View allAll Photos Tagged Reign
I was on an errand in east end Toronto as the sun went down. I found myself walking behind this colorfully-tattooed man and was intrigued by the t-shirt message and his "Wayne's World" hat (the latter being a tribute to the Saturday Night Live skit).
Without a plan, and with little time I Spoke to him and told him I liked the shirt and hat and could I take a photo? He said "Sure. Back or front?" Again, without thinking, I said "How about both?" He happily paused long enough for me to get these two shots in the golden light of the setting sun on Danforth Ave.
There wasn't time to chat. Photos taken, we exchanged names and a handshake and I thanked him for the photos. Meet Jay.
When I got home I looked it up and learned the shirt promoted the punk band Every Time I Die and a song they recorded - "Chaos Reigns."
The sixth annual Purple Reign party was held as part of the UCA 2014 homecoming festivities on Friday night at The Rab club. The event was sponsored by Sandstone Real Estate Group, D. Wynne Productions, the UCA Black Alumni Chapter and the UCA Alumni Association.
February 16, 2020 - Ontario Reign vs the Colorado Eagles at Toyota Arena in Ontario, California. (Photo by: Foster Snell)
Udayagiri and Khandagiri Caves (Odia: ଉଦୟଗିରି ଓ ଖଣ୍ଡଗିରି ଗୁମ୍ଫା) are partly natural and partly artificial caves of archaeological, historical and religious importance near the city of Bhubaneswar in Odisha, India. The caves are situated on two adjacent hills, Udayagiri and Khandagiri, mentioned as Kumari Parvat in the Hathigumpha inscription. They have a number of finely and ornately carved caves. It is believed that most of these caves were carved out as residential blocks for Jain monks during the reign of King Kharavela. Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15 caves.
The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this group is Ranigumpha in Udayagiri which is a double storeyed monastery.
COUNT OF THE CAVES
B.M. Barua, based on a reading of line 14 of the Hathigumpha inscription, declared that a total of 117 caves were excavated by Kharavela and others on the Kumari hill (Udayagiri). Marshall has counted more than 35 caves in both the hills, while M.M. Ganguli has enumerated only 27 caves.
The number of existing caves at Udayagiri is 18, while Khandagiri has 15. The local names of the existing caves are listed below, numbered according to the enumeration of the Archaeological Survey of India.
THE FAMOUS CAVES
In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well known due to art treasures of their sculptures and reliefs as well as due to their historical importance. Rani ka Naur (Queen's Palace cave, cave 1) is also an extensively carved cave and elaborately embellished with sculptural friezes. Khandagiri offers a fine view back over Bhubaneswar from its summit. The Ananta cave (cave 3) depicts carved figures of women, elephants, athletes, and geese carrying flowers.
INSCRIPTIONS IN CAVES IN BRAHMI
HATHIGUMPHA INSCRIPTIONS
The Hathigumpha cave ("Elephant Cave") has the Hathigumpha inscription, written by Raja Kharavela, the king of Kalinga in India, during the 2nd century BCE. The Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a natural cavern Hathigumpha in the south side of the Udayagiri hill. It faces the rock edicts of Asoka at Dhauli, situated about six miles away.
OTHER MINOR INSCRIPTIONS
Besides Hathigumpha Inscription of Kharavela, there are some other minor Brahmi inscriptions in the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD Banergy during 1915-16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical Quarterly-XIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I - MANCAPURI CAVE INSCRIPTION (Upper storey)
This inscription is engraved on the raised space between the second and third doorways of the cave. The text in Devanagari script is as under:
L.1- अरहंत पसादाय कलिंगानं समनानं लेनं कारितं राजिनो ललाकस
L.2- हथिसिहस पपोतस धुतुना कलिंग चकवतिनो सिरिखारवेलस
L.3- अगमहिसिना कारितं
Translation: By the blessings of Arhats, the chief queen of Kharavela, the Cakravarti monarch of Kalinga, the great granddaughter of Hathisiha (Hasti Simha) and the daughter of Lalāka or Lalārka caused to be excavated the cave for the sramanas of Kalinga.
II - MANCAPURI CAVE INSCRIPTION (Upper storey) - A
This inscription is incised on a raised bend between the 3rd and 4th doorways from the left and contains single line. The text in Devanagari script is as under:
ऐरस महाराजस कलिंगाधिपतिना महामेघवाहनस कुदेपसिरिनो लेणं
Translation: This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord of Kalinga.
Note: Kudepasiri seems to be the immediate successor of Kharavela.
III - MANCAPURI CAVE INSCRIPTION 'B' (Lower storey)
This inscription has been engraved on the right wall of Veranda, to the right of the entrance to the right-hand side chamber of the main wing, consisting of one line. The text in Devanagari script is as under:
कुमारो वडुखस लेणं
Translation: [This is] the cave of Prince Vaḍukha.
Note: On palaeographic ground Prof Banergy considers this inscription to be a little earlier than the inscription of King Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV - INSCRIPTIONS IN THE SARPAGUMPHA (Over the door way)
This inscription consisting of one line, is incised over the doorway of the Sarpagumpha. The text in Devanagari script is as under:
चूलकमस कोठाजेया च
Translation: The chamber and veranda/or side chamber of cūlakama.
Note: However Dr. Sahu interpreted Ajeya being united by a Sandhi qualifying Koṭha there by denoting invincible. But he ignored the conjunction ca (Devanagari: च) which follows Koṭha (Devanagari:कोठा) and Jeya (Devanagari:जेया).
V - INSCRIPTIONS IN THE SARPAGUMPHA ( to the left of the doorway) The text in Devanagari script is as under:
L.1- कंमस हलखि
L.2- णय च पसादो
Translation: [The pavilion is the] gift of Kamma and Halakhina.
