change in that “thousand-headed hydra” which is collective
man, and this is why nothing of the kind has ever been the aim of any religion; all that a revealed Law can do is curb the egoism and ferocity of society by channeling its tendencies more or less effectively.
The goal of religion is to transmit to man a symbolic, yet adequate, image of the reality that concerns him, according to his real needs and ultimate interests, and to provide him with the means of surpassing himself and realizing his highest destiny; this destiny can never be of this world, given the nature of our spirit. The secondary goal of religion—with a view to the principal goal—is to make possible a sufficient equilibrium in the life of the collectivity or to safeguard within the framework of the natural malice of men a maximum of spiritual opportunities; if society must be protected against the individual, the individual for his part must be protected against society. There is endless talk about “human dignity”, but it is rather too often forgotten that “noblesse oblige”; dignity is invoked in a world that is doing everything to empty it of its content and thus to abolish it. In the name of an indeterminate and unconditional “human dignity”, unlimited rights are conceded to the basest of men, including the right to destroy everything that goes to make our real dignity, that is to say, everything on every plane that attaches us in one way or another to the Absolute. Of course truth obliges us to condemn the excesses of the aristocracy, but we can see no reason at all why it should not also confer a right to judge contrary excesses.
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Frithjof Schuon: Light on The Ancient Worlds
in Moda, Istanbul
(The sign on the lamp post is a request to dog walkers to respect the environment!)
© István Pénzes.
Please NOTE and RESPECT the copyright.
29th December 2022, Potsdam
Hasselblad X2D 100C
Hasselblad XCD 38mm f2.5
Mega respect to the drivers during the past year who have kept running through everything that the past 12 months of chaos has been. Lothian brought in this lot of new buses in January having been sitting around for a while as I am still to ride on them I will not make any comments but they do look nice still missing what they replaced at the moment though. Here at the entrance to Newhailes woodland is Lothian buses 72 on the usual 30 to Clovenstone.
Respect Existence (4819)
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An old mining operation with some rather interesting large-scale guerilla art, perched up in the hills in the Mojave Desert. I lit the exterior and interior of this structure using a handheld ProtoMachines LED2 light painting device from several different angles while hanging out with the ProtoMachines creator, George Loo, as well as Tim Little and Steve McIntyre during a fun weekend of night photography.
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IG, Facebook, 500px, Flickr: kenleephotography
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Nikon D750/Nikkor 14-24mm f/2.8 lens. 16 minutes total "stacked"; each image 2 minutes f/8 ISO 200. October 2019.
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#kenlee #kenleephotography #lightpainting #longexposure #nightphotography #slowshutter #amazing_longexpo #longexphunter #longexpoelite #longexposure_shots #supreme_nightshots #ig_astrophotography #super_photolongexpo #nightscaper #MyRRS #ReallyRightStuff #feisol #Nikon #westbysouthwest #travelzoo #mojavedesert #salton sea #abandoned #urbex #urbanexploration
Rail Express Systems (RES) Class 47/7 47776 'Respected' powers northbound at Culham at the head of 1S81, the 13:24 Tonbridge to Glasgow Mail.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved â Copyright Don Gatehouse
~Herman Melville
Winter on the Water: Shot last December at my fav spot in New Buffalo, Michigan (about an hour from Chicago). Despite the bright afternoon sun, the temperature with brutal wind chill was around -10°F. Now that is s-s-suffering for your art. :)
Canon 5D Mark II
Canon 24-70mm f/2.8L
Aperture: f/7.1
Focal Length: 24mm
ISO Speed: 100
Flash: Off
Polarizer/Filter: Lee ND 0.6
Exposure: 1/200
RAW File Processing: Lightroom 3
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© Steven Brisson. Do not use without permission.
In respect to the order of the mass, I have decided not to use a flash.
Happy Easter to all celebrating..
First of all this is not my image and I take no credit for it. This is a one minute Commercial by Annheuser-Busch where 8 huge Clydesdale horses bowed in respect for the 20th Anniversary of 911. In case you missed it the full one minute video is HERE
Idiane (Brazil) @ Max-Joseph-Platz in Munich
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The encounter with Idiane was caused by a bottle, better said triggered by the shadow of a bottle.
On my way home I was passing the monument at Max-Joseph-Platz and saw some people sitting there enjoying the late afternoon sun on the warm dark stone of the socket. I decided to take a picture of this peaceful scenery with my 85mm lens and tried to get a harmonic & symmetric composition with a close framing from the appropriate distance. Without a tripod I needed several sets of images using the bracketing function to get the desired result with respect to brightness, sharpness, orientation and without unwanted persons or cars in the composition.
During the last set of three captures - triggered by the selftimer - the person in the middle lifted a bottle and this movement gave a nice detail with the shadow on the stone.
Therefore I went over to show this unexpectedly snapshot to her and asked for permission to publish the photo on a Internet platform like flickr. So an entertaining talk about photography, architecture and her inclination to vintage objects and retro design arose and I had the opportunity to introduce the "100 strangers"-project to her. Thereupon I could take a few portrait photos of her and we optimized the composition step by step to get a relaxed posture without posing. The facade of the former "Residenz-Post" gave a nice blurred background with a matching colour combination.
