View allAll Photos Tagged applicable
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Flower Lantana Camara - @ Pala, Kerala,India.
Revisited.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Lantana is a genus of about 150 species of perennial flowering plants in the verbena family, Verbenaceae. They are native to tropical regions of the Americas and Africa but exist as an introduced species in numerous areas, especially in the Australian-Pacific region. The genus includes both herbaceous plants and shrubs growing to 0.5–2 m (1.6–6.6 ft) tall. Their common names are shrub verbenas or lantanas. The generic name originated in Late Latin, where it refers to the unrelated Viburnum lantana.
Lantana's aromatic flower clusters (called umbels) are a mix of red, orange, yellow, or blue and white florets. Other colors exist as new varieties are being selected. The flowers typically change color as they mature, resulting in inflorescences that are two- or three-colored.
"Wild lantanas" are plants of the unrelated genus Abronia, usually called "sand-verbenas".
Source : en.wikipedia.org/wiki/Lantana
Date: Circa 1910
Source Type: Stereocard
Publisher, Printer, Photographer: J. R. Melcher
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: Handwritten faintly in pencil on the reverse of this stereocard is "Orofino, Idaho photograph."
This thresher was powered by two horses hitched to a lever arm that would turn a main gear. The main gear meshes with additional gears to turn a tumbling rod, which is similar to a drive shaft on an automobile. Typically, the tumbling rod would be connected directly to the gearing on the threshing machine and powered by four, six, or eight horses pulling on lever arms. However, since it appears that this was a two-horse threshing operation, the shaft was attached to a large belt wheel, thereby increasing the power transferred to the thresher.
Photographer John Root Melcher was born February 18, 1863, in Hocking County, Ohio, the son of Henry and Sophrona (Root) Melcher. Melcher would move to Edgerton, Hanson County, South Dakota, and work as a photographer in that area. In the late 1890s, John and his family were living in Iowa. The family would remove to Washington in the early 1900s and then to Peck, Nez Perce County, Idaho, by 1910.
John R. Melcher appears in the 1910 federal census of Peck, Idaho, residing with his wife Harriet May (Hickey) Melcher, and their seven children; namely, Winona (age 17), Joy (age 13), Cleo (age 12), Bernice (age 10), Carmel (age 8), Gladys (age 4), and Glee (age 9 months). In Peck, John was still earning a living as a photographer.
John R. Melcher passed away on December 18, 1925, in Seattle, King County, Washington. He is interred at Crown Hill Cemetery in Seattle.
Copyright 2016. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Goddess Kali standing on the chest of Lord Shiva -
A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.
To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.
The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.
Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.
Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.
Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.
Source : en.wikipedia.org/wiki/Gotipua
Mullimunth Toda temple @ Nilgiris. Snapped at isolated Nilgiri plateau of Tamil Nadu, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
According to the Todas, the goddess Teikirshy and her brother first created the sacred buffalo and then the first Toda man. The first Toda woman was created from the right rib of the first Toda man. The Toda religion also forbids them from walking across bridges, rivers must be crossed on foot, or swimming.
Toda temples are constructed in a circular pit lined with stones and are quite similar in appearance and construction to Toda huts. Ladies are not allowed to go inside the Temple.
From Frazer's Golden Bough, 1922:
"Among the Todas of Southern India the holy milkman, who acts as priest of the sacred dairy, is subject to a variety of irksome and burdensome restrictions during the whole time of his incumbency, which may last many years. Thus he must live at the sacred dairy and may never visit his home or any ordinary village. He must be celibate; if he is married he must leave his wife. On no account may any ordinary person touch the holy milkman or the holy dairy; such a touch would so defile his holiness that he would forfeit his office. It is only on two days a week, namely Mondays and Thursdays, that a mere layman may even approach the milkman; on other days if he has any business with him, he must stand at a distance (some say a quarter of a mile) and shout his message across the intervening space. Further, the holy milkman never cuts his hair or pares his nails so long as he holds office; he never crosses a river by a bridge, but wades through a ford and only certain fords; if a death occurs in his clan, he may not attend any of the funeral ceremonies, unless he first resigns his office and descends from the exalted rank of milkman to that of a mere common mortal. Indeed it appears that in old days he had to resign the seals, or rather the pails, of office whenever any member of his clan departed this life. However, these heavy restraints are laid in their entirety only on milkmen of the very highest class".
The Toda people are a small pastoral community who live on the isolated Nilgiri plateau of Southern India. Before the 18th century, the Toda coexisted locally with other communities, including the Kota, and Kuruba, in a loose caste-like community organisation in which the Toda were the top ranking. The Toda population has hovered in the range 700 to 900 during the last century. Although an insignificant fraction of the large population of India, the Toda have attracted (since the late 18th century), "a most disproportionate amount of attention because of their ethnological aberrancy" and "their unlikeness to their neighbours in appearance, manners, and customs." The study of their culture by anthropologists and linguists would prove important in the creation of the fields of social anthropology and ethnomusicology.
The Toda traditionally live in settlements consisting of three to seven small thatched houses, constructed in the shape of half-barrels and spread across the slopes of the pasture. They traditionally trade dairy products with their Nilgiri neighbour people. Toda religion centres on the buffalo; consequently, rituals are performed for all dairy activities as well as for the ordination of dairymen-priests. The religious and funerary rites provide the social context in which complex poetic songs about the cult of the buffalo are composed and chanted. Fraternal polyandry in traditional Toda society was fairly common; however, this has now largely been abandoned. During the last quarter of the 20th century, some Toda pasture land was lost due to agriculture by outsiders or afforestation by the State Government of Tamil Nadu. This has threatened to undermine Toda culture by greatly diminishing the buffalo herds; however during the last decade both Toda society and culture have also become the focus of an international effort at culturally sensitive environmental restoration. The Toda lands are now a part of The Nilgiri Biosphere Reserve, a UNESCO-designated International Biosphere Reserve and is under consideration by the UNESCO World Heritage Committee for selection as a World Heritage Site.
