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Lappajärvi Impact Breccia (field of view 7.0 centimeters across) from the Lappajärvi Impact Structure in southwestern Finland (63º 09’ North, 23º 40’ East). This sample contains some fragments of impact melt, so the term suevite can be applied to this rock.
The Lappajärvi Impact Structure is located in east-central Vaasa Province, southwestern Finland. It's represents the eroded remnants of a Late Cretaceous impact event. The target area consists principally of Precambrian basement rocks of the Fennoscandian/Baltic Shield. Impact rocks at Lappajärvi include polymict impact breccias, suevites, and melt-matrix breccias. Impact-generated microdiamonds have been found in the impact rocks of this structure as well.
Age: 73-77 million years (Campanian Stage, late Late Cretaceous).
This structure is about two feet tall and was built in front of the bunker mounds. It wasn't clear who built it or what its purpose is.
City Palace forms one of the most famous tourist attractions and a major landmark in Jaipur. The beautiful palace was built by Maharaja Sawai Jai Singh during his reign. Among the various forts and palaces of Jaipur, City Palace stands apart, with its outstanding art and architecture. City Palace complex covers a huge area, which is divided into a series of gardens, courtyards and buildings. Initially, Raja Jai Singh built the outer wall occupying a huge area. The additional grand buildings were constructed later by the succeeding rulers.
A part of the exquisite Palace still makes home for the former Maharaja/ King. The premises consists several buildings like Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum. One would come across the Mubarak Mahal, as one enters the first square. Mubarak Mahal was built by Sawai Madho Singh in the 19th century to entertain his guests. Today, it has converted into a costume gallery, which displays royal attires of the Kings.
After crossing the first square, a beautiful gateway welcomes to Diwan-I-Khas, a hall meant for private audience. It has two sterling silver vessels on display and they are acclaimed to be the world's largest silver vessel. These vessels were made for Maharaja Sawai Madho Singh II to carry water from River Ganga to drink on his trip to England. Diwan-I-Aam, which was meant for public audience, forms the other attraction of this courtyard. At present, it makes an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures.
In the series, Maharani's Palace, which was meant for royal queens, has been converted into a museum, showcasing weapons dated back to 15th century. Chandra Mahal is essentially regarded as the best part, out of the whole tour to City Palace. It has seven stories and each story is known by a different name. The topmost story is known as Mukut Mahal. The wonderful architecture of this Palace with delicate paintings, mirror work on walls and floral decorations, makes it a "must-see" for every visitor. In the present day, this palace serves as the residence of ex-ruler.
Badal Mahal stands opposite to Chandra Mahal and while crossing the path, one would find Govind Dev Ji Temple between them. Above all these, the Palace also offers delicacies in its multi cuisine restaurant. To sum up, the City Palace is a structure of historical importance and a souvenir of the regal past. The palace, with its royal grace stands as a symbol of magnificence. All these features of City Palace leave the tourists with no other option, but to visit it.
A stupa (Chorten in Tibetan) (Sanskrit: m.,stūpa "heap") is a mound-like or hemispherical structure containing śarīra "relics", typically the remains of Buddhist monks or nuns, used as a place of meditation.
DESCRIPTION AND HISTORY
Stupas originated as pre-Buddhist tumuli in which śramaṇas were buried in a seated position called chaitya. After the parinirvana of the Buddha, his remains were cremated and the ashes divided and buried under eight mounds with two further mounds encasing the urn and the embers. The earliest archaeological evidence for the presence of Buddhist stupas dates to the late 4th century BCE in India. Buddhist scriptures claim that stupas were built at least a century earlier. It is likely that before this time, stupas were built with non-durable materials such as wood, or even as just burial mounds, little is known about these early stupas, particularly since it has not been possible to identify the original ten monuments. However, some later stupas, such as at Sarnath and Sanchi, seem to be embellishments of earlier mounds. The earliest evidence of monastic stupas dates back to the 2nd century BCE. These are stupas that were built within Buddhist monastic complexes. These stupas replicated older stupas made of wood in stone. Sanchi, Sarnath, Amaravati and Bharhut are examples of stupas that were shaped in stone imitating the previous wooden parts.
The stupa was elaborated as Buddhism spread to other Asian countries becoming, for example, the chörten of Tibet and the pagoda in East Asia. The pagoda has varied forms that also include bell-shaped and pyramidal styles. In the Western context, there is no clear distinction between the stupa and the pagoda. In general, however, "stupa" is used for a Buddhist structure of India or Southeast Asia while "pagoda" refers to a building in East Asia which can be entered and which may be secular in purpose.
Stupas were built in Sri Lanka soon after Devanampiya Tissa of Anuradhapura converted to Buddhism. The first stupa to be built was the Thuparamaya. Later on, many more were built over the years, some like the Jetavanaramaya in Anuradhapura being one of the tallest ancient structures in the world.
NOTABLE STUPAS
The tallest is the Phra Pathommachedi in Nakhon Pathom Province, Thailand, at a height of 127 metres The Swat Valley hosts one of the well-preserved stupa at Shingardar near Ghalegay and another stupa is located near Barikot in Pakistan. In Sri Lanka, the ancient city of Anuradhapura includes some of the tallest, most ancient and best preserved stupas in the world, such as Ruwanwelisaya.
The most elaborate stupa is the 8th century Borobudur monument in Java, Indonesia. The upper rounded terrace with rows of bell-shaped stupas contained buddha images symbolizing Arūpajhāna, the sphere of formlessness. The main stupa itself is empty, symbolizing complete perfection of enlightenment. The main stupa is only the crown part of the monument, while the base is pyramidal structure elaborate with galleries adorned with bas relief of scenes derived from Buddhist text depicted the life of Gautama Buddha. Borobudur's unique and significant architecture has been acknowledge by UNESCO as the largest buddhist monument in the world. It is the world’s largest Buddhist temple, as well as one of the greatest Buddhist monuments in the world.
TYPES OF STUPAS
Built for a variety of reasons, Buddhist stupas are classified based on form and function into five types:
Relic stupa, in which the relics or remains of the Buddha, his disciples and lay saints are interred.
Object stupa, in which the items interred are objects belonged to the Buddha or his disciples such as a begging bowl or robe, or important Buddhist scriptures.
Commemorative stupa, built to commemorate events in the lives of Buddha or his disciples.
Symbolic stupa, to symbolise aspects of Buddhist theology, for example, Borobuddur is considered to be the symbol of "the Three Worlds (dhatu) and the spiritual stages (bhumi) in a Mahayana bodhisattva's character."
Votive stupa, constructed to commemorate visits or to gain spiritual benefits, usually at the site of prominent stupas which are regularly visited.
SYMBOLISM
"The shape of the stupa represents the Buddha, crowned and sitting in meditation posture on a lion throne. His crown is the top of the spire; his head is the square at the spire's base; his body is the vase shape; his legs are the four steps of the lower terrace; and the base is his throne."
FIVE PURIFIED ELEMENTS
Although not described in any Tibetan text on stupa symbolism, the stupa may represent the five purified elements:
The square base represents earth
The hemispherical dome/vase represents water
The conical spire represents fire
The upper lotus parasol and the crescent moon represents air
The sun and the dissolving point represents the element of space
CONSTRUCTION
To build a stupa, transmissions and ceremonies from a Buddhist teacher is necessary. Which kind of Stupa to be constructed in a certain area is decided together with the teacher assisting in the construction. Sometimes the type of stupa chosen is directly connected with events that have taken place in the area.
TREASURY
All stupas contain a treasury filled with various objects. Small clay votive offerings called tsatsas in Tibetan fill a major part of the treasury. Creation of various types of tsatsas is a ceremony itself. Mantras written on paper are rolled into thin rolls, and put into these small clay stupas. Filling the treasury, one layer of Tsa-Tsas are placed, and the empty space between is filled with dry sand. On the new surface appearing, another layer is made, until the entire space of a treasury is full.
The number of tsatsas are dependent on the size of both the treasury and tsatsa, since it should be completely filled. For example, the Kalachakra stupa in southern Spain has approximately 14,000 tsatsas within.
Jewellery and other "precious" objects are also placed in the treasury. It is not necessary that the jewelry be expensive, since it is the symbolic value that is important, not the market price. It is believed that the more objects placed into the stupa, the stronger the energy of the Stupa will be.
TREE OF LIVE
A very important element in every Stupa is the Tree of Life. It is a wooden pole covered with gems and thousands of mantras, and placed in the central channel of the stupa. It is placed here during a ceremony or initiation, where the participants hold colorful ribbons connected to the Tree of Life. Together the participants make their most positive and powerful wishes, which are stored in the Tree of Life. In this way the stupa is charged up, and will start to function.
BENEFITS
Building a stupa is considered extremely beneficial, leaving very positive karmic imprints in the mind. Future benefits from this action will result in fortunate rebirths. Fortunate worldly benefits will be the result, such as being born into a rich family, having a beautiful body, a nice voice, and being attractive and bringing joy to others and having a long and happy life, in which one's wishes are fulfilled quickly. On the absolute level, one will also be able to reach enlightenment, the goal of Buddhism, quickly.
Destroying a stupa on the other hand, is considered an extremely negative deed, similar to killing. Such an action is explained to create massive negative karmic imprints, leading to massive future problems. It is said this action will leave the mind in a state of paranoia after death has occurred, leading to totally unfortunate rebirths.
TIBETAN STUPAS
There are eight different kinds of stupas in Tibetan Buddhism, each referring to major events in the Buddha's life.
LOTUS BLOSSOM STUPA
Also known as "Stupa of Heaped Lotuses" or "Birth of the Sugata Stupa," this stupa refers to the birth of Gautama Buddha. "At birth Buddha took seven steps in each of the four directions" (East, South, West and North). In each direction lotuses sprang, symbolizing the brahmavihāras: love, compassion, joy and equanimity. The four steps of the basis of this stupa is circular, and it is decorated with lotus-petal designs. Occasionally, seven heaped lotus steps are constructed. These refer to the seven first steps of the Buddha.
ENLIGHTENMENT STUPA
Also known as the Stupa of the Conquest of Mara. This stupa symbolizes the 35-year-old Buddha's attainment of enlightenment under the bodhi tree in Bodh Gaya, where he conquered worldly temptations and attacks manifesting in the form of Mara.
STUPA OF MANY DOORS
Also known as the Stupa of Many Gates. After reaching enlightenment, the Buddha taught his first students in a deer-park near Sarnath. The series of doors on each side of the steps represent the first teachings: the Four Noble Truths, the Six Pāramitās, the Noble Eightfold Path and the Twelve Nidānas.
STUPA OF DESCENT FROM THE GOD REALM
At 42 years of age, Buddha spent a summer retreat in the Tuṣita Heaven where his mother had taken rebirth. In order to repay her kindness he taught the dharma to her reincarnation. Local inhabitants built a stupa like this in Sankassa in order to commemorate this event. This stupa is characterized by having a central projection at each side containing a triple ladder or steps.
STUPA OF GREAT MIRACLES
Also known as Stupa of Conquest of the Tirthikas. This stupa refers to various miracles performed by the Buddha when he was 50 years old. Legend claims that he overpowered maras and heretics by engaging them in intellectual arguments and also by performing miracles. This stupa was raised by the Lichavi kingdom to commemorate the event.
STUPA OF RECONCILIATION
This stupa commemorates the Buddha's resolution of a dispute among the sangha. A stupa in this design was built in the kingdom of Magadha, where the reconciliation occurred. It has four octagonal steps with equal sides.
STUPA OF COMPLETE VICTORY
This stupa commemorates Buddha's successful prolonging of his life by three months. It has only three steps, which are circular and unadorned.
STUPA OF NIRVANA
This stupa refers to the death of the Buddha, when he was 80 years old. It symbolizes the Buddha's complete absorption into the highest state of mind. It is bell-shaped and usually not ornamented.
KALACHAKRA STUPA
A ninth kind of stupa exists, the Kalachakra stupa. Its symbolism is not connected to events in the Buddha's life, but instead to the symbolism of the Kalachakra Tantra, created to protect against negative energies.
SWAT DISTRICT
Swat District is a small place with large number of ancient Stupas.
WIKIPEDIA
struts were made by wrapping newspaper around dowels. for some struts, the dowel was left inside the rolled up newspaper.
This magnificent structure was first erected as a Jesuit college (Colégio da Companhia de Jesus) in 1610. It was destroyed by fire in 1670 and rebuilt in 1674. It became the Governor's Palace (Palácio dos Capitães-Generais) after the Jesuits were expelled from all Portuguese territories in 1759 and served in that function until the colonial administration was moved to Lourenço Marques (now Maputo) in 1898. After that, it became the residence of the district governor.
After independence in 1975, the Palácio de São Paulo (usually referred to as Governor's Palace in English) was converted into a museum. It displays an eclectic collection of colonial furniture, art, a maritime exhibit, and other memorabilia. The Capela de São Paulo which is part of the complex is noted for its 17th century pulpit and altar from the Portuguese Goa colony (India).
The monument is dedicated to the Portuguese navigator Vasco de Gama who first landed here in 1498.
After some fiddling i now manage to store data structurally in Liferay's structures, and lift it to the website using Velocity templates.
Merci à fmcp qui m'a fait rechercher cette image de 2008 (au Pentax) pour compléter ma série structure.
D'autres choses à voir ? Ne passez pas à côté de la page 2 ??? - - - - >>> Allez-y !
Did you see the page 2 ??? - - - - >>> Let's go !
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_IGP8496 - LR3
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A whistlestop tour of the Structures Exhibition in Henley on Thames, organised by the Quilters' Guild Contemporary Quilt Group.
TUJUNGA - LAFD was summoned to 6461 West Valmont Street in Tujunga at 2:51 AM on Sunday, October 18, 2020, for a residential structure fire. Twenty-six firefighters engaged in battle, starting with a defensive attack from the exterior and transitioning to an offensive attack inside the structure, ultimately eliminating the flames in 33 minutes. There were no reported injuries.
© Photo by Brandon Buckley
LAFD Incident: 101820-0162
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
NORTHRIDGE - 40 firefighters found the garage (attached) of a single-family home fully involved and extinguished the fire in 13 minutes. Initial reports of a person trapped in the fire room proved to be false after a thorough search. The fire was stopped quickly before extending into the home. No reported injuries.
© Photo by Jacob Salzman
LAFD Incident: 060419-1230
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Fracture-filling gypsum ("selenite") from the Eocene of Canada. (13.8 centimeters across at its widest) (Centre for Planetary Science and Exploration collection, London, Ontario, Canada)
The Eocene-aged (39 Ma) Haughton Impact Structure is located on Devon Island in northern Canada. The target rocks were Middle and Lower Paleozoic sedimentary rocks, floored by Precambrian metamorphic rocks. Clasts of these surface and subsurface target rocks occur in abundance at the Haughton Structure, eroding from impact breccias. Shattercones also occur, sometimes in sufficient abundance to trip over them.
The rock seen here is a very post-impact, low-temperature vein filling of macrocrystalline gypsum ("selenite").
At 9:53PM on December 16, 2020 the Los Angeles City Fire Department responded to 20150 W Sunburst St for a reported structure fire.
The first arriving fire companies found a one story, commercial building with fire through the roof and requested additional resources. The 28,556 square foot building, built in 1981, was well involved in fire and a decision was quickly made to transition to a defensive mode.
Truck companies put ladder pipes into operation and firefighters used large diameter hand lines to hit the target from all sides. Crews successfully defended the adjacent structures from sustaining damage.
Ultimately, over 120 firefighters working under the leadership of Assistant Chief Corey Rose achieved a knockdown in one hour and thirty-four minutes. One firefighter was transported to the hospital with serious but non-life threatening burn injuries.
The concrete, tilt-up building sustained heavy damage, to include roof collapse, which left it dangerously vulnerable to further collapse of the walls. Consequently, the Department of Building and Safety red-tagged the structure for safety purposes. Overhaul operations and cause investigation were held off until morning while fire companies remained on scene in a fire watch. The RS3 Robotic Firefighting Vehicle was also on scene to assist with interior operations if needed through the night.
© Photo by Shane Salzman
LAFD Incident: 121620-1711
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Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
NORTH HOLLYWOOD - LAFD firefighters battled a blaze in three adjacent commercial buildings, fending off electrical hazards and building collapse, to extinguish the inferno in just over 3 hours.
A pile of oily rags were the culprit of a massive commercial structure fire on Lankershim Blvd just before midnight on November 1, 2019. Painting-related chemicals provided for a chemical reaction with the rags they were saturating and produced enough heat for them to spontaneously combust. Firefighters arrived to find fire blowing through the roof of the commercial building. Crews made access to enter the building and began cutting holes in the roof to ventilate the structure. As fire blew out of every hold that was cut, despite their continuous attempts to retreat to a less involved area to continue cutting, the decision was made to pull companies off the roof and out of the structure, and assume a defensive posture. The heavy fire load in the business quickly grew the fire, which spread to two more nearby commercial buildings.
The combined 40,000 square-foot fireball burned for over 3 hours, while 127 firefighters worked the perimeter to "surround and drown" the fire. Firefighters navigated around electrical wires down, and roof and wall collapses during the fight. By nearly 3:00 AM, the flames waved the white flag and gave up, succumbing to the three hour tour of large-diameter hose streams raining down, guided by spotters on the radio with a better vantage point. Ladder pipes, portable monitors, and 2-1/2-inch hand lines were all used in the deluge. The emergency was mitigated, but the work was not done.
Firefighters stayed on scene to overhaul the buildings and the debris pile for days following, while the pile continued to smoke. Plastics and other materials had melted throughout the pile, creating a water-resistant layer that protected hot spots under the surface from hose streams. LAFD tractor companies came out at first light the next morning to turn over the pile. A track loader (Caterpillar 953) and a wheel loader (Caterpillar IT28), driven by LAFD Heavy Equipment Operators, worked for days to continue overhauling the buildings and turn over debris, allowing firefighters to continue to put water on the materials to cool it off. Companies from all over the city rotated shifts during the days after, on "fire watch" to ensure nothing flared up and to continue to apply water while the tractors operated.
Fire investigators from the LAFD Arson/Counter-Terrorism Section obtained video evidence that enabled them to make the determination that the cause was accidental, due to spontaneous combustion. Near the end of the video from an internal surveillance camera, rags with painting-related chemicals on them (left on a bench) can be seen spontaneously combusting due to a chemical reaction. This is a sobering reminder to properly dispose of oily and chemical-soaked rags properly. Fortunately, no one was hurt during this Major Emergency fire.
© Photo by Rick McClure
LAFD Incident: 110119-1860
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