Idiane comes from Brazil as a tourist and was visiting friends in Munich. She spent only a few days here and I am glad to show her portrait in my personal photo project "100 Strangers".
Idiane, I hope you enjoyed your visit in Europe and Germany, especially Munich. Thank You for participating in my photo project and the nice contact. I hope the chosen image is your favourite, too - it was hard to decide which one to select.
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This picture is #033 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
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Die Begegnung mit Idiane habe ich einer Flasche zu verdanken, besser gesagt dem Schatten einer Flasche.
Ich war auf dem Weg nach Haus und sah, dass einige Leute auf dem Sockel des Denkmals auf dem Max-Joseph-Platz Joseph-Platz saßen und die wärmenden Strahlen der Abendsonne genossen. Zufällig setzte sich gerade in diesem Moment eine dritte Person dort hin, sodass sich eine gleichmäßige Anordnung auf der mittleren Stufe ergab. Ich versuchte deshalb mit dem 85mm eine symmetrische Komposition ohne schräge Kanten und möglichst scharf, hatte aber kein Stativ dabei. Es waren deshalb mehrere Versuche unter Einsatz der bracketing-Funktion erforderlich, bis die Ausrichtung passte, die Belichtung stimmte und keine Fahrzeuge oder Touristen den Bildaufbau beeinträchtigten.
Beim letzten Set waren alle Einstellungen korrekt, nur hob die Person in der Mitte genau während den drei zeitverzögert ausgelösten Fotos in Folge eine neben ihr stehende Flasche, was einen interessanten Schatten auf dem Stein verursachte. Ich brach deshalb meine Session an dieser Stelle ab, ging zu ihr hin und zeigte ihr meinen Zufallstreffer.
Eigentlich wollte ich nur fragen, ob sie mit einer Verwendung des Bildes auf einer Internetseite einverstanden war - schließlich hatte sie mit der Silhouette der Flasche ein Detail mit Aufmerksamkeitswert beigesteuert. Daraus entwickelte sich aber ein nettes Gespräch über Fotografie, alte und neue Technik, und ihre Neigung zu Vintage und Retro-Design. So konnte ich ihr das Fotoprojekt "100 Strangers" vorstellen und sie erlaubte mir ein paar Versuche, sie zu porträtieren. Die renovierte Residenzpost gab dazu einen farblich passenden Hintergrund, der bei der gewählten Blende zwar nur schemenhaft erkennbar war, aber trotzdem einen farblich gut passenden Rahmen bildete.
Idiane kommt aus Brasilien und war als Tourist nach München gekommen, wo sie Freunde besuchte. Sie ist zwar erst 27, wurde aber bisher nicht vom Smartphone Selfie-Virus befallen und nahm deshalb keine Standard-Posen ein, sondern war ziemlich entspannt.
Meist schaute sie an der Kamera vorbei oder drehte den Kopf weg, während ich die Komposition verfeinerte. Aus diesen Aufnahmen habe ich drei herausgegriffen und weiter nachbearbeitet. Durch eine Variation der Ausschnitte ergaben sich trotzdem Porträts mit etwas unterschiedlicher Charakteristik, die aber immer das Umfeld erkennen lassen...
Danke, Idiane, für die Bereitschaft, bei meinem Fotoprojekt mitzumachen. Ich hoffe, das ausgewählte Foto ist auch Dein Favorit aus unserem kleinen photo shooting (die Entscheidung war nicht einfach).
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[CF_2016-09-30_181556(7D) (1)_EditCPP(Ausschnitt3x4_3333x4444_rot-0.40°_K0_FS1_Sch4+ret)_ji(FK_R0.20_G-0.02_B-0.40_Gl0.2Tw15).jpg] "Kandidat 1"
Some optimizations with Canon Photo Professional (Conversion from Raw to JPG, changed framing) and JPG Illuminator (Color correction and optimization of noise).
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Sleeping Lion Mountain is in the Fort Davis National Historic Site, Fort Davis, Texas, It's a rock formation 5202 feet tall (1586 meters). It helps to form part of the 3-sided canyon where the army fort was built.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
At this time of year I always like to post photos as a way of showing my respect to those that made the ultimate sacrifice. Taken at a local war memorial it was nice to see a father and daughter also sharing that respect.
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. 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.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, 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. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, 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.
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. 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.
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” as follows:
...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
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. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. 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. 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.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). 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).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
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 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
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. 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.
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). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except 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. 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 Tirthanks. 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. 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. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. 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. 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. The viewer has to look closely to find them, or be directed by a guide. 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.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. 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.
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.
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. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. 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. This fractal pattern that is common in Hindu temples. 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. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). 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.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. 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. 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. 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”.
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. 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. 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. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. 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. 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.
ARTS AND SCULPTURE
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. 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. 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."
