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The building for the Royal stand at the Wellington Renbaan in Ootstende was built in 1947. It was designed by the architects G. Boutelier en P. Vanbeginne.
TIME STANDS STILL
Feb. 14-March 11, 2012
Written by Donald Margulies
Directed by Bud Martin
Richard Ehrlich: Bruce Graham*
James Dodd: Kevin Kelly*
Sarah Goodwin: Susan McKey*
Mandy Bloom: Megan McDermott*
Scenic Design: Dirk Durossette
Costume Design: Brian Strachan
Lighting Design: James Leitner
Sound Design: David O’Connor
Stage Manager: Marguerite Price*
Co-produced with Delaware Theatre Company
(c)2011 Matt Urban
* Member of Actors' Equity Assoc., the union of Professional Actors and Stage Managers in the United States.
Tempo Magazine Exclusive Interview: Stands With Fists
Interviewer - John Mares
Video and Photos - Stacy Fortson
Tempo Magazine Exclusive Interview: Stands With Fists
Interviewer - John Mares
Video and Photos - Stacy Fortson
I knew the farmer had baled the straw that afternoon and was hoping for a golden evening light. I also wanted round bales too but it was not to be. As soon as I saw the black stormy clouds, I decided to try an HDR to give it a moody feel.
In Linda Gorham’s story Rosa Parks : One of Many Who Sat Down to Stand Up Linda personalizes the words and action in a story of the famed Rosa Parks. The lesson plan explores the many other heroes of the civil rights movement who “sat down’ to stand up for justice. Self-worth, dignity and courage come alive. Download this lesson plan complete with audio story excerpts: www.racebridgesforschools.com/wp/?p=307
Department of Communication media stand, Palais des Nations, 107th Session of the International Labour Conference. Geneva, 30 May 2018.
Photo © Crozet / Pouteau
More information at : www.ilo.org
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S.A.R la Infanta Doña Elena y la Ministra de Educación del Gobierno de España, Mercedes Cabrera, junto al stand de la Universidad Camilo José Cela
The subway and the ramp were narrow. There are recesses in the ramp walls to allow staff to shelter, but he doesn't seem to have anywhere to go! Graffitti on the tram fender asks 'Any offers' so this is probably 5th April 1952, the last day of operation.
(a scan from my collection)
Its easy to stand with the crowd but it takes courage to stand alone......I love something a little different with my images and felt this one told a story...... A lone Tawny Owl stands looking out to the darkness of the night.......i feel blessed to have these beautiful wild Tawnys visit my property most evenings
Thomas Wright follows along in "The Other Side of Yellow" during a weekly adult literacy book club at The Newland Center on Oct. 19, 2011 in Syracuse.
To learn more, visit mysouthsidestand.com/voices/south-side-achiever/
-- Photo by Allison Milligan, The Stand Staff photo
Brihadeeshwara Temple (Peruvudaiyar Kovil) is a Hindu temple dedicated to Shiva located in Thanjavur in the Indian state of Tamil Nadu. It is also known as Periya Kovil, RajaRajeswara Temple and Rajarajesvaram. It is one of the largest temples in India and is an example of Dravidian architecture during the Chola period. Built by emperor Raja Raja Chola I and completed in 1010 AD, the temple turned 1000 years old in 2010. The temple is part of the UNESCO World Heritage Site known as the “Great Living Chola Temples”, with the other two being the Brihadeeswarar Temple, Gangaikonda Cholapuram and Airavatesvara temple.
The temple stands amidst fortified walls that were probably added in the 16th century. The vimanam (temple tower) is 216 ft (66 m) high and is the tallest in the world. The Kumbam (the apex or the bulbous structure on the top) of the temple is carved out of a single rock and weighs around 80 tons.
There is a big statue of Nandi (sacred bull), carved out of a single rock measuring about 16 ft (4.9 m) long and 13 ft (4.0 m) high at the entrance. The entire temple structure is made out of granite, the nearest sources of which are about 60 km to the west of temple. The temple is one of the most visited tourist attractions in Tamil Nadu.