Note: Most probably Halakhiṇa was the wife of Kamma. Chūlakamma - found in the inscription No.IV and Kamma of this record indicate official designations rather than the proper names. Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be a junior cadre of minister in the Department of works.
VI - HARIDAS CAVE INSCRIPTION
This inscription contains one line has been incised over one of the three entrances to the main chamber of the cave from the veranda. The text in Devanagari script is as under:
चूलकमस पसातो कोठाजेया च
Translation: The chamber and veranda (or side chamber) are the gift of cūlakama.
VII - VYAGHRAGUMPHA INSCRIPTION
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as under:
L.1- नगर अखंदस
L.2- स भूतिनो लेणं
Translation: The cave of Bhūti, the city judge.
VIII - JAMBESAVARA CAVE INSCRIPTION
This inscription has been engraved over the entrances to the inner chamber of the cave. The text in Devanagari script is as under:
महादस बरयाय नकियस लेनं
Translation: The cave of Mahamāda Nākiya and Bāriyā.
X - TATOWAGUMPHA INSCRIPTION (Cave No 1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text reads in Sanskrit as
पादमुलिकस कुसुमस लेणं x [॥]
Translation: The cave of Kusuma, the padamulika.
Notes: There is a syllable after the word lenam, which may be read as ni or phi,. padamulika literally means, one who serves at the feet [of king].
According to Kishori Lal Faujdar, Here Kusuma seems to be related with Kaswan clan of Jats. He refers an article ‘Hathi Gumpha and three other inscriptions’ (page 24) in Devanagari as under:
कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ.
Translation: This translates that the city of 'Masikanagara ' was obtained with the help of 'Kuswan' Kshatriyas.
Note: Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having a legend, has been discovered from Adam, situated on the right bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).
XI - ANANTA GUMPHA INSCRIPTION (A)
The record is incised on the architrave between the left ante and the fifth pillar. The text in Oriya script is: Odia: ଦୋହଦ ସମଣନ ଲେଖ (Devanagari: दोहद समणनं लेणं
Translation: The cave of the Dohada Śramaṇas.
LIST OF CAVES AT UDAYAGIRI
Ranigumpha
Bajagharagumpha
Chota Hathigumpha
Alkapurigumpha
Jaya-vijayagumpha
Panasagumpha
Thakuranigumpha
Patalapurigumpha
Mancapurigumpha
Ganesagumpha
Jambesvaragumpha
Vyaghragumpha
Sarpagumpha
Hathigumpha
Dhanagharagumpha
Haridasagumpha
Jagammathgumpha
Rosaigumpha
UDAYAGIRI
The Udayagiri hills fall on your right side when you enter into this area from Bhubaneswar. There are 18 caves in Udayagiri. Compared to Khandagiri, Udayagiri offers more beautiful and better maintained cave shrines.
1. RANI GUMPHA
Rani Gumpha is the largest and most popular cave among the caves of Udayagiri and Khandagiri. The word 'Rani' means Queen. Although it is not an architectural marvel, it has some ancient beautiful sculptures.
This cave is double storeyed. Each storey has three wings and the central wing is bigger among all the three wings. The lower floor has seven entrances in the middle wing whereas the upper floor has nine columns. The upper portion of the central wing has relief images depicting the victory march of a king. Many of the cells have carved dwara pala images; some of them are disfigured. The area that connects the central wing with right and left wings have some panels where the sculptures of wild animals, fruit laden trees, human figures, women playing musical instruments, monkeys and playful elephants are found. The pilasters contain the toranas (arches) decorated with sculptures of Jain religious importance and royal scenes.
2. BAJAGHARA GUMPHA
Bajaghara Gumpha is very simple and small. It has stone bed and pillow and it was obviously used as the Jain monks' shelter in the ancient times. Apart from the plain rectangular shaped pillars, there is no other sculpture found in this cave.
3. CHOTA HATHI GUMPHA
Chota Hathi Gumpha is small in size. It has six small elephant figures in the facade. The word 'chota hathi' means 'small elephant'.
4. ALKAPURI GUMPHA
Alkapuri Gumpha has a relief sculpture of a lion holding its prey in its mouth. The pillars with the human figures (divine beings) with wings are found in this cave. It is double storeyed.
5. JAYA VIJAYA GUMPHA
Jaya Vijaya Gumpha is double storeyed. It has a relief image of Bodhi tree with umbrella on its top and flanked by people worshipping it.
6. PANASA GUMPHA
Panasa Gumpha is very small and simple cave without any significant features.
7. THAKURANI GUMPHA
Thakurani Gumpha is double storeyd but is very simple in style. It has few tiny relief sculptures.
8. PATALAPURI GUMPHA
Patalapuri Gumpha is slightly bigger with a pillared verandah. However, there is no noteable feature in this cave.
9. MANCAPURI & SWARGAPURI GUMPHA
Mancapuri and Swargapuri Gumpha is double storeyed. It has a damaged Jain religious symbol which was probably used for worship.
There are three inscriptions found in this cave. One inscription talks about the chief queen of Kharavela. The other two inscriptions talk about Kudepasiri, the successor of Kharavela and Badukha, the son or brother of Kudepasiri.
10. GANESHA GUMPHA
Ganesha Gumpha is one of the most important caves in Udayagiri. The cave got this name due to carved figure of Ganesha on the back of its right cell. Of course, it would have been carved in the later period and it cannot be the original work. The cave has two big statues of elephants carrying garlands at the entrance. Also, the carved figures of dwara palas are found at the entrances. The carvings in this cave narrate the story of the elopement of Bassavadatta, Princess of Ujjayini, with King Udayan of Kausambi in the company of Vasantaka.
Above this cave, the ruins of an apsidal structure is found. It is believed that the legendary Kalinga Jina was placed here once. Kalinga Jina was the idol of Rishabhanatha, which had been taken away from Kalinga by Mahapadma Nanda. After 300 years, Kharavela won the Sunga King Bahasatimita and brought it back.
11. JAMBESVARA GUMPHA
Jambesvara Gumpha is a very simple and small cave with one column and two pilasters. The inscription tells that it is the cave of Nayaki, wife of Mahamade.
12. VYAGHRA GUMPHA
Vyaghra Gumpha is one of the popular caves in Udayagiri. The cave, which is in ruins, has the entrance carves like a large mouth of a tiger. It is one of the most photographed site in Udayagiri. The word 'vyaghra' means tiger. The inscription found here tells that this cave belongs to the city judge Sabhuti.
13. SARPA GUMPHA
Sarpa Gumpha is unusually very small cave. There are two inscriptions found in this cave. The word 'sarpa' means snake.
14. HATHI GUMPHA
Hathi Gumpha is a natural cavern. On the wall, the inscription erected by Kharavela is found. It is the main source of history of Kharavela. (The word 'hathi' means elephant)
15. DHANAGHARA GUMPHA
Dhanaghara Gumpha is a small cave which has two wide pillars and dwara pala sculptures carved at the entrance.
16. HARIDASA GUMPHA
Haridasa Gumpha is a small cave with three entrances and a verandah in the front side. There is an inscription found here.
17. JAGANNATHA GUMPHA
Jagannatha Gumpha is roughly cut cave with three entrances.
18. RASUI GUMPHA
Rasui Gumpha is unusually very small cave.
(Reeta,14024,SU)
LIST OF CAVES AT KHANDAGIRI
Tatowa gumpha No.-1
Tatowa gumpha No.-2
Ananta gumpha
Tentuli gumpha
Khandagiri gumpha
Dhyana gumpha
Navamuni gumpha
Barabhuji gumpha
Trusula gumpha
Ambika gumpha
Lalatendukesari gumpha
Unnamed
Unnamed
Ekadasi gumpha
Unnamed
The above nomenclature has no historical significance but is accepted at present for the convenience of scholars and general readers. The art of Udayagiri and Khandagiri, being almost contemporaneous with that of Sanchi, has a striking resemblance to it but at the same time retains its own individuality and advanced technique.
KHANDAGIRI
The Khandagiri hills fall on your left side when you enter into this area from Bhubaneswar. There are 15 caves in Khandagiri.
1. TATOWA GUMPHA
The parrots are carved above the entrance arch and hence it is called as Tatowa Gumpha. It has two dwarapala figures too.
2. TATOWA GUMPHA
The cave sharing the same name with the first cave has a veranda with pilasters containing exquisite carvings.
3. ANANTA GUMPHA
The cave has sculptures of women, elephants, geese, etc.
4. TENTULI GUMPHA
It is a small rock cut chamber with just one column.
5. KHANDAGIRI GUMPHA
It is a roughly cut cell and has double storeys.
6. DHYANA GUMPHA
It is a roughly cut cell.
7. NAVAMUNI GUMPHA
Navamuni Gumpha is a roughly cut cell with the sculptures of nine Jain Tirthankaras and Sasana Devis.
8. BARABHUJI GUMPHA
Barabhuji Gumpha has two relief images of twelve armed Sasana Devis, hence it is called as Barabhuji (meaning twelve armed) Gumpha. There are few Tirthankara sculptures also found in this cave. The Sasana Devis are worshiped as Hindu deity Durga nowadays. Funnily, the priests in this shrine claim some Jain Tirthankara sculpture as Surya.
9. TRUSULA GUMPHA
Trusula Gumpha appears to be reconverted in the medieval times. There are three sculptures of Rishabha Deva who is found in the standing posture and look beautiful. Apart from these sculptures there are sculptures of 24 Jain Tirthankaras which look rough.
10. AMBIKA GUMPHA
Few relief images of Sasana Devis are found here.
11. LALATENDU KESHARI GUMPHA
The relief images of Mahavira, Parshvanath and few Jain Tirthankaras are found here.
Caves 12, 13 and 15 are unnamed. Cave 14 is very simple and called as Ekadasi Gumpha.
(Reeta,14024,SU)
TICKETS
Entry fee for Citizens of India and visitors of SAARC (Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives and Afghanistan) and BIMSTEC Countries (Bangladesh, Nepal, Bhutan, Sri Lanka, Thailand and Myanmar) - Rs. 5 per head and for each foreigner is Rs. 100.00 or US $2.00 and free entry for children below 15 years.
TIMING
The monument remains open from sunrise to sunset.
WIKIPEDIA
Photographs taken by Olivia Sandoval for JMU Sudent Affairs Communications and Marketing. All rights reserved. No usage without permission.
Purple Reign will bring her anti-bullying message to local elementary schools. Source: blog.seattlepi.com/davidnelson/2012/02/08 also www.purplereigncampaign.org
Not sure what this large and beautiful jumping spider is (I want to say Sandalodes but cannot confirm). She stayed on this flower for just over 2 days.
Bongeunsa is a Buddhist temple located in Samseong-dong, Gangnam-gu. It was founded in 794 during the reign of King Wonseong by the monk Yeon-hoe (Hangul: 연희), then the highest ranking monk of Silla, and originally named Kyongseoungsa (Hangul: 견성사; Hanja: 見性寺). It is located on the slope of Sudo Mountain, across the street from the COEX Mall.
During the Joseon Dynasty, Buddhism in Korea was severely repressed. However, Bongeunsa was reconstructed in 1498 under the patronage of a Joseon Queen. With the support of Queen Munjeong, who revived Buddhism in Korea for a short time in the mid-16th century, it became the main temple of the Korean Seon (Zen) sect of Buddhism from 1551 through to 1936. Monk Bo-wu was appointed head of the temple in 1548 by Queen Munjeong but was killed soon afterwards as the anti-Buddhist factions regained dominance in Korea towards the end of Queen Munjeong's rule. From 1552 to 1564 it was the centre of the Buddhist National Exam.
A fire in 1939 destroyed most of the buildings, and other parts of the temple were destroyed during the Korean War. Fortunately, one of the very few halls that escaped destruction during the Korean War continues to hold the woodblock carvings of the Flower Garland Sutra, 봉 completed in 1855 by monk Young-ki The temple has undergone many repairs and renovations, and is now once again a large, thriving complex. The reconstruction efforts are being waged even today.
Bongeunsa was made one of Korea's 14 major temples in 1902. During the Japanese occupation the temple became the headquarters of 80 smaller Buddhist temples around Seoul. In 1922 and 1929, the head monk Cheong-ho saved over 700 people from drowning in the Han river, an act that inspired a monument of recognition. After colonial rule Bongeunsa became subordinate to the Jogye order, the largest Buddhist sect in Korea.
The temple is a notable tourist destination, offering "Temple Stay Programme" in which visitors can lead the life of a monk for a few hours. We went on a Thursday and paid for the package: temple tour, meditation, tea ceremony and lotus flower lantern making (from paper).
Source of historic information: en.wikipedia.org/wiki/Bongeunsa
And all the powers of darkness
Tremble at what they’ve just heard
‘Cause all the powers of darkness
Can’t drown out a single word
maraculio.2010 © All rights reserved
The Ananda Temple, located in Bagan, Myanmar is a Buddhist temple built in 1105 AD during the reign (1084–1113) of King Kyanzittha of the Pagan Dynasty. It is one of four surviving temples in Bagan. The temple layout is in a cruciform with several terraces leading to a small pagoda at the top covered by an umbrella known as hti, which is the name of the umbrella or top ornament found in almost all pagodas in Myanmar. The Buddhist temple houses four standing Buddhas, each one facing the cardinal direction of East, North, West and South. The temple is said to be an architectural wonder in a fusion of Mon and adopted Indian style of architecture. The impressive temple has also been titled the "Westminster Abbey of Burma". The temple has close similarity to the Pathothamya temple of the 10th–11th century, and is also known as “veritable museum of stones”.The temple was damaged in the earthquake of 1975. However, it has been fully restored and is well maintained by frequent painting and whitewashing of the walls. On the occasion of 900th anniversary of its construction celebrated in 1990 the temple spires were gilded. It is a highly revered temple of Bagan.
ETYMOLOGY
The name Ananda of the temple is derived from the Venerable Ananda, Buddha's first cousin, personal secretary, one of his many principal disciples and a devout attendant. It was once known as Ananta Temple, coming from the phrase 'ananta pinya' in Sanskrit, which translates as "endless wisdom". However, the word 'Ānanda' in Pali, Sanskrit as well as other Indian languages mean "bliss". It is a popular Buddhist and Hindu name. The attributes of the Buddha, his infinite wisdom "Anandapinnya in Burmese and Pali" is commemorated in its name 'Ananda'.
LEGEND
The legend associated with building of this temple ended in tragedy to the builders. Eight monks who approached the King Kyanzittha seeking alms gave a graphic description of the Nandamula Cave temple in the Himalayas where they had meditated. When the king invited them to the palace to hear more details, the monks invoked their meditative psychic skills and vividly explained to the King, the landscape of the place they had lived. The King, pleased with this show of their skills, requested the monks to build a temple in the middle of the Bagan plains creating cool conditions in the temple. After the monks completed the temple construction, the King, in order to retain the uniqueness of the temple, got the architects (monks) killed to ensure that another similar structure was not built by them anywhere else.You could only see it in Bagan.
HISTORY
History of this perfectly dimensioned temple structure built in 1105 is credited to King Kyanzittha. It denotes "the stylistic end of the Early Bagan period and the beginning of the Middle period". The timing of building this temple is considered as a culmination of religious education that began during the Pahothanya temple building activity in 1080 AD. The Theravada Buddhism adopted by the King motivated him to present the teachings of Buddha to his people in an accurate and a genuine way through the medium of this temple, to unite Burma under one flag and thus "creating mass religious enthusiasm". It has been inferred that the King, as the upholder of the Law wanted to convey his firm belief in the Buddhist doctrine according to his interpretation:
(He) shall purify (and) make straight, write down (and) establish all the holy scriptures. (He) shall proclaim (and) voice the Law, which is even as a resounding drum. (He) shall arouse all the people that are slumbering carelessly. (He) shall stand steadfast in the observance of the commandments at all times.
Through the unique iconographic depictions (in stone images, the numbered jataka plaques and the standing Buddha images), presented in the symmetrically planned layout of the Ananda temple was built by the King Kyanzittha to establish and convey his doctrine to his people in a vivid visual format.
It is said that the King who founded this temple became illustrious in the sphere of Buddhist architecture.
ARCHITECTURAL HISTORY
The architectural history of the temple has been widely analysed. While the Mon architecture of Burmese origin is noted, strong influence of Indian Architecture from many temples of Bengal and Orissa is very clear. In this regard archaeologist Duroiselle has made these observations: "There can be no doubt that the architects who planned and built the Ananda were Indians. Everything in this temple from Shikara to basement, as well as the numerous stone sculptures found in its corridors, and the terra-cotta plaques adorning its basement and terraces, bear the indubitable stamp of Indian genius and craftsmanship...In this sense we may take it, therefore, that the Ananda, though built in the Burmese capital, is an Indian temple." It is also said that the architecture of this temple greatly represents the Ananta cave temple in Udayagiri hills in Orissa, India.
ARCHITECTURE
Ananda temple is a perfectly dimensioned stylistic structure, a fusion of Mon and Indian architectural styles and is the central monument built in the Pagan valley. It has been built with bricks and plaster depicting iconographic images in stones and plaques (terra-cotta glazed tiles) with the main purpose of educating the people of the region in the religious ethos of Theravada Buddhism and in accordance with the personal beliefs of the King Kyanzittha.
LAYOUT
The temple structure is in the form of a simple corridor. It has a central square of 53 metres; gabled porches project out by 17 m from each face of the square. The superstructure is 51 metres in height formed by decorated terraces. The total length of the temple from end to end is about 88 m. In the crucifix layout adopted for the temple, the main plinth over which two receding curvilinear roofs have been built followed by four receding terraces above it. The four terraces lead to the top, where it terminates in a small pagoda and an umbrella known as hti, which is the name of the top ornament found in almost all pagodas in Myanmar. The core part of the temple, at the centre of the terraces, is in the shape of a cube, which houses the four standing Buddha massive statues on its four faces, each of 9.5 metres height (above a 2.4 m high throne). The spire rises above this cubic structure. Two passages delimit the central cube, with the four sides of the cube; each face is decorated with a massive image of the Buddha. The four entrances are provided with teak wood carved doors in the interior and these entrances form a perfect cross or cruciform. A stupa finial crowns each entrance. Jataka scenes (life story of the Buddha – said to be sourced from Mon texts) are embossed over 554 terra cotta tiles that decorate the base, sides and terraces. Each niche, inside the four entrances of the cubical structure, form the sanctum where standing Buddhas, fully gilded and in different mudras or forms are deified and worshipped.The two circumambulatory passages have vaulted roof. In these inner passages, surrounding the central cubicle, sculptural ornamentation in the form of 80 large reliefs carved out of volcanic rocks, representing Buddha’s life from birth to death, are depicted. The two main passages have cross passages also, which provide the link between the porch and the standing images of the Buddha.The external walls of the temple are 12 m in height. They are adorned with fortified parapet walls. Each corner has a ringed pagoda.
BUDDHAS
The four standing Buddhas are adorned with gold leaf and each Buddha image faces a direction, from north to south, stated to represent attainment of a state of nirvana; each is given a specific name, Kassapa (in Pāli, it is the name of a Buddha, the third of the five Buddhas’ of the present kalpa (the Bhaddakappa or 'Fortunate Aeon'), and the sixth of the six Buddhas prior to the historical Buddha) – south facing, Kakusandha (in (Pāli) is the name of the twenty-fifth Buddha, the first of the five Buddhas of the present kalpa, and the fourth of the seven ancient Buddhas) – north facing, Konagamana (the name of the twenty-sixth Buddha, the second of the five Buddhas of the present era, and the fifth of the seven ancient Buddhas) – east facing, and Gotama facing west. Out of the four images, the images facing north and south are said to be original, of the Bagan-style depicting the dhammachakka mudra, a hand position symbolizing the Buddha's first sermon, while the other two images are new replacements, after the originals were destroyed by fires. All the four images are made of solid teak wood (some say that the southern image is made of a bronze alloy). The four Buddhas placed in the sanctum, called the "Buddhas of the modern age", give an indication of Buddha's "sense of the omnipresence through space and time".The original south facing Buddha (called the Kassapa) has a unique architectural display, as, when it is viewed from close quarters depicts a sad look. However, the same image viewed from a distance gives an expression of mirthfulness.The east and west facing Buddha images are made in the later Konbaung or Mandalay style. The east-facing image of Buddha (known as 'Kongamana') is shown holding, between the thumb and middle finger, a small nutlike sphere – a herb. This herb is said to symbolically represent the Buddha suggesting dhamma (Buddhist philosophy) as a cure for misery and distress. In this mudra, both arms hang at the sides with palms stretching out. This mudra is not seen in traditional Buddhist sculpture outside this temple.In the west-facing Buddha, titled Gotama, the abhaya mudra is displayed – with hands outstretched in the gesture of fearlessness. At the feet of this Buddha two life-size statues made in lacquer, representing the crowned figure of King Kyanzittha kneeling piously in prayer, and Shin Arahan, the Mon monk who converted the King into Theravada Buddhism (meaning "the Teaching of the Elders") and as a primate also crowned the king, are also displayed. The western portico also depicts two Buddha footprint symbols on pedestals. An inscription below the small image of the King states that the King perceived himself as a "bodhisattva, a cakkavattin and incarnation of Lord Vishnu".
PLAQUES
Plaques are a special feature in the temple complex, which depict jataka tales; each plaque made of glazed Terra-cotta tiles representing one story of the jataka. Plethora of plaques is seen on the temple walls and terraces (five numbers). These are: at the base of the structure extending, from south to west, there are 552 images of Mara’s marching warriors intending to attack Buddha, and also a procession of gods; west to the north entrance warriors are shown vanquished by supernatural powers of Buddha; southwest comer of the first terrace to the northern side of the third terrace display 537 plaques, each related to a specific story from Jataka tales; on the northern side of the second terrace up to the fifth terrace depictions are from Tey Mi Jataka; the fifth terrace depicts 547 plaques of stories of Vessantara Jataka in two parts, 537 plaques in the first tier and the second set above the first tier on the roof depict 375 plaques of the last ten jatakas, the Mahanipata; the last ten lives of the Buddha are depicted in plaques of green colour. There are depictions of camels on the plaques, suggesting the influence of trade routes on the region.
STONE IMAGES
The stone sculptures, in the outer vaulted corridors, are considered unique in Bagan. 1500 stone images (mostly unclear due to wear and tear) are seen inside the temple. The special images carved from a single rock (average size is 1.1 m high, 0.74 m broad and 0.30 m thick) are those that depict 80 episodes from Buddha's life. Also seen are forty episodes from the last life of the Lord Buddha, beginning with an image of Setaketu Deva to Prince Siddhartha peeping through the tapestry for a last look at his consort Yasodhara and his newborn son Rahula, before he left the palace for the life of recluse in the forest.
