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KYRENAICA, Kyrene. temp. Ophellas. Ptolemaic governor, first reign, circa 322-313 BC. AV Drachm (14.5mm, 4.31 g, 5h). Polianthes, magistrate. Rider on horse prancing right; ΠOΛI to upper left / Silphon plant; K-Y/P-A in two lines across field; to right of base, small jerboa right. Naville 109l (this coin); SNG Copenhagen –; SNG Lockett 3471; BMC 132; Boston MFA 1329 = Warren 1353; Weber 8437 (all from the same dies). VF, a few marks. Rare.
From the collection of Dr. Lawrence A. Adams. Ex UBS 56 (28 January 2003), lot 176; Walter Niggeler Collection (Part I, Leu/Münzen und Medaillen AG, 3 December 1965), lot 533; Ars Classica XVII (30 October 1934), lot 654.
CNGTritonXIX, 2114
The Taj of the Deccan - Bibi ka Maqbara
The Bibi Ka Maqbara (English:"Tomb of the Lady") is a tomb located in Aurangabad, Maharashtra, India. It was commissioned by the sixth Mughal emperor Aurangzeb in 1660 in the memory of his first wife and chief consort Dilras Banu Begum (posthumously known as Rabia-ud-Daurani). It bears a striking resemblance to the famous Taj Mahal, the mausoleum of Aurangzeb's mother, Mumtaz Mahal. It is notable that Aurangzeb never raised monumental edifices during his half-a-century reign, but made just one exception, that is, to build the mausoleum of his wife. He was not very interested in architecture, though he had built the small, but elegant, Pearl Mosque at Delhi. The Bibi Ka Maqbara was the largest structure that Emperor Aurangzeb had to his credit.
The comparison to the Taj Mahal has often obscured its very own considerable charm. Due to the strong resemblance, it is also called the Dakkhani Taj (Taj of the Deccan). The Bibi Ka Maqbara is the principal monument of Aurangabad and its historic city. An inscription found on the main entrance door mentions that this mausoleum was designed and erected by Ata-ullah, an architect and Hanspat Rai, an engineer respectively. Ata-ullah was the son of Ustad Ahmad Lahauri, the principal designer of the Taj Mahal.
Dilras Banu Begum was born a princess of the prominent Safavid dynasty of Iran (Persia) and was the daughter of Mirza Badi-uz-Zaman Safavi (titled Shahnawaz Khan), who was the Viceroy of Gujarat. She married Prince Muhi-ud-din (later known as 'Aurangzeb' upon his accession) on 8 May 1637 in Agra. Dilras was his first wife and chief consort, as well as his favourite. She bore her husband five children: Zeb-un-Nissa, Zinat-un-Nissa, Zubdat-un-Nissa, Muhammad Azam Shah and Sultan Muhammad Akbar.
After giving birth to her fifth child, Muhammad Akbar, Dilras Banu Begum possibly suffered from puerperal fever, due to complications caused by the delivery and died a month after the birth of her son on 8 October 1657. Upon her death, Aurangzeb's pain was extreme and their eldest son, Azam Shah, was so grieved that he had a nervous breakdown. It became Dilras' eldest daughter, Princess Zeb-un-Nissa's responsibility to take charge of her newborn brother. Zeb-un-Nissa doted on her brother a lot, and at the same time, Aurangzeb greatly indulged his motherless son and the prince soon became his best-loved son.
Three years after her death, in 1660, Aurangzeb commissioned a mausoleum at Aurangabad to act as her final resting place, known as Bibi Ka Maqbara ("Tomb of the Lady"). It is notable that Aurangzeb never raised monumental edifices during his half-a-century reign, but made just one exception, that is, to build the mausoleum of his wife. Here, Dilras was buried under the posthumous title of 'Rabia-ud-Daurani' ("Rabia of the Age"). The Bibi Ka Maqbara bears a striking resemblance to the famous Taj Mahal, the mausoleum of Dilras' mother-in-law, Empress Mumtaz Mahal, who herself died in childbirth.
Bibi Ka Maqbara was the largest structure that Aurangzeb had to his credit. In the following years, her tomb was repaired by her son, Azam Shah, under Aurangzeb's orders. Aurangzeb, himself, is buried a few kilometers away from her mausoleum in Khuldabad.
Bibi Ka Maqbara is believed to have been built between 1660 and 1661 C.E. According to the "Tarikh Namah" of Ghulam Mustafa, the cost of construction of the mausoleum was Rs. 6,68,203-7 (rupees six lakh, sixty-eight thousand, two hundred three and seven annas) – Aurangzeb allocated only Rs. 7,00,000 for its construction. An inscription found on the main entrance door mentions that this mausoleum was designed and erected by Ata-ullah, an architect and Hanspat Rai, an engineer respectively. The marble for this mausoleum was brought from mines near Jaipur. According to Tavernier, around three hundred carts laden with marble, drawn by at least 12 oxen, were seen by him during his journey from Surat to Golconda. The mausoleum was intended to rival the Taj Mahal, but the decline in architecture and proportions of the structure (both due to the severe budgetary constraints imposed by Aurangzeb) had resulted in a poor copy of the latter.