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; however the kama arts represent diverse sexual expressions of different human beings. 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. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. 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. 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
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. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. 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. 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.
TEMPLE NAME - DEITY - YEAR COMPLETED
Chausath Yogini - Devi, 64 Yoginis - 885
Brahma - Vishnu - 925
Lalgun Mahadev - Shiva - 900
Matangeshwar - Shiva - 1000
Varaha - Vishnu - 950
Lakshmana - Vaikuntha Vishnu - 939
Parshvanath - Parshvanath - 954
Visvanatha - Shiva - 999
Devi Jagadambi - Devi, Parvati - 1023
Chitragupta - Sun, Chitragupta - 1023
Kandariya Mahadeva - Shiva - 1029
Vamana - Vamana - 1062
Adinath Jain Temple - Rishabha - 1027
Javeri - Vishnu - 1090
Chaturbhuja - Vishnu - 1110
Duladeo (Duladeva) - Shiva - 1125
Ghantai - Jain Tirthankara - 960
Vishnu-Garuda - Vishnu - 1000
Ganesha - Shiva - 1000
Hanuman - Hanuman - 922
Mahishasuramardini - Devi - 995
One of the Dalmatian pelicans at Paignton Zoo, such an unusual bird, great to watch them steam around the wetland area, they make for a great subject to photograph too.
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Thanks to those who look and take the time to comment, it's very much appreciated.
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All Images are Copyright © 2012-2018 - Nick Udy - All Rights Reserved.
I always get annoyed when I see rubbish that someone has thrown down ... they just don't care and most definitely do not have any respect!
Our Daily Challenge ~ First World Problems ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
A Little White Pointer think bit off more than it should of with Big Momma coming in to say "That is mine & Respect your Elder's!"
A First for everyone onboard as well as the crew.
Link to a film strip of the before and after! -
www.youtube.com/watch?v=x2ZD7O13JuI
My mix of music still trying to get right? They all came through at same Volume?
Finally got one of my rolls-in-waiting developed.
I hope you all had a great weekend and have a wonderful week! :D
* Film: Fuji Superia 200 + Pentax K1000 *
Converted to B+W in PS.
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New York Mets third baseman David Wright (5) stands at attention during the playing of the National Anthem at Orioles Park at Canden Yards prior to the New York Mets game against the Baltimore Orioles,
Photo by Bruce Adler
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This three seconds long exposure was taken at an altitude of Two metres, at 05:36am on Friday 3rd September 2019 around sunrise off 1st Street and Bevan Avenue, close to Glass beach in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.
In the distance we see Mt Baker in Washington State, USA . Known to the Lummi First nation people (Lhaq'temish) as Kwelshán ('Shooting place' in Nooksack), to the Halkomelem as Kwelxá:lxw, to Lushootseed speakers along the Skagit River as Teqwúbe7 meaning “snow-capped peak'', to the Nooksack language as Kweq’ Smánit (“white mountain'') and also known as Koma Kulshan, (pronounced kō-ō’mah’ kool-shän’), the name for the Middle Fork which originates from the glaciers such as Deming and Thunder on the western slopes, she is an active glaciated andesitic stratovolcano in the Cascade Volcanic Arc and the North Cascades of Washington State in the United States, standing 3,286 metres tall and was first ascended in 1868, her last eruption recorded in 1880.
The name Mount Baker first appeared in print in Captain Vancouver’s 1798 narrative of his voyage around Vancouver Island. Legend has it that his third-lieutenant, Joseph Baker, was the first to spot the mountain while they sailed into Dungeness Bay on April 30th, 1792.
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Nikon D850. Focal length 34mm Shutter speed: Three seconds long exposure Aperture: f/18.0 iso6400 RAW (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus 51 point with 3D- tracking. AF-Area mode single point & 73 point switchable. Exposure mode - Aperture priority exposure. Nikon Back button focusing enabled. Matrix metering. ISO Sensitivity: Auto. White balance: Natural light auto. Colour space Adobe RGB. Nikon Distortion control on. Picture control: Auto. High ISO NR on. Vignette control: normal. Active D-lighting Auto.
Nikkor AF-S 24-120mm f/4G ED VR. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 0.9 (3 stops) Reverse Neutral density Graduated glass filter. Lee SW150 Filters field pouch. Nikon EN-EL15a battery.Mcoplus professional MB-D850 multi function battery grip 6960. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto 055XPROB Tripod 3 Sections (Payload: 5.6kgs). Manfrotto 327RC2 Light Duty Grip Ball Magnesium Tripod Head (Payload: 5.5kgs). Manfrotto quick release plate 200PL-14. Jessops Tripod bag.Nikon MC-DC2 remote shutter release cable.
LATITUDE: N 48d 38m 52.60s
LONGITUDE: W 123d 23m 36.66s
ALTITUDE: 2.0m
RAW (TIFF) FILE: 130.00MB NEF: 91.3MB
PROCESSED (JPeg) FILE: 31.70MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.3.1 11/07/2019). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.