History of Brihadeeswarar Temple
rulmozhivarman, a Tamil emperor who was popular as Rajaraja Chola I laid out foundations of Brihadeeswarar Temple during 1002 CE. It was first among other great building projects by Tamil Chola. A symmetrical and axial geometry rules layout of this temple. Temples from same period and two following centuries are expressions of Tamils Chola power, artistic expertise and wealth. Emergence of these types of features, such as multifaceted columns along with projecting signals of square capitals signifies arrival of Chola style, which was new at that time.
It is one architectural exemplar, which showcases true form of Dravida kind of architecture in temples and is a representative of ideology of Chola Empire and Southern India’s Tamil civilization. Brihadeeswarar Temple “testifies to Chola’s brilliant achievements in architecture, painting, bronze casting and sculpture.”
It is said that after seeing Pallava Rajasimha Temples in Kanchipuram, Emperor Rajaraja Cholan had the dream of establishing such a huge temple for Lord Shiva. Brihadeeswarar Temple is first among all buildings, which make use of granite fully and it finished within five years from 1004 AD to 1009 AD.
The greatest of Chola emperors Rajaraja-I (985 A.D – 1012 A.D) the son of Sundara Chola (Parantaka-II) and Vanavan mahadevi built this magnificent temple named Brihadeeswarar at Thanjavur – the capital of Chola dynasty.
From the Epigraphical evidence it is known about Rajaraja-I started building this temple on his 19th year and completed on 275th day of his 25th year. It took just 6 years to complete this work on 1010 A.D.
The Chola reign declined and they were ousted by the Pandyas who were in turn thrown over by the Vijayanagara Empire. In 1535, the Vijayanagara king installed a Nayak king and the clan, called Tanjore Nayaks, reigned till the mid-17th century. In 1674, the Marathas conquered Tanjore. Later, like the rest of the country, Thanjavur too fell into British hands.
The inscriptions and frescoes on the walls of Brihadeeswarar Temple record the rise and fall of the city’s fortunes. Shiva’s representation is as a gigantic stone lingam. This is covered by a vimanam that extends to 216 feet. It is built with stones that are bonded and notched without any mortar. The topmost stone, an engineering marvel, weighs about eighty tons.
Rajaraja-I named this temple as Rajarajesvaram and the deity Shiva in Linga form as Peruvudaiyar, the temple is also known in the deity’s name as Peruvudaiyarkovil (in Tamil language). In later period Maratta and Nayaks rulers constructed various shrines and gopurams of the temple.
The Brihadeeswarar Temple was completed in around 1010 in the southeastern part of the new capital Thanjavur constructed in the basin of the Kaveri (Cauvery) River by the king of the Chola Dynasty, Rajaraja I (r. 985-1014). It has also been called Rajarajesvara Temple after the king’s name. It is one of the two greatest temples from the age of the Chola Dynasty together with the Rajendra -Cholisvara Temple built in the next new capital, Gangaikondacholapuram, which was constructed by his successor Rajendra I. Those constructions were prodigious national projects showing the Chola Empire’s hegemony in south India.
It is said that the Brihadeeswarar Temple was erected in only seven years. Its precincts are surrounded with cloisters covering an area of 120m by 240m and are also surrounded outside with heavy brick walls for an area of 350m square including a large tank (reservoir).
There is a Nandi Shrine, two continuous extensive Mandapas (worship rooms), an Antarala (antechamber), and a Vimana with a high tower, all in line on the east-west axis.
On the same axis stand Gopurams (temple gateways) of the early phase at the eastern center of the cloister and the brick wall. They are the sole entrance spots to the temple precincts.
Though they are embellished with sculptures, they look much lower than later Gopurams of huge temples in south India, as the height of the Vimana is great in contrast.
The second Gopura on the line of the cloisters is 24m in both width and height, lower than the first Gopura, but its sculptures are larger, with a pair of Dvarapalas (guardian figures) on both sides of the doorway.
Nandhi of Brihadeeswarar Temple
In the cloisters surrounding the precincts is a line of Lingas (phalluses), symbol of Shiva, and wall paintings from the Nayaka period on the rear walls delight the eye of pilgrims. This Brihadeeswarar Temple made of granite and brick is the greatest work of the Dravidian (northern) style in its grand scale and high degree of perfection, alongside of the great temple in Gangaikondacholapuram. The development of stone temples in the southern Indian style, having started at the small temples at Mahabalipuram, reached their summit here. It became the model of the temples to be built in south India and Southeast Asia in the period of the Chola Dynasty.
However, after the end of the Chola Dynasty in the 13th century, temple style would change dramatically. Huge Vimanas would not be built anymore, rather temple precincts would be expanded, surrounding the temple in fold upon fold, and constructing only Gopurams in a colossal scale on the four sides. The outer Gopurams would be erected higher, and would eventually attain more than 60m. The relationship of height between the main shrine and its gates would be completely reversed. From this point too, the Brihadeeswarar Temple in Thanjavur is the best representative of orthodox south Indian temple architecture.
Popularity
Thanjavur Periya Koil is the grandest creation of Cholas and it is visible from any area in Thanjavur, perhaps the only temple with such a characteristic.
This temple is part of the UNESCO World Heritage Site “Great Living Chola Temples”. The temple became popular all over the country on its 1000th birthday in September 2010. In its commemoration, a rupees postage stamp, featuring the 216 feet tall Raja Gopuram (Vimana) was released by the India Post. A 5 rupee coin was released by the Reserve Bank of India. A 1000 Rupees Commemorative Coin with the same picture on the 5 rupees coin of Thanjavur Periya Kovil will be issued soon. This will be the first 1000 Rupees coin to be released in the Republic of India coinage, but it will not be for public circulation. In April 1954, the Reserve Bank of India had released a 1000 rupees currency note with panoramic view of the temple. Later, during the Indira Gandhi rule, all 1000 rupees notes were demonetized to curtail black money.
Temple Timeline
he much celebrated ‘Ponnambalam’ (temple with golden roof) at Thillai (Chidambaram) was just a few hours of journey away.
Thiruvarur, the most important ‘Sapta Vitanka Sthalam’, which had the patronage of the Cholas right from the days of Manuneedhi Cholan and Musukuntha Cholan, was also nearby.
So were numerous temples referred to as ‘paadal Petra Sthalangals’ – temples where the Saivite saints Appar, Sundarar, Sambandhar and Manickavasagar had sung Thevaram hymns (religious hymns praising the deeds of Lord Shiva).
Then, what made Rajaraja Cholan build a massive temple in his capital city?
Few centuries back, the Pallavas had given a new dimension to art and architecture. Under their patronage rose the majestic Rathas, Shore Temple and Yali Caves at Mamallapuram. Rajasimha Pallavan built two splendid temples in Kanchipuram ‘Paramesvara Vinnagaram’ and ‘Kailasanathar Kovil’. The latter, dedicated to Lord Siva, held Rajaraja Cholan’s attention. He called it ‘kachchipettu Periya Thali’ (The Big Temple of Kanchipuram). Rajaraja Cholan’s dreams and aspirations were always huge. The visionary he was in all matters, there is no wonder that he envisaged a huge temple to celebrate the power of divinity.
Many a people, have wondered why he chose to build an imposing monument. Did he want to showcase the power and might of his empire by building something colossal? Did he want to stamp his authority and tell the world, ‘Look what I have accomplished?’ Did he want to get rid of sins wrought by years of warfare or get a magical cure to a disease of unknown origin, as some people claim? May be the reason was simple. He wanted to show the whole world the towering presence of God that is everlasting against human life that is highly evanescent.