PAINTINGS
Wall paintings inside the prayer halls of the temple have been mostly white washed. Some of the paintings still discernible on the south-west column of the northern devotional hall have been restored by the Department of Archaeology of Myanmar. Some of the paintings seen in good condition are: on the walls and ceiling of the eastern devotional hall; the pictures of re-appeared Buddha, north of the statue of standing Buddhas, Arahats and lotus flowers; and floral designs on the western entrance.
OTHER STRUCTURES
Ananda Oakkyaung is simply a Monastery built with red bricks, located within the precincts of the Ananda Temple. It was built in 1137 AD. Paintings of the 18th century are seen in the walls of the monastery, which also have an inscription that attributes building of the monastery to three brothers. Shin Thuddhamma Linkara, a highly venerated monk lived here.
Tharabha Gate is the only surviving gate of the ancient Bagan city (previously known as Pagan); the Ananda temple is located to its southeast. Tharabar, a word derived from the Pali word "Sarabhanga", which literally means "shielded against arrows". Tharabar was one of the 12 gates of entry to the Pagan city built by King Pyinbya, in 849 AD. Some stucco engravings of Ogres are still seen on the gate. It is believed that two spirits protect it namely, the brother "Lord of the Great Mountain" on the left of the gate and the sister "Golden face" on the right side.
MUSEUM
A field museum has been established near the Ananda temple in Pagan. The purpose is to study the artefacts in the ambience of their original settings.
FESTIVALS
The temple is also home to an annual week-long festival that is held during the month of Pyahto (December to January). During the festival, 1000 monks perform continuous chanting of scriptures for 72 hours. Thousands of villagers from miles around set up encampments around the temple. On the morning of the full moon day, they offer gift bowls to the monks in attendance.
WIKIPEDIA
I spotted this beauty in the parking lot at Dominick's in Edgewater, while getting some groceries for Mom's visit - another reason I never leave the house without my camera.
The Cutlass reigned supreme in 1977, accounting for 632,742 of 1,135,909 total Oldsmobiles produced for the model year - better than *half*. The Cutlass line was also America's No. 1 seller, for the second consecutive year for model year '77.
auto.howstuffworks.com/1973-1977-oldsmobile-intermediates...
Udayagiri and Khandagiri Caves (Odia: ଉଦୟଗିରି ଓ ଖଣ୍ଡଗିରି ଗୁମ୍ଫା) are partly natural and partly artificial caves of archaeological, historical and religious importance near the city of Bhubaneswar in Odisha, India. The caves are situated on two adjacent hills, Udayagiri and Khandagiri, mentioned as Kumari Parvat in the Hathigumpha inscription. They have a number of finely and ornately carved caves. It is believed that most of these caves were carved out as residential blocks for Jain monks during the reign of King Kharavela. Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15 caves.
The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this group is Ranigumpha in Udayagiri which is a double storeyed monastery.
COUNT OF THE CAVES
B.M. Barua, based on a reading of line 14 of the Hathigumpha inscription, declared that a total of 117 caves were excavated by Kharavela and others on the Kumari hill (Udayagiri). Marshall has counted more than 35 caves in both the hills, while M.M. Ganguli has enumerated only 27 caves.
The number of existing caves at Udayagiri is 18, while Khandagiri has 15. The local names of the existing caves are listed below, numbered according to the enumeration of the Archaeological Survey of India.
THE FAMOUS CAVES
In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well known due to art treasures of their sculptures and reliefs as well as due to their historical importance. Rani ka Naur (Queen's Palace cave, cave 1) is also an extensively carved cave and elaborately embellished with sculptural friezes. Khandagiri offers a fine view back over Bhubaneswar from its summit. The Ananta cave (cave 3) depicts carved figures of women, elephants, athletes, and geese carrying flowers.
INSCRIPTIONS IN CAVES IN BRAHMI
HATHIGUMPHA INSCRIPTIONS
The Hathigumpha cave ("Elephant Cave") has the Hathigumpha inscription, written by Raja Kharavela, the king of Kalinga in India, during the 2nd century BCE. The Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a natural cavern Hathigumpha in the south side of the Udayagiri hill. It faces the rock edicts of Asoka at Dhauli, situated about six miles away.
OTHER MINOR INSCRIPTIONS
Besides Hathigumpha Inscription of Kharavela, there are some other minor Brahmi inscriptions in the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD Banergy during 1915-16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical Quarterly-XIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I - MANCAPURI CAVE INSCRIPTION (Upper storey)
This inscription is engraved on the raised space between the second and third doorways of the cave. The text in Devanagari script is as under:
L.1- अरहंत पसादाय कलिंगानं समनानं लेनं कारितं राजिनो ललाकस
L.2- हथिसिहस पपोतस धुतुना कलिंग चकवतिनो सिरिखारवेलस
L.3- अगमहिसिना कारितं
Translation: By the blessings of Arhats, the chief queen of Kharavela, the Cakravarti monarch of Kalinga, the great granddaughter of Hathisiha (Hasti Simha) and the daughter of Lalāka or Lalārka caused to be excavated the cave for the sramanas of Kalinga.
II - MANCAPURI CAVE INSCRIPTION (Upper storey) - A
This inscription is incised on a raised bend between the 3rd and 4th doorways from the left and contains single line. The text in Devanagari script is as under:
ऐरस महाराजस कलिंगाधिपतिना महामेघवाहनस कुदेपसिरिनो लेणं
Translation: This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord of Kalinga.
Note: Kudepasiri seems to be the immediate successor of Kharavela.
III - MANCAPURI CAVE INSCRIPTION 'B' (Lower storey)
This inscription has been engraved on the right wall of Veranda, to the right of the entrance to the right-hand side chamber of the main wing, consisting of one line. The text in Devanagari script is as under:
कुमारो वडुखस लेणं
Translation: [This is] the cave of Prince Vaḍukha.
Note: On palaeographic ground Prof Banergy considers this inscription to be a little earlier than the inscription of King Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV - INSCRIPTIONS IN THE SARPAGUMPHA (Over the door way)
This inscription consisting of one line, is incised over the doorway of the Sarpagumpha. The text in Devanagari script is as under:
चूलकमस कोठाजेया च
Translation: The chamber and veranda/or side chamber of cūlakama.
Note: However Dr. Sahu interpreted Ajeya being united by a Sandhi qualifying Koṭha there by denoting invincible. But he ignored the conjunction ca (Devanagari: च) which follows Koṭha (Devanagari:कोठा) and Jeya (Devanagari:जेया).
V - INSCRIPTIONS IN THE SARPAGUMPHA ( to the left of the doorway) The text in Devanagari script is as under:
L.1- कंमस हलखि
L.2- णय च पसादो
Translation: [The pavilion is the] gift of Kamma and Halakhina.
Note: Most probably Halakhiṇa was the wife of Kamma. Chūlakamma - found in the inscription No.IV and Kamma of this record indicate official designations rather than the proper names. Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be a junior cadre of minister in the Department of works.
VI - HARIDAS CAVE INSCRIPTION
This inscription contains one line has been incised over one of the three entrances to the main chamber of the cave from the veranda. The text in Devanagari script is as under:
चूलकमस पसातो कोठाजेया च
Translation: The chamber and veranda (or side chamber) are the gift of cūlakama.
VII - VYAGHRAGUMPHA INSCRIPTION
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as under:
L.1- नगर अखंदस
L.2- स भूतिनो लेणं
Translation: The cave of Bhūti, the city judge.
VIII - JAMBESAVARA CAVE INSCRIPTION
This inscription has been engraved over the entrances to the inner chamber of the cave. The text in Devanagari script is as under:
महादस बरयाय नकियस लेनं
Translation: The cave of Mahamāda Nākiya and Bāriyā.
X - TATOWAGUMPHA INSCRIPTION (Cave No 1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text reads in Sanskrit as
पादमुलिकस कुसुमस लेणं x [॥]
Translation: The cave of Kusuma, the padamulika.
Notes: There is a syllable after the word lenam, which may be read as ni or phi,. padamulika literally means, one who serves at the feet [of king].
According to Kishori Lal Faujdar, Here Kusuma seems to be related with Kaswan clan of Jats. He refers an article ‘Hathi Gumpha and three other inscriptions’ (page 24) in Devanagari as under:
कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ.
Translation: This translates that the city of 'Masikanagara ' was obtained with the help of 'Kuswan' Kshatriyas.
Note: Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having a legend, has been discovered from Adam, situated on the right bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).
XI - ANANTA GUMPHA INSCRIPTION (A)
The record is incised on the architrave between the left ante and the fifth pillar. The text in Oriya script is: Odia: ଦୋହଦ ସମଣନ ଲେଖ (Devanagari: दोहद समणनं लेणं
Translation: The cave of the Dohada Śramaṇas.
LIST OF CAVES AT UDAYAGIRI
Ranigumpha
Bajagharagumpha
Chota Hathigumpha
Alkapurigumpha
Jaya-vijayagumpha
Panasagumpha
Thakuranigumpha
Patalapurigumpha
Mancapurigumpha
Ganesagumpha
Jambesvaragumpha
Vyaghragumpha
Sarpagumpha
Hathigumpha
Dhanagharagumpha
Haridasagumpha
Jagammathgumpha
Rosaigumpha
UDAYAGIRI
The Udayagiri hills fall on your right side when you enter into this area from Bhubaneswar. There are 18 caves in Udayagiri. Compared to Khandagiri, Udayagiri offers more beautiful and better maintained cave shrines.
1. RANI GUMPHA
Rani Gumpha is the largest and most popular cave among the caves of Udayagiri and Khandagiri. The word 'Rani' means Queen. Although it is not an architectural marvel, it has some ancient beautiful sculptures.
This cave is double storeyed. Each storey has three wings and the central wing is bigger among all the three wings. The lower floor has seven entrances in the middle wing whereas the upper floor has nine columns. The upper portion of the central wing has relief images depicting the victory march of a king. Many of the cells have carved dwara pala images; some of them are disfigured. The area that connects the central wing with right and left wings have some panels where the sculptures of wild animals, fruit laden trees, human figures, women playing musical instruments, monkeys and playful elephants are found. The pilasters contain the toranas (arches) decorated with sculptures of Jain religious importance and royal scenes.
2. BAJAGHARA GUMPHA
Bajaghara Gumpha is very simple and small. It has stone bed and pillow and it was obviously used as the Jain monks' shelter in the ancient times. Apart from the plain rectangular shaped pillars, there is no other sculpture found in this cave.
3. CHOTA HATHI GUMPHA
Chota Hathi Gumpha is small in size. It has six small elephant figures in the facade. The word 'chota hathi' means 'small elephant'.
4. ALKAPURI GUMPHA
Alkapuri Gumpha has a relief sculpture of a lion holding its prey in its mouth. The pillars with the human figures (divine beings) with wings are found in this cave. It is double storeyed.
5. JAYA VIJAYA GUMPHA
Jaya Vijaya Gumpha is double storeyed. It has a relief image of Bodhi tree with umbrella on its top and flanked by people worshipping it.
6. PANASA GUMPHA
Panasa Gumpha is very small and simple cave without any significant features.
7. THAKURANI GUMPHA
Thakurani Gumpha is double storeyd but is very simple in style. It has few tiny relief sculptures.
8. PATALAPURI GUMPHA
Patalapuri Gumpha is slightly bigger with a pillared verandah. However, there is no noteable feature in this cave.
9. MANCAPURI & SWARGAPURI GUMPHA
Mancapuri and Swargapuri Gumpha is double storeyed. It has a damaged Jain religious symbol which was probably used for worship.
There are three inscriptions found in this cave. One inscription talks about the chief queen of Kharavela. The other two inscriptions talk about Kudepasiri, the successor of Kharavela and Badukha, the son or brother of Kudepasiri.
10. GANESHA GUMPHA
Ganesha Gumpha is one of the most important caves in Udayagiri. The cave got this name due to carved figure of Ganesha on the back of its right cell. Of course, it would have been carved in the later period and it cannot be the original work. The cave has two big statues of elephants carrying garlands at the entrance. Also, the carved figures of dwara palas are found at the entrances. The carvings in this cave narrate the story of the elopement of Bassavadatta, Princess of Ujjayini, with King Udayan of Kausambi in the company of Vasantaka.
Above this cave, the ruins of an apsidal structure is found. It is believed that the legendary Kalinga Jina was placed here once. Kalinga Jina was the idol of Rishabhanatha, which had been taken away from Kalinga by Mahapadma Nanda. After 300 years, Kharavela won the Sunga King Bahasatimita and brought it back.
11. JAMBESVARA GUMPHA
Jambesvara Gumpha is a very simple and small cave with one column and two pilasters. The inscription tells that it is the cave of Nayaki, wife of Mahamade.
12. VYAGHRA GUMPHA
Vyaghra Gumpha is one of the popular caves in Udayagiri. The cave, which is in ruins, has the entrance carves like a large mouth of a tiger. It is one of the most photographed site in Udayagiri. The word 'vyaghra' means tiger. The inscription found here tells that this cave belongs to the city judge Sabhuti.
13. SARPA GUMPHA
Sarpa Gumpha is unusually very small cave. There are two inscriptions found in this cave. The word 'sarpa' means snake.
14. HATHI GUMPHA
Hathi Gumpha is a natural cavern. On the wall, the inscription erected by Kharavela is found. It is the main source of history of Kharavela. (The word 'hathi' means elephant)
15. DHANAGHARA GUMPHA
Dhanaghara Gumpha is a small cave which has two wide pillars and dwara pala sculptures carved at the entrance.
16. HARIDASA GUMPHA
Haridasa Gumpha is a small cave with three entrances and a verandah in the front side. There is an inscription found here.
17. JAGANNATHA GUMPHA
Jagannatha Gumpha is roughly cut cave with three entrances.
18. RASUI GUMPHA
Rasui Gumpha is unusually very small cave.
(Reeta,14024,SU)
LIST OF CAVES AT KHANDAGIRI
Tatowa gumpha No.-1
Tatowa gumpha No.-2
Ananta gumpha
Tentuli gumpha
Khandagiri gumpha
Dhyana gumpha
Navamuni gumpha
Barabhuji gumpha
Trusula gumpha
Ambika gumpha
Lalatendukesari gumpha
Unnamed
Unnamed
Ekadasi gumpha
Unnamed
The above nomenclature has no historical significance but is accepted at present for the convenience of scholars and general readers. The art of Udayagiri and Khandagiri, being almost contemporaneous with that of Sanchi, has a striking resemblance to it but at the same time retains its own individuality and advanced technique.
KHANDAGIRI
The Khandagiri hills fall on your left side when you enter into this area from Bhubaneswar. There are 15 caves in Khandagiri.
1. TATOWA GUMPHA
The parrots are carved above the entrance arch and hence it is called as Tatowa Gumpha. It has two dwarapala figures too.
2. TATOWA GUMPHA
The cave sharing the same name with the first cave has a veranda with pilasters containing exquisite carvings.
3. ANANTA GUMPHA
The cave has sculptures of women, elephants, geese, etc.
4. TENTULI GUMPHA
It is a small rock cut chamber with just one column.
5. KHANDAGIRI GUMPHA
It is a roughly cut cell and has double storeys.
6. DHYANA GUMPHA
It is a roughly cut cell.
7. NAVAMUNI GUMPHA
Navamuni Gumpha is a roughly cut cell with the sculptures of nine Jain Tirthankaras and Sasana Devis.
8. BARABHUJI GUMPHA
Barabhuji Gumpha has two relief images of twelve armed Sasana Devis, hence it is called as Barabhuji (meaning twelve armed) Gumpha. There are few Tirthankara sculptures also found in this cave. The Sasana Devis are worshiped as Hindu deity Durga nowadays. Funnily, the priests in this shrine claim some Jain Tirthankara sculpture as Surya.
9. TRUSULA GUMPHA
Trusula Gumpha appears to be reconverted in the medieval times. There are three sculptures of Rishabha Deva who is found in the standing posture and look beautiful. Apart from these sculptures there are sculptures of 24 Jain Tirthankaras which look rough.
10. AMBIKA GUMPHA
Few relief images of Sasana Devis are found here.
11. LALATENDU KESHARI GUMPHA
The relief images of Mahavira, Parshvanath and few Jain Tirthankaras are found here.
Caves 12, 13 and 15 are unnamed. Cave 14 is very simple and called as Ekadasi Gumpha.
(Reeta,14024,SU)
TICKETS
Entry fee for Citizens of India and visitors of SAARC (Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives and Afghanistan) and BIMSTEC Countries (Bangladesh, Nepal, Bhutan, Sri Lanka, Thailand and Myanmar) - Rs. 5 per head and for each foreigner is Rs. 100.00 or US $2.00 and free entry for children below 15 years.
TIMING
The monument remains open from sunrise to sunset.
WIKIPEDIA