The mausoleum is laid out in a Charbagh formal garden. It stands at the centre of a huge enclosure measuring approximately 458 m. N-S X 275 m. E-W. Baradaris or pillared pavilions are located at the centre of north, east and western part of the enclosure wall. The high enclosure wall is crenellated with pointed arched recesses and bastions at regular intervals. The recesses are divided by pilasters, crowned with small minarets. The mausoleum is built on a high square platform with four minarets at its corners, which is approached by a flight of steps from the three sides. A mosque is found to the west of the main structure, a later addition by the Nizam of Hyderabad, resulting in closure of the west entrance.
Entry to the mausoleum is through a main entrance gate on its south, which has foliage designs on brass plate on wood covering from the exterior. After passing through the entrance a small tank is provided and a low profile screen wall leads to the main structure. The screened pathway has a series of fountains at its centre.
The mausoleum is encased with marble up to the dado level. Above the dado level, it is constructed of basaltic trap up to the base of the dome; the latter is again built of marble. A fine plaster covers the basaltic trap and given a fine polished finish and adorned with fine stucco decorations. The mortal remains of Rabia Daurani are placed below the ground level surrounded by an octagonal jali pierced marble screen with exquisite designs, which can be approached by a descending flight of steps. The roof of this chamber that corresponds to the ground level of the mausoleum is pierced by an octagonal opening and given a low barricaded marble screen. This makes the tomb viewable from the ground level through this octagonal opening. The mausoleum is crowned by a dome pierced with trellis works and accompanying panels decorated with flower designs. The structure is in the form of a hexagon, its angles ornamented with minarets.
ONTARIO, CA - NOVEMBER 23, 2022: The Ontario Reign vs San Jose Barracuda at Toyota Arena. (Photo by Mike Zitek/Ontario Reign)
REIGN ad lib
April 28-30, 2011
Peter B. Lewis Theater
1071 Fifth Avenue
New York City
Dood Paard, an Amsterdam-based theater collective without a director or set designer, performed REIGEN ad lib, a verbatim and uniquely contemporary staging of playwright Arthur Schnitzler’s Der Reigen (1897). Scandalous during its time, Der Reigen was banned for more than 20 years, with only one unauthorized performance in Budapest in 1912. Performing on vintage mattresses, Dood Paard members were costumed in underwear and gaudy attire while sexual acts were intimated through stroboscopic projections of artist Marco Brambilla’s video Sync from Destricted (2006), a collection of short erotic films by various artists.
Photo: Enid Alvarez
(Foto is digitally captured from my paper print)
Borobudur is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside a perforated stupa.
Built in the 9th century during the reign of the Sailendra Dynasty, the temple's design in Gupta architecture reflects India's influence on the region. It also depicts the gupta style from India and shows influence of Buddhism as well as Hinduism. The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.
Evidence suggests Borobudur was constructed in the 9th century and abandoned following the 14th century decline of Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, then the British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the 8th and 9th centuries. Borobudur was likely founded around 800 CE. This corresponds to the period between 760 and 830 CE, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Buddhism, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountains around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 CE, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir hill, only 10 km east of Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 CE. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Sometime between 928 and 1006, King Mpu Sindok moved the capital of the Medang Kingdom to the region of East Java after a series of volcanic eruptions; it is not certain whether this influenced the abandonment, but several sources mention this as the most likely period of abandonment. The monument is mentioned vaguely as late as ca. 1365, in Mpu Prapanca's Nagarakretagama written during Majapahit era and mentioning "the vihara in Budur". Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the 15th century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the 18th century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for Mas Dana, a rebel who revolted against Pakubuwono I, the king of Mataram in 1709. It was mentioned that the "Redi Borobudur" hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of Prince Monconagoro, the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.
Lieutenant Governor-General Thomas Stamford Raffles took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate. In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.
The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859.
Borobudur attracted attention in 1885. The restoration was carried out between 1907 and 1911. Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975 and 1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991. It is listed under Cultural criteria "to represent a masterpiece of human creative genius", "to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design", and "to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance".
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square metres and they are distributed at the hidden foot and the five square platforms.
The narrative panels, which tell the story of Sudhana and Manohara,[69] are grouped into 11 series encircled the monument with the total length of 3,000 metres (9,800 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.[70]
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
Apart from the story of the Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).
At first glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism.