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Class 66 No.66734 works towards the setting sun with the 6V87 Middlesbrough Dawson Gbrf to Trostre Works (Gbrf) at Water Orton. 05-03-24.
For alternative railway photography, follow the link:
www.phoenix-rpc.co.uk to the Phoenix Railway Photographic Circle.
A line of crystal chandeliers under graceful arches at the south riwaq of the main prayer hall of the Sultan Qaboos Grand Mosque in Muscat, Oman.
假日苦惱無處可去
想出門好好轉換心情
卻對想去哪非常猶豫嗎？
給自己一個放鬆機會
也給自己開開眼界的地方
跟著心戀逢甲認識台中不一樣的美
[牛罵頭遺址]
[caption id="attachment_452" align="aligncenter" width="800"] 台中景點推薦—牛罵頭遺址[/caption]
圖片來源：https://www.flickr.com/photos/goldentime/16324896911
歲月總是需要花時間品味
遺址內充滿著過去時代的痕跡
放下平日工作緊湊的腳步
看著建築
體驗著先人生活的智慧
看著周遭的樸實的裝飾品
享受著先人留下來的巧思
我們在史前時代漫步
一同搭乘進入這一條台灣的歷史時光機
地址: 臺中市清水區鰲峰山臺中港特定區市鎮公園
[外埔忘憂谷]
[caption id="attachment_453" align="aligncenter" width="800"] 台中景點推薦—外埔忘憂谷[/caption]
圖片來源：http://car0126.pixnet.net
平日的煩惱以及憂愁
總是讓自己非常困擾
選個時間來這忘憂谷
隨著一年四季的轉換
你將會得到大自然送給你不一樣的面貌
享受大自然送給你不一樣的驚喜
將自己的煩惱憂愁讓季節幫你一掃而空吧！
地址: 台中市外埔區溪底路
[清水公學校日式宿舍群]
[caption id="attachment_454" align="aligncenter" width="800"] 台中景點推薦—清水公學校日式宿舍群[/caption]
圖片來源：https://nanai.tw/2017-05-07-986/
漫步在步道上
享受著日式所散發出來的典型美
伴隨著牆上所留下來的介紹
將自己會不經意的走進過去的時代
還真會把自己誤認為是過去的學生呢
回味著當時的青春甜澀
搭配著和服，學生服
拍下最日式風格的自己
也可以讓自己散發出屬於自己的日式美哦～
地址: 台中市清水區鎮南街59號
[高美濕地]
[caption id="attachment_455" align="aligncenter" width="800"] 台中景點推薦—高美濕地[/caption]
圖片來源：https://travel.taichung.gov.tw/
緩慢的風車，柔和的太陽
踏在濕地上，伴隨著夕陽的西下
把握住他這一天最美麗的時刻
照在水面上的那溫柔又浪漫的光線
將時間放慢，將緊湊的自己放慢
與同行人 望著遠方的海平線
一起度過屬於你們自己的漫步時光
地址: 臺中市清水區大甲溪出海口
[鰲峰山觀景平台]
[caption id="attachment_456" align="aligncenter" width="800"] 台中景點推薦—鰲峰山觀景平台[/caption]
圖片來源：http://car0126.pixnet.net
很難想像白天看似平凡的觀景平台
到了晚上卻超出自己預料
給自己一個上帝視角
你可以在這度過台中最美的一個夜晚
伴隨著平台下的每一盞燈光
照耀自己從未享受的夜光之美
給自己一個享受的機會
這裡，將會讓你度過最愜意的夜晚
地址：台中市清水區鰲峰里大街路觀音巷36-8號
【交通資訊】
中山高中港交流道下->接台中港路往沙鹿方向->轉中山路往清水大甲方向->依指標行進往清水鰲峰山公園->進入公園第一個路口右轉->即可到達。
清水，一個靠近海邊的地區
伴隨著海風，稻田的飄逸
一年四季總貌似可以呈現不一樣的清水
有山、有海、有稻田、有花海
可以追尋歷史的痕跡
也可以觀看現今得美景
如果想去靠海邊的朋友
帶著親人，朋友，愛人
來到清水創造回憶享受漫步調的風景，非常不錯的選擇哦！
延伸閱讀：
台中清水眷村文化園區》清水眷村文化園區歷史緣由｜美食推薦｜交通資訊
#2018 台中景點推薦-【台中藝術+親近大自然+拍照打卡】拍照勝地優質首選
【台中高美濕地一日遊】#2018高美濕地必去附近旅遊景點推薦
這篇文章 台中清水景點一日遊 最早出現於 心戀逢甲。
via 心戀逢甲 - Feed relaxspace.tw/%e5%8f%b0%e4%b8%ad%e6%b8%85%e6%b0%b4%e6%99%...
Five pictures of courting Gannets taken at Bempton Cliffs on the 13th of August 2024. In the first picture possibly, the male Gannet has flowers in its beak as a gift for its partner at the start of the courtship. The Gannets heads weaved around each other for around 30 seconds culminating in the last shot where they aligned their beaks before flying away.
Mekelle– Ethiopia, 24th January 2016: Members of African Union (AU) Executive Council converged in the Tigray region of Mekelle, on 24 January 2016, within the framework of their third Ministerial Retreat, holding under the theme: “Implementation of Agenda 2063”. The Ministerial Retreat was chaired by Hon. Simbarashe S. Mumbengegwi, Ministers of Foreign Affairs of the Republic of Zimbabwe and Chairperson of the Executive Council, in the presence of H.E. Dr Nkosazana Dlamini Zuma, Chairperson of the African Union Commissioners, H.E Mr. Erastus Mwencha, Deputy Chairperson of the AUC. Hon. Dr Tedros Adhenon Ghebreyesus, Ministers of Foreign Affairs of the Federal Democratic Republic of Ethiopia, H.E Abay Weldu, President of the Regional Authority of Tigray, representatives from AU Organs, the UNECA, NEPAD, RECs AfDB, AU Commissioners , the AUC Secretary General, and the Legal Counsel of the AUC, and invited guests.
President Weldu welcomed the participants in the city of Mekelle and presented the historical background of the region which he qualified as courageous and privileged population who inherited the most archeological objects and sites of humanity. He said the agenda of this retreat has a significant meaning to the Tigray tribe/people of Ethiopia. He appreciated the vision of the Union aimed at creatiing an integrated, prosperous and peaceful Africa”.
In her opening remarks, Dr. Nkosazana Dlamini Zuma, AUC Chairperson, recalled the first retreat in the city of Ethiopia Bahir Dar in 2014, where she introduced the Dream of the African People in “the e-mail from the future”, among others. “Two years ago, as we concluded the 50th anniversary of the OAU/AU, we met as in retreat in the city of Bahir Dar, to discuss the core responsibilities of this important organ, the Executive Council. It was then when I spoke about our dream of the Africa we want, in the e-mail from the future.
Two years later, as we gather here in Mekelle, Tigray region we can report that we have made some headway. As discussed at this retreat, we now have Agenda 2063 as our clarion call for action, supported by all sections of the African society”, stated the AUC Chairperson. She explained that, “we are now clear on the priorities of Agenda 2063, investing in our people, especially youth and women; in agricultural modernization and agro-businesses; in manufacturing and industrialization; the development of our infrastructure; democracy and developmental governance, as well as the need of silencing the guns by 2020.”
“Our Agenda 2063 flagship projects - such as the free movement of people, the Commodities strategy, the Pan African Integrated High speed Rail network - is taking off, and should help towards our vision of an integrated, peaceful and prosperous Africa, driven by its own people and taking its rightful place in the world”, underscored Dr. Dlamini Zuma.
Referring to the song on Agenda 2063 composed by a group of artists from Zimbabwe, played during the opening ceremony of the retreat, the AUC Chairperson called on other artists within the continent to emulate the good example. “ I would like to thank the Zimbabwean artists who came up with that song on Agenda 2063, and I challenge all of us to encourage our artists to compose as many songs as possible. Of course as the Chair of the Union, Zimbabwe led from the front”. She thanks the Mekelle authorities for hosting the AU Ministerial retreat and wished the Ministers fruitful deliberation. (See complete speech of the AUC Chairperson on the website: www.au.int ).
The Chairperson of the Executive Council on his part, recalled the high moments and priorities on Agenda 2063 saying “our Agenda is centred in the review of implementation of decisions taken during the 2nd Ministerial retreat and update on the implementation of the 1st ten year plan of Agenda 2063, the free movement of goods and persons, the issue of Immigration and tourism and wild life preservation”. Minister Mumbengegwi stressed that “as we continue streamlining and improving the working methods of our Union, we also need to consider how best we can align our bi-annual Summits in order to improve the effectiveness of our organisation and to give ourselves ample time to implement our decisions”. He expressed satisfaction to the fact that notable success has already been achieved in this vein, hence the need to proffering new and innovative ideas that will take the organisation to greater heights. (See complete speech of the Executive Chairperson on the AU Website: www.au.int) .
Speaking earlier, Hon. Dr. Tedros Ghebreyesus, stressed on the importance of holding the ministerial retreat which he said will enhance friendly and convivial relationship between the ministers. The Minister of Foreign Affairs of the Federal Democratic Republic of Ethiopia said such gathering will enable the participants to express themselves freely while socialising with one another. He called on his pars saying, “We have a number of important issues to deliver including exchanging views and best practices on how to domesticate and enhance the implementation of agenda 2063 and its flagship projects.
Organized by the African Union Commission (AUC), the third Ministerial Retreat aims at brainstorming and exchanging ideas on critical issues related to the implementation of the Africa Agenda 2063 so as to give clear direction and guidelines on devising best ways and means for its domestication to help improve the living conditions of the African citizens.
The Ministers will among other things consider AU Commission Restructuring Project, the free movement of people, African tourism, wild life conservation, and state of the African tourism sector and its opportunities and challenges.
At the end of its deliberations, the Ministerial Retreat will adopt the Mekelle Ministerial Retreat draft Outcomes document to be tabled during the Executive Council meeting scheduled to hold on 27 and 27 January 2016 for adoption. The AU Ministerial Retreat ends on Tuesday 26th January 2016.
AMT/ EAT
Media inquiries should be directed to:
Mrs Esther Azaa Tankou| Ag. Director of Information and Communication | African Union Commission | Tel: +251 (0) 911361185 | Fax: (251) 11 551 78 44 | E-mail: yamboue@africa-union.org|
For further information:
Directorate of Information and Communication | African Union Commission I E-mail: DIC@african-union.org I Website: www.au.int I Addis Ababa | Ethiopia
Follow us
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Twitter: twitter.com/_AfricanUnion
YouTube: www.youtube.com/AUCommission
Learn more at: www.au.int
About the African Union
The African Union spearheads Africa’s development and integration in close collaboration with African Union Member States, the Regional Economic Communities and African citizens. AU Vision: to accelerate progress towards an integrated, prosperous and inclusive Africa, at peace with itself, playing a dynamic role in the continental and global arena, effectively driven by an accountable, efficient and responsive Commission. Learn more at: www.au.int
Jupiter, Venus, and the Moon align at twilight, as seen from the Ontario roof deck, February 23, 2012
Here's a closer look at my shark pillows.
The most challenging part of this project was to get the colors and patterns to align and complement each other, without being completely matchy.
The embroidery is based on some sharks I got from online coloring pages.
American Bobby Reynolds in his first round match against compatriot Jesse Witten.
Witten won this match and went on to qualify by beating Greg Jones and Go Soeda.
www.lapressegratuite.com/2011/01/une-interview-de-popcorn...
[caption id="attachment_1847" align="alignleft" width="212" caption="PopCorn Mag&Zine n°2"] [/caption]
Autour d’un thème, la mort et le vice pour les deux premiers numéros, dieu pour le troisième, PopCornZine en version papier est un « donation-based product » (il est gratuit), un « name-your-own-price » (ceux qui souhaitent s’abonner définissent eux-mêmes leur prix) et un « send-us-what-you-want » (ceux qui souhaitent participer le peuvent).
PopCorn est un Mag&Zine, plus proche du fanzine que du mag d’ailleurs. Entre Guillaume Derville, responsable et coupable, Pierre-Arnaud Gillet, responsable en idées et mots tordus et Jean-Loup Seuret, responsable en images et BD ardues, il y a les tribunes libres de tout un chacun, et l’occasion pour nous de leur proposer une interview collaborative, à trois voix ou six mains :
Alors, PopCorn, qu’est-ce que c’est ?
À l’instar de Magritte et de sa pipe qui n’en est pas une, ceci n’est pas un magazine.
Pop Corn en a pourtant les attributs communs, laissant à penser qu’il pourrait être masculin. Erreur. Pop Corn n’est ni un magazine, ni masculin ni même féminin.
Pop Corn est asexué, apolitique et absolument pas un magazine malgré ses apparences trompeuses.
Pop Corn se veut un maelström de bonnes idées, d’images léchées, de mots aiguisés, d’artistes pas nécessairement engagés mais toujours de qualité.
Pop Corn est un cabinet de curiosités en version papier.
Pop Corn a pour vocation de vous libérer l’esprit pour un moment ou plus longtemps, de vous remuer les neurones, de vous émerveiller, de vous troubler l’occiput.
Et en plus, Pop Corn vous invite même à y participer car on n’est jamais mieux servi que par les autres. Plus proche du fanzine que de l’organe de presse officiel, Pop Corn s’invente grâce à vous, pour vous, par vous. Et un peu de nous.
Un peu plus d’une quarantaine de personnes ont participé au dernier numéro, illustrations, dessins, peintures, photos, proses ou poèmes vous allez les chercher, ils viennent vers vous ? Comment choisissez-vous les contributions ?
Ils viennent vers nous, et nous faisons un appel à contribution dans nos réseaux.
La belle idée du fanzine est d’être un journal dont la ligne éditoriale est libérée des impératifs de rentabilité : pas de langue de bois, pas de publicité, pas de financier... Si l’on se doute que les contributions sont spontanées et non rémunérées, qui paye en revanche le papier, l’imprimeur et la livraison, le développement du site Web… ?
Guillaume Derville
Certains disent que PopCorn est un fanzine de pubards pour les pubards, que leur répondez-vous ?
C'est un fanzine pour les créatifs, qu'ils soient en agence ou ailleurs. Il fait le lien entre la pub et les talents.
Ceux qui disent cela ne l'ont pas lu !
Où PopCorn est-il distribué ?
Toutes les grandes agences parisiennes, Colette, Artazart, au Palais de tokyo, le Bus Palladium, les galeries d'art et toutes les bonnes boucheries.
Parlez-nous de PopCornZone
Plus qu'un magazine, PopCorn est un Mag & Zine. Plus qu'un blog, PopCornZone est un portail de promotion de talents où qu'ils soient dans le monde. Artistes, illustrateurs, graphistes ou photographes, PopCornZone est une nouvelle manière de représenter ces talents, de les promouvoir en mettant leur travail en lumière.
PopCorn dans 3 ans ?
Seul Dieu le sait ( theme du prochain : God)
Merci !
[caption id="attachment_1857" align="aligncenter" width="574" caption="PopCorn Zine n°1"] [/caption]
Le site web Popcornzine ( les 2 premiers n° sont dessus en pdf)
PopCorn Zine sur Facebook
PopCorn Zone sur Facebook
Et le meilleur moyen de se tenir informé de l'actu de Popcorn est de s'abonner à leur newsletter sur www.popcornzone.fr/
HDR and stitched in Photoshop. I used the "manual" tonemapping method described here - It is quickly becoming my favorite method of creating HDR images. I first created all four HDR panels in Photoshop, then manually aligned them. All the work was done non-destructively with Smart Object layers. The origial file is 666.5 Mb (for the non-geeks out there, it's about the size of a CD ROM).
Beltway Orthodontics is proud to offer retainers for life or permanent bonded retainers. Visit us and let us take care of your dental service needs.
Exploring the abandoned foundry factory of COMETNA, in Odivelas, Portugal.
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If you liked my work, take a look at my Instagram gallery, where I share some of the things I've been doing (travels, music, lifestyle) and where I post other pictures that are not yet on Flickr as well as some edits:
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In case you want to use any of my pictures just send me a message so we can talk about it.
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Any favourite, like or share is appreciated and would greatly help me in my photographic journey. Thanks a lot for your support.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD, Peruvudaiyaar Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimanam (or temple tower) is 66 m) high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimanam.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. . The temple is said to be made up of about 60,000 tons of sandstone and granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple portrays the figure of the Thanjavur Temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises which is an architectural amazement in the world of architecture.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
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