Source : en.wikipedia.org/wiki/Toda_people
For further reading the above site is suggested.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
See this bus moving in my video here:
www.youtube.com/watch?v=KdGZVIQjWEA
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
as the sun slowly sets over Assawoman/Isle of Wight Bay, Ocean City, Maryland
All of my images are under protection of all applicable copyright laws. Unauthorized use and/or duplication of this material without express and written permission from myself is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to dK.i Photography and Edward Kreis with appropriate and specific direction to the original content (website). I can be contacted through the contact link provided on this website.
| Fine Art America | Facebook | iStock | Getty Images |
Date: Circa 1920
Source Type: Photograph
Publisher, Printer, Photographer: Unknown
Postmark: Not applicable
Collection: Gordon D. Rogers
Copyright 2015. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Habitat:
Foliage in parks, gardens, hills or villages. Usually larger and more abundant in cooler areas.
Notes:
These beautiful spiders (applicable only to females) are so-called because of the "X" shape resting position they assume while resting. Stabilimenta i.e. zig-zag shaped webs which act to strengthen the spider web can often be seen on the webs of these spiders (especially larger ones).
Although the abdominal patterns on females remain more or less similar, female Argiope spiders tend to become darker with each moult, and the abdomen becomes more pentagonal as well. (*photos of female show progression from young to adult)
Male Argiope versicolor spiders are almost entirely brown, while some show net-like patterns on the abdomen. They are very much smaller than females and their pedipalps are often tucked below the body- not visible when viewed from the top. it is very difficult to differentiate male Argiope versicolor spiders from males of different species unless if seen during mating with a female, or when DNA technology is applied.
Eggs are often laid in cone-like sacs and the mother will often stay close by.
Distribution: Common throughout Malaysia
(*Penang, Kedah, Selangor)
Source: www.flickr.com/photos/126185040@N04/sets/72157645954252923/
A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.
To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.
The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.
Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.
Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.
Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.
Source : en.wikipedia.org/wiki/Gotipua
Taking off - @ Pulicat Lake Bird Sanctuary - Andhra Pradesh, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Pulicat lake bird sanctuary is a saline backwater lake lying along the T.N.-A.P coast; part extending to Chengalpattu district of T.N. It has an area of 481 sq.KM and it is the 2nd largest brackish water lagoon in India after Chilka lake in Orissa. The area on the TN side is 153.67 sq.km.
The Pulicat sanctuary is drained by Arni river while the Buckingham canal brings in the city’s drainage water. At the southern end is an opening on to Bay of Bengal through a shallow mouth of 200 m in width. The rest of the lake is closed by a sand bar running parallel to the Bay of Bengal in the form of the Sriharikota island.
The sanctuary has an area of 321 Sq. KM with 108 sq.KM of National Park area.
It lies within 11o 30’ N to 11o 42’ N and 76o 30’ E to 76o 45’ E.
Rainfall ranges from 800 - 2000mm. Temperature varies from 14o C to 33o C.
Altitude ranges from 100’ MSL to 1200’ MSL.
The wetlands eco system are considered as among the richest areas of bio diversity. Pulicat, by virtue of the mixing of fresh water with sea water is found to be an ideal habitat for diverse life-forms. 160 species of fish, 25 species of polychaete worms, 12 species of prawn, 19 species of mollusk and 100 speceis of birds are well documented apart from a number of other aquatic flora and fauna.
Among the most spectacular is the flamingo-a tall gaunt, white-coloured bird with a touch of pink on the wings, pink beak and legs, seen feeding in shallow water. The squat, large-billed grey pelican with gular pouch and a number of ducks are commonly seen. Flocks of sea gulls and terns circling in the sky or bobbing up and down on the water are an added attraction at pulicat. Besides, there are a number of waterside birds and waders such as curlews, stilts, plovers, sand pipers, lapwings, redshank. Egrets, herons, kites etc. are some other birds found here. The lake is also home to crabs, clams, mussels, oysters, snails, fish worms, insects, spiders, sponges, anemone, prawns, plankton and so on including rare endemic species like gilled leech, an unidentified bloodred fish, etc., Rapid siltation has caused loss of bio diversity. It is seen that mangrove opllen is found on Sriharikota Island indicating their existence some years back. Loss of mangroves may be one of the resons hastening siltation, reducing biodiversity and hence depriving fisherfolk of their livelihood.
Source : www.forests.tn.nic.in/wildbiodiversity/bs_plbs.html
Revisited.
le corbusier. modulor: a harmonious measure to the human scale universally applicable to architecture and mechanics. 1954. faber and faber. london
Timing is everything, so the adage goes. It certainly is applicable to all aspects of things we do. In sports, the athlete who hits the ball at the precise moment can send it un-retrievable. In business, the competitor to deliver first a product reaps market share dominance and consequently financial benefits (at least that’s what upper management tells us so we don’t feel so bad working through holidays and can believe our stock price will rise.) In marriage, some cultures believe achieving matrimony in a certain year or at a certain time within a year would bring about marital and procreative bliss. And of course, in photography, releasing the shutter at the precise nanosecond can mean capturing that decisive moment, or not. Now with that said, I’m not in any way implying I had shoved by finger onto the shutter button at the precise nanosecond to capture this image you see before you. In fact, I would say my timing was off by a week, or two, or even a whole month. You see, I wanted to try to shoot this scene with a distinct golden beam of light piercing directly through the ‘portal’. For this I would first need a beam of sun light directly and completely through the ‘portal’ and second, ocean spray for the beam to reflect off of. I had neither. I had missed the window of opportunity. I had bad timing. Being at the end of January, the sun was already setting too far north for that perfect light beam, and the tide and weather conditions precluded enough ocean spray.
But I did manage to capture what you see here, and although it wasn’t what I had in mind, I actually like how it turned out, how the water drips down from the top of the arch like a weak flowing waterfall and how it then filters the sunlight to create that all-so-nice and warm glow that can seemingly dissolve away the day’s aches and pains. (You may want to take a closer look large in light box.) Did my brain race to calculate or predict the right nanosecond to release the shutter to capture this effect? Did I time the period between waves? Did I wait for this or that to happen? Absolutely not! I one-hundred percent attribute it to luck, because I think sometimes (and I emphasize sometimes) luck is everything also. In sports, in business, in marriage, in whatever, and especially in photography.
PS, because of my bad timing, I found the beach wasn't a sardine can of photographers shooting at the same hole. There were maybe half a dozen others. In that respect, my timing was pretty good.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Seagulls at Flight - @ Pulicat Lake Bird Sanctuary - Andhra Pradesh, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Pulicat lake bird sanctuary is a saline backwater lake lying along the T.N.-A.P coast; part extending to Chengalpattu district of T.N. It has an area of 481 sq.KM and it is the 2nd largest brackish water lagoon in India after Chilka lake in Orissa. The area on the TN side is 153.67 sq.km.
The Pulicat sanctuary is drained by Arni river while the Buckingham canal brings in the city’s drainage water. At the southern end is an opening on to Bay of Bengal through a shallow mouth of 200 m in width. The rest of the lake is closed by a sand bar running parallel to the Bay of Bengal in the form of the Sriharikota island.
The sanctuary has an area of 321 Sq. KM with 108 sq.KM of National Park area.
It lies within 11o 30’ N to 11o 42’ N and 76o 30’ E to 76o 45’ E.
Rainfall ranges from 800 - 2000mm. Temperature varies from 14o C to 33o C.
Altitude ranges from 100’ MSL to 1200’ MSL.
The wetlands eco system are considered as among the richest areas of bio diversity. Pulicat, by virtue of the mixing of fresh water with sea water is found to be an ideal habitat for diverse life-forms. 160 species of fish, 25 species of polychaete worms, 12 species of prawn, 19 species of mollusk and 100 speceis of birds are well documented apart from a number of other aquatic flora and fauna.
Among the most spectacular is the flamingo-a tall gaunt, white-coloured bird with a touch of pink on the wings, pink beak and legs, seen feeding in shallow water. The squat, large-billed grey pelican with gular pouch and a number of ducks are commonly seen. Flocks of sea gulls and terns circling in the sky or bobbing up and down on the water are an added attraction at pulicat. Besides, there are a number of waterside birds and waders such as curlews, stilts, plovers, sand pipers, lapwings, redshank. Egrets, herons, kites etc. are some other birds found here. The lake is also home to crabs, clams, mussels, oysters, snails, fish worms, insects, spiders, sponges, anemone, prawns, plankton and so on including rare endemic species like gilled leech, an unidentified bloodred fish, etc., Rapid siltation has caused loss of bio diversity. It is seen that mangrove opllen is found on Sriharikota Island indicating their existence some years back. Loss of mangroves may be one of the resons hastening siltation, reducing biodiversity and hence depriving fisherfolk of their livelihood.
Source : www.forests.tn.nic.in/wildbiodiversity/bs_plbs.html
Revisited
Lewiston Hill Highway Airview
Date: Circa 1940
Source Type: Photograph
Publisher, Printer, Photographer: Hodgin's
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: This photograph was included in a 25¢ packet of seven photographs of "The Lewiston Spiral Hill Highway" published by Hodgin's Drug located in Moscow, Latah County, Idaho.
This is a view of the Old Spiral Highway (U.S. Route 95) located at the north end of Lewiston, Idaho. This ten mile section of highway climbs more than 2,000 vertical feet along Lewiston Hill (elevation 2,756 feet) to the rolling Palouse hills above the city.
U.S. Route 95 was later rerouted and the highway scene here is now commonly referred to as the Old Spiral Highway. The moniker is appropriate given that this road is riddled with twists and turns (64 curves). This highway was completed for use in 1917 and was the primary route north toward Moscow, Idaho, till 1977.
The 1950s rock-and-roll hit "Hot Rod Lincoln" mentions a race that actually took place on Lewiston Hill.
The Old Spiral Highway can still be driven, though it sees little use today due to its challenging route down the Lewiston Hill.
Copyright 2016. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Photo by Lloyd Thrap Photography
for Halo Media Group and modelshopstudio™
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
hi-key minimalism
All of my images are under protection of all applicable copyright laws. Unauthorized use and/or duplication of this material without express and written permission from myself is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to dK.i Photography and Edward Kreis with appropriate and specific direction to the original content (website). I can be contacted through the contact link provided on this website.
| Fine Art America | Facebook | iStock | Getty Images |
Date: 1906
Source Type: Photograph
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: This house still stands [2023] at the SW¼ of SW¼ of SE¼ of Section 10 in Center Township, northeast of the intersection of present day Froberg Road and Vale Park Road. This photograph is facing southeast.
Constructed for the Prentiss family by builder Daniel Dillingham in 1873 based on Valparaiso's Henry Lemster's architectural plans, this house was used as the main house of Prentiss' farming enterprise. In succession, this house was purchased by John W. Brummitt, George Henderlong, Wilford Sievers, Dean Froberg, and Anthony Robertson.
Sievers had converted the house into two apartments in the 1940s, but upon the purchase by Robertson the house was returned to its original single family residence status.
The house consists of eleven rooms and was built to include closets. Ceilings are ten feet in height, floors are 5/8" red oak, and the exterior walls were built three feet thick with air spaces to serve as insulation. Heat was provided by a kitchen stove and a wood burning stove located in the parlor. The second floor was heated heating rising from the first floor to the second floor through a floor grate.
------
The following biography of John W. Brummitt is contained in Goodspeed Brothers' 1894 Pictorial and Biographical Record of La Porte, Porter, Lake and Starke Counties, Indiana.
JOHN W. BRUMMITT. Porter County, Indiana, has many fine farms and agricultural tracts. There are comparatively few inferior tracts, and each farmer tries to outdo his neighbor in the raising of crops and the improvement of his land. Of the many fine attractive places none are more conspicuous than that belonging to our subject on which he was born, September 12, 1859, his parents being William and Mary (Lucas) Brummitt. The paternal grandfather, Aaron Brummitt, was born near Leeds, or Ossett Common, England, and as a means of livelihood he followed the occupation of a weaver. He died at about the age of eighty years, an earnest and consistent member of the Episcopal Church. His wife was a Miss Wilby and she lived to the age of about eighty-five years. Their children were as follows: Henry, Reuben, Mark, James, William, Mary and Ann. Henry lives at Furnessville, Indiana, Reuben died in Canada; James died in Florida; Ann (Early) lives in Waterloo, Canada, and Mary (Teale) and Mark still reside in England. William Brummitt was born in England, August 23, 1833, and like his father before him was a weaver by trade. He was married in England in 1854, and in the spring of 1856 went to Canada where he remained one season. In the fall of the same year he removed to Chicago, and a few days later came to Furnessville, Indiana, where he purchased and located on three acres of land, which cost him $24, and on which the subject of this sketch is now residing. From time to time he added to this tract until he became the owner 360 acres, which he cleared and improved. He has owned and sold other tracts of land and now has in his name 100 acres, twenty of which are devoted to the cultivation of strawberries. In 1886 he removed to New Carlisle and engaged in the agricultural implement and hardware business, with his two sons, Arthur and Mark, but the duties of this calling were to arduous for him, and in the 1893 he retired and invested in 240 acres of land in St. Joseph County, and in addition to this and the estate above mentioned, owns valuable land in Dakota, Michigan and Chesterton, Indiana, and is a money lender, all of which has been the result of his own energy as he landed in this country with but little means. He has served as Justice of the Peace of Pine Township for the past seventeen years and one term in St. Joseph County, Indiana. Up to 1876 he was a Republican in politics, since which time he has been an earnest supporter of the principles of Democracy. He and his wife have had born to them seven children: Elizabeth, who died on the ocean while enroute for this country; Mark L., John W., Maria, a school teacher; Jennie (Goodykoontz), whose husband is a minister of the Christian Church; Emily (Loring) of Valparaiso, and Arthur R. The parents of these children are members of long standing of the Christian Church, and socially the father is a member of A. F. & A. M. In the fall of 1864 he enlisted in the Ninth Indiana Infantry, and was discharged with his regiment at Nashville, Tennessee. John W. Brummitt was born and reared on the farm on which he is now residing. He first attended the district schools in the vicinity of his home and afterward attended the Valparaiso Normal College, after which he taught penmanship for some time. When he was ten years old his father kindly gave him the opportunity of raising stock of his own, and by the time he had attained to the age of twenty-one, the sum accruing from this business amounted to $1,300, $300 of which he spent in attending college. The remainder -$1,000 - he purchased 246 acres of his father, for a consideration of $8,500, and has since made the most of his money in the raising of stock and fruit. He is a wide-awake and enterprising young man, is intelligent and well posted on all topics of the times and in 1890 was elected assessor of his township, and appointed notary of his county, on the Democratic ticket. September 26, 1880, he was united in marriage with Emma Newman, who was born at Furnessville, March 8, 1861, a daughter of Ernest and Minnie Newman, natives of Germany, their union taking place in the State of Michigan. To them a family of five children have been given: Marion P., Ida P., Jessie M., Emily M., and Neva R. The mother of these children is an earnest member of the Christian Church.
------
The following news item concerning the Brummitt farm and house in Center Township was published August 8, 1896, in The Westchester Tribune:
Since I saw John Brummitt's farm in Center township, I don't wonder that he is going to leave Pine township. It is a beautiful 200-acre tract in the northwestern part of Center township, surrounded on two sides by highways, fringed with a majestic forest, and with its rolling fields, splendid meadows, and cool shade trees, makes a picture that anyone living comfort, would like to enjoy. But the house -- oh! but it's a house! One of those massive square brick structures, built to stand for generations, with cupulo [sic], where the master can look over his broad his broad fields and watch Nature convert the bare fields of springtime, into groaning, waving seas of ripening grain for autumn. John's head was level when he made the change, and as he moved next week, we must bid him good luck and God speed. The farmers of Center and Union townships will find in John a good neighbor, and a keen business man, and in his better half, they will find a jewel.
------
The following news item appeared in the February 6, 1919, issue of The Chesterton Tribune:
Local, Personal, Social
John Brummitt, father of Marion Brummitt, came near losing his Valparaiso home one day last week. A roof fire threatened to destroy the building, but the fire department saved the property.
Sources:
The Chesterton Tribune, Chesterton, Porter County, Indiana; February 6, 1919; Volume 35, Number 47, Page 5, Column 4. Column titled "Local, Personal, Social."
Goodspeed Brothers. 1894. Pictorial and Biographical Record of La Porte, Porter, Lake and Starke Counties, Indiana. Chicago, Illinois: Goodspeed Brothers. 569 p. [see pp. 330-331]
The Vidette-Messenger, Valparaiso, Porter County, Indiana; February 1, 1977; Volume 50, Number 177, Page 8. Column titled "19th Century Homes, Porter County," by May Henrichs.
The Westchester Tribune, Chesterton, Porter County, Indiana; August 8, 1896; Volume 13, Number 17, Page 5, Column 3. Column titled "Porter Pointers."
Copyright 2023. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Another poor Anna’s hummingbird with a powdered beak :( looks kinda like a fungus from someone’s dirty feeder or passed onto this young one from a sick mother.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Date: 1928
Source Type: Photograph
Publisher, Printer, Photographer: Unknown
Postmark: Not applicable
Collection: Steven R. Shook
Remark: This photograph was part a group of photographs taken on a family's vacation to the Indiana Dunes State Park in 1928.
Copyright 2015. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Let us defend our Territory ! Fly fast..............................
GET READY FOR A REAL WAR AS SHOWN IN AVATAR MOVIE BY JAMES CAMERON !!!!!
Flying Flamingos - @ Pulicat Lake Bird Sanctuary - Andhra Pradesh, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Pulicat lake bird sanctuary is a saline backwater lake lying along the T.N.-A.P coast; part extending to Chengalpattu district of T.N. It has an area of 481 sq.KM and it is the 2nd largest brackish water lagoon in India after Chilka lake in Orissa. The area on the TN side is 153.67 sq.km.
The Pulicat sanctuary is drained by Arni river while the Buckingham canal brings in the city’s drainage water. At the southern end is an opening on to Bay of Bengal through a shallow mouth of 200 m in width. The rest of the lake is closed by a sand bar running parallel to the Bay of Bengal in the form of the Sriharikota island.
The sanctuary has an area of 321 Sq. KM with 108 sq.KM of National Park area.
It lies within 11o 30’ N to 11o 42’ N and 76o 30’ E to 76o 45’ E.
Rainfall ranges from 800 - 2000mm. Temperature varies from 14o C to 33o C.
Altitude ranges from 100’ MSL to 1200’ MSL.
The wetlands eco system are considered as among the richest areas of bio diversity. Pulicat, by virtue of the mixing of fresh water with sea water is found to be an ideal habitat for diverse life-forms. 160 species of fish, 25 species of polychaete worms, 12 species of prawn, 19 species of mollusk and 100 speceis of birds are well documented apart from a number of other aquatic flora and fauna.
Among the most spectacular is the flamingo-a tall gaunt, white-coloured bird with a touch of pink on the wings, pink beak and legs, seen feeding in shallow water. The squat, large-billed grey pelican with gular pouch and a number of ducks are commonly seen. Flocks of sea gulls and terns circling in the sky or bobbing up and down on the water are an added attraction at pulicat. Besides, there are a number of waterside birds and waders such as curlews, stilts, plovers, sand pipers, lapwings, redshank. Egrets, herons, kites etc. are some other birds found here. The lake is also home to crabs, clams, mussels, oysters, snails, fish worms, insects, spiders, sponges, anemone, prawns, plankton and so on including rare endemic species like gilled leech, an unidentified bloodred fish, etc., Rapid siltation has caused loss of bio diversity. It is seen that mangrove opllen is found on Sriharikota Island indicating their existence some years back. Loss of mangroves may be one of the resons hastening siltation, reducing biodiversity and hence depriving fisherfolk of their livelihood.
Source : www.forests.tn.nic.in/wildbiodiversity/bs_plbs.html
White Cornflower or Bachelor's Button in full bloom - Snapped at the foothiils of Great Himalayan National Park. A Macro shot.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Centaurea cyanus, commonly known as cornflower or bachelor's button, is an annual flowering plant in the family Asteraceae, native to Europe. In the past it often grew as a weed in cornfields (in the broad sense of "corn", referring to grains, such as wheat, barley, rye, or oats), hence its name. It is now endangered in its native habitat by agricultural intensification, particularly over-use of herbicides, destroying its habitat. It is also, however, through introduction as an ornamental plant in gardens and a seed contaminant in crop seeds, now naturalised in many other parts of the world, including North America and parts of Australia.
Cornflower is an annual plant growing to 40–90 cm tall, with grey-green branched stems. The leaves are lanceolate, 1–4 cm long. The flowers are most commonly an intense blue colour, produced in flowerheads (capitula) 1.5–3 cm diameter, with a ring of a few large, spreading ray florets surrounding a central cluster of disc florets. The blue pigment is protocyanin, which in roses is red. It flowers all summer.
Centaurea cyanus is native to temperate Europe, but is widely naturalized outside its native range. It has been present in the British Isles as an archaeophyte (ancient introduction) since the Iron Age. In the United Kingdom it has declined from 264 sites to just 3 sites in the last 50 years. In reaction to this, the conservation charity Plantlife named it as one of 101 species it would actively work to bring 'back from the brink'. In in Co. Clare (VC H9), Ireland, Centaurea cyanus is recorded in arable fields as very rare and almost extinct. while in the north-east of Ireland it was abundant before 1930s.
It is grown as an ornamental plant in gardens, where several cultivars have been selected with varying pastel colours, including pink and purple. Cornflower is also grown for the cutflower industry in Canada for use by florists. The most common colour variety for this use is a doubled blue variety such as 'Blue Boy' or 'Blue Diadem'. White, pink, lavender and black (actually a very dark maroon) are also used but less commonly. Cornflowers germinate quickly after planting.
Light requirements: full sun. Water requirements: high-average water daily. Soil pH requirements: neutral (6.6-7.5) to mildly alkaline (7.6-7.8).
Cornflower is one of the favourite foods of the European goldfinch, an attractive garden bird.
Date: January 12, 1886
Source Type: Photograph
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Robert C. Reed
Remark: During the evening of January 12, 1886, a head-on collision took place on the Baltimore & Ohio Railroad in Jackson Township, Porter County, Indiana.
The men at the rear of the tender in this photograph, probably taken the day after the wreck, are carrying the body of a fireman killed in the collision.
Given information contained in numerous newspaper reports, this wreck took place approximately one mile northwest of Coburg and one and one-half mile southeast of Suman along a curve of the Baltimore & Ohio Railroad track when a heavily loaded westbound doubleheader freight train, the No. 21, collided head-on with another heavily loaded eastbound freight train powered by a “monster locomotive known as a camel-back.”
The location of this wreck was northwest of the junction of present day County Road 600 North and County Road 500 East.
The westbound train failed to stop as required at the nearby Alida station in LaPorte County to await orders; it is believed that this train’s engineer and fireman may have fallen asleep. Consequently, the westbound train ran the Alida and Coburg crossings.
Both trains were traveling at about twenty-five miles an hour on slight downgrades when they collided with one another at the curve. All three engines and twenty railcars with merchandise and livestock derailed into “one unrecognizable mass,” caught fire, and burned fiercely for some time.
Very descriptive newspaper accounts state that four individuals died as a result of the wreck and there was at least one injured person. The engineer of the westbound train, Michael McMahon, was killed instantly when his head was “split open from the crown to the neck,” his face pushed into his chest, and his brains scattered about the wreckage. A fireman, Thomas Gilmore, roasted to death when his body was suspended by its head in the blazing wreckage. A second fireman, possibly named Zapp, was cut into two and dismembered pieces of his body were found and collected distances apart. A third fireman, name unknown, was badly injured and died several hours later. An engineer named Jerry Murphy suffered a broken arm and other injuries.
Several newspapers stated that management at the Baltimore & Ohio Railroad intentionally prevented reporters from obtaining the names of those individuals that were injured or killed by the collision.
Sources:
Bucyrus Journal, Bucyrus, Crawford County, Illinois; January 15, 1886; Volume 34, Number 3, Page 2, Column 6. Column titled “More Victims.”
The Evening Star, Washington, D.C.; January 13, 1886; Volume 68, Number 10204, Page 1, Column 7. Column titled “Engineer and Fireman Asleep. Two Trains Come Together on a Down Grade, Killing Four Men.”
The Garrett Weekly Clipper, Garrett, DeKalb County, Indiana; January 14, 1886; Volume 1, Number 13, Page 2, Column 3. Column titled “A Bad Wreck.”
Reed, Robert C. 1968. A Pictorial History of Accidents on the Main Lines. Seattle, Washington: Superior Publishing Company. 183 p.
Springfield Globe-Republic, Springfield, Clark County, Indiana; January 14, 1886; Volume 6, Number 84, Page 1, Column 2. Column titled “Fatal Collisions. Two Freight Trains Collide on the Baltimore & Ohio Railroad near Coburg, Indiana.”
Copyright 2022. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
The boundary wall of Golkonda Fort - Hyderabad, Andhra Pradesh, India.
IN FLICKR EXPLORE ON 03-09-2013.
www.flickr.com/photos/59670248@N05/9664625773/in/explore-...
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Golkonda, a ruined city of south-central India and capital of ancient Kingdom of Golkonda (c. 1364–1512), is situated 11 km west of Hyderabad.
The most important builder of Golkonda was a Kakatiya King. Ibrahim was following in the spirit of his ancestors, the Qutub Shahi kings, a great family of builders who had ruled the kingdom of Golkonda from 1512. Their first capital, the fortress citadel of Golkonda, was rebuilt for defense from invading Mughals from the north. They laid out Golkonda's splendid monuments, now in ruins, and designed a perfect acoustical system by which a hand clap sounded at the fort's main gates, the grand portico, was heard at the top of the citadel, situated on a 300-foot (91 m)-high granite hill. This is one of the fascinating features of the fort.
They ruled over the Telangana region and some parts of present day Karnataka and Maharashtra.
According to a legend, the fort derives its name from Golla conda, which is a Telugu word for Shepherd's Hill. It is believed that a shepherd boy came across an idol on the hill. This led to the construction of a mud fort by the then Kakatiya dynasty ruler of the kingdom around the site.
After the collapse of the Bahmani Sultanat, Golkonda rose to prominence as the seat of the Qutb Shahi dynasty around 1507. Over a period of 62 years the mud fort was expanded by the first three Qutb Shahi kings into a massive fort of granite, extending around 5 km in circumference. It remained the capital of the Qutb Shahi dynasty until 1590 when the capital was shifted to Hyderabad. The Qutb Shahis expanded the fort, whose 7 km outer wall enclosed the city. The state became a focal point for Shia Islam in India, for instance in the 17th century Bahraini clerics, Sheikh Ja`far bin Kamal al-Din and Sheikh Salih Al-Karzakani both emigrated to Golkonda.
The city and fortress are built on a granite hill that is 120 meters (400 ft) high and is surrounded by massive crenelated ramparts. The beginnings of the fort date to 1143, when the Hindu Kakatiya dynasty ruled the area. The Kakatiya dynasty were followed by the state of Warangal, which was later conquered by the Islamic Bahmani Sultanat. The fort became the capital of a major province in the Sultanate and after its collapse the capital of the Qutb Shahi kings. The fort finally fell into ruins after a siege and its fall to Mughal emperor Aurangazeb.
The Qutb Shahi sultanate lasted until its conquest by Mughal emperor Aurangzeb in 1687. The fortress held out against Aurangzeb for nine months, falling to the Mughals through treachery.
Source : Wikipedia
Duga Puja - 2018 of our Association - South Madras Cultural association - Chennai, India.
Sandhi Puja
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
LOGIE-BUCHAN, a parish, in the district of Ellon, county of Aberdeen, 2 miles (E. by S.) from Ellon; containing 713 inhabitants.
The word Logie, expressive of a low-lying spot, was given to this place on account of its applicability to the tract in which the church is situated; while the affix is descriptive of the position of the parish in that part of the county called Buchan.
Logie-Buchan Parish Church is located on the southern slope of the River Ythan valley, in gently rolling countryside with small fields, rough grazing and enclosures of trees. There is a narrow trackway and footbridge across the river a short distance to the north. The church stands in a sloping graveyard, bounded by a rubble wall. The large former manse is positioned to the south and the church itself closed recently and a new use had not been found when it was visited (2012).
A church here was granted to Aberdeen Cathedral by David II in 1361, while the current church was built in the late 18th century with later additions and alterations.
Description (exterior)
The church is a small, simple building with little architectural detailing. It is aligned roughly east-west and has harled, rubble walls and a slate roof. There are narrow strips of granite stone around the windows and doors. The church is rectangular on plan, with a small, gabled porch and a lean-to vestry at the west end.
The east elevation has a hipped or piended roof rather than a gable. There are two rectangular windows with simple timber tracery and small panes of leaded glass. There has clearly been alterations carried out at this end of the church, shown by two blocked openings, a doorway and window, in the centre of the east elevation.
The north elevation of the church has four equally-spaced rectangular windows, each with simple tracery and latticed glazing. The opposite south elevation has two larger rectangular windows, towards the centre, again with tracery and latticed glazing.
The west end of the church has a small, gabled porch with a rectangular doorway on the south side, which is the main entrance into the church. There is a rectangular window in the west gable of this porch and a tall chimney rises from the apex, serving a fireplace in the small lean-to vestry extension to the north of the porch. The church has a tall gable at the west end, topped by an ashlar-built bellcote, which has a stone ball finial.
Description (interior)
Some of the fittings remain in the church but are likely to be removed if and when a new use is found for the church, which is no longer in use.
People / Organisations:
Name RoleDates Notes
William RuxtonRecast the interior 1912
Robert MaxwellMade the church bell1728
Events:
Church built on site of older church (1787)
Porch and vestry added to west (1891)
Interior recast (1912)
Logie-Buchan is separated on the east from the German Ocean by the parish of Slains, and is intersected by the river Ythan.
The river abounds with various kinds of trout, also with salmon, eels, lounders, and mussels; and pearls are still occasionally found.
It has a ferry opposite the parish church, where its breadth at low water is about sixty yards; and two boats are kept, one for general passengers, and the other, a larger boat, for the conveyance of the parishioners to church from the northern side.
A tradition has long prevailed that the largest pearl in the crown of Scotland was obtained in the Ythan; and it appears that, about the middle of the last century, £100 were paid by a London jeweller to gentleman in Aberdeen, for pearls found in the river.
Most of the inhabitants of the district are employed in agricultural pursuits, a small brick-work recently established being the only exception.
The great north road from Aberdeen passes through the parish, and the mail and other public coaches travel to and fro daily. On another road, leading to the shipping-port of Newburgh, the tenantry have a considerable traffic in grain, lime, and coal, the last procured from England, and being the chief fuel.
The river Ythan is navigable for lighters often or twelve tons' burthen at high water. The marketable produce of the parish is sent to Aberdeen. Logie- Buchan is ecclesiastically in the presbytery of Ellon, synod of Aberdeen, and in the patronage of Mr. Buchan.
The church was built in 1787, and contains 400 sittings.
Cemeteries - Presbyterian / Unitarian
Logie Buchan Parish Church, Logie-Buchan, Church of Scotland
The church of Logie-Buchan was dedicated to St Andrew.
St Andrew's Church was built in 1787 and has been much altered. It contains a 1728 bell.
Logie-Buchan (Aberdeen, Buchan). Also known as Logie Talargy, the church was granted by David II in 1361 to the common fund of the canons of Aberdeen cathedral, and this was confirmed to the uses of the canons by Alexander, bishop of Aberdeen in 1362, both parsonage and vicarage fruits being annexed while the cure was to become a vicarage pensionary.
Although possession was obtained by the dean and chapter, this was subsequently lost, and the church had to be re-annexed in 1437, the previous arrangement being adhered to, with both parsonage and vicarage remaining annexed.
St Andrew's Kirk, 1787. Undistinguished externally, porch 1891, inside original ceiling with Adam-like centrepiece and two-light Gothic windows, part of 1912 recasting, William Buxton. Pulpit was originally in the centre of the N wall with a horseshoe gallery bearing the Buchan coat of arms (George Reid, Peterhead, carver). Monuments to Thomas (d. 1819) and Robert (d. 1825) Buchan.
Bell, 1728, Robert Maxwell. Church bought by Captain David Buchan to ensure access and survival.
Kirkyard: plain ashlar gatepiers and rubble walls; some table tombs.
LOGIE-BUCHAN, a parish, in the district of Ellon, county of Aberdeen, 2 miles (E. by S.) from Ellon; containing 713 inhabitants.
The word Logie, expressive of a low-lying spot, was given to this place on account of its applicability to the tract in which the church is situated; while the affix is descriptive of the position of the parish in that part of the county called Buchan.
Logie-Buchan is separated on the east from the German Ocean by the parish of Slains, and is intersected by the river Ythan.
The river abounds with various kinds of trout, also with salmon, eels, lounders, and mussels; and pearls are still occasionally found.
It has a ferry opposite the parish church, where its breadth at low water is about sixty yards; and two boats are kept, one for general passengers, and the other, a larger boat, for the conveyance of the parishioners to church from the northern side.
A tradition has long prevailed that the largest pearl in the crown of Scotland was obtained in the Ythan; and it appears that, about the middle of the last century, £100 were paid by a London jeweller to gentleman in Aberdeen, for pearls found in the river.
Most of the inhabitants of the district are employed in agricultural pursuits, a small brick-work recently established being the only exception.
The great north road from Aberdeen passes through the parish, and the mail and other public coaches travel to and fro daily. On another road, leading to the shipping-port of Newburgh, the tenantry have a considerable traffic in grain, lime, and coal, the last procured from England, and being the chief fuel.
The river Ythan is navigable for lighters often or twelve tons' burthen at high water. The marketable produce of the parish is sent to Aberdeen. Logie- Buchan is ecclesiastically in the presbytery of Ellon, synod of Aberdeen, and in the patronage of Mr. Buchan.
The church was built in 1787, and contains 400 sittings.
Cemeteries - Presbyterian / Unitarian
Logie Buchan Parish Church, Logie-Buchan, Church of Scotland
The church of Logie-Buchan was dedicated to St Andrew.
St Andrew's Church was built in 1787 and has been much altered. It contains a 1728 bell.
Logie-Buchan (Aberdeen, Buchan). Also known as Logie Talargy, the church was granted by David II in 1361 to the common fund of the canons of Aberdeen cathedral, and this was confirmed to the uses of the canons by Alexander, bishop of Aberdeen in 1362, both parsonage and vicarage fruits being annexed while the cure was to become a vicarage pensionary.
Although possession was obtained by the dean and chapter, this was subsequently lost, and the church had to be re-annexed in 1437, the previous arrangement being adhered to, with both parsonage and vicarage remaining annexed.
St Andrew's Kirk, 1787. Undistinguished externally, porch 1891, inside original ceiling with Adam-like centrepiece and two-light Gothic windows, part of 1912 recasting, William Buxton. Pulpit was originally in the centre of the N wall with a horseshoe gallery bearing the Buchan coat of arms (George Reid, Peterhead, carver). Monuments to Thomas (d. 1819) and Robert (d. 1825) Buchan.
Bell, 1728, Robert Maxwell. Church bought by Captain David Buchan to ensure access and survival.
Kirkyard: plain ashlar gatepiers and rubble walls; some table tombs.
HENNINGS IMPROVED HEALTH PRESERVING CORSET
Wm. B. McCallum
Date: Circa 1885
Source Type: Trade Card
Publisher, Printer, Photographer: John L. Ketterlinus
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: CALL FOR HENNINGS IMPROVED HEALTH PRESERVING CORSET. To the LADIES Seeking COMFORT We recommend this New Corset, which is guaranteed to give you entire satisfaction or price paid will be refunded.
The best Physicians of Chicago testify, that this is superior to all. Their testimonials accompany each corset.
FOR SALE BY
Wm. B. McCallum,
Dealer in
Staple and Fancy Dry Goods, Notions, &c.
VALPARAISO, - - IND.
William Boice McCallum, along with wife Susan (Musgrove) McCallum and their children, arrived in the United States from Canada in 1878.
William was born on December 17, 1846, in Canada, and died on July 16, 1930, in Valparaiso. After moving to Valparaiso, he established a dry goods business at 13 East Main Street (Lincolnway). By 1900, William had joined the much larger retail establishment of Specht, Finney, and Skinner, also located in Valparaiso.
The McCallums built an Italianate home on Main Street a few blocks west of William's dry goods business. Today, their home, located at 507 Lincolnway, is on the National Register of Historic Places.
Copyright 2016. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
"The greatest sweetener of human life is FRIENDSHIP."
*** By Joseph Addison ***
Unyink said :
Oh gee ...., I think it is applicable for CATS too !!!
Black-crowned Night Heron (Nycticorax nycticorax) Dr. Salim Ali Bird Sanctuaty - Goa. ______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
A view from Amber Fort - Rajasthan, India.
IN FLICKR EXPLORE ON 11-02-2014.
www.flickr.com/photos/59670248@N05/12461992873/in/explore...
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Amer Fort (Hindi: आमेर क़िला, also spelled and pronounced as Amber Fort) is located in Amer (a town with an area of 4 square kilometres (1.5 sq mi)[1]), 11 kilometres (6.8 mi) from Jaipur, Rajasthan state, India. It is one of the principal tourist attractions in the Jaipur area, located high on a hill. Amer Fort was built by Raja Man Singh I. Amer Fort is known for its artistic style of Hindu elements. With its large ramparts, series of gates and cobbled paths, the fort overlooks the Maota Lake, at its forefront.
The aesthetic ambiance of this formidable fort is seen within its walls on a four level layout plan (each with a courtyard) in a well turned out opulent palace complex built with red sandstone and marble consisting of the Diwan-e-Aam or the "Hall of Public Audience", the Diwan-e-Khas or the "Hall of Private Audience", the Sheesh Mahal (mirror palace) or Jai Mandir, and the Sukh Niwas where a cool climate is artificially created by winds that blow over the water cascade within the palace. Hence, the Amer Fort is also popularly known as the Amer Palace. The palace was lived in by the Rajput Maharajas and their families. At the entrance to the palace near the fort’s Ganesh Gate, there is also a temple dedicated to Sila Devi, a goddess of the Chaitanya cult which was given to Raja Man Singh when he had defeated the Raja of Jessore, Bengal in 1604. (Jessore is now in Bangladesh).
This fort, along with Jaigarh Fort, located immediately above on the Cheel ka Teela (Hill of Eagles) of the same Aravalli range of hills, is considered as one complex, as the two are well connected by a subterranean passage. This passage was meant as an escape route in times of war for the royal family members and others in the Amer Fort to shift to the more redoubtable Jaigarh Fort.
Annual tourist visitation to the Amer Palace in Amer town was reported by the Superintendent of Department of Archaeology and Museums to the Amer Palace as 5000 visitors a day, and 1.4 million visitors were reported during 2007.
SOURCE : en.wikipedia.org/wiki/Amer_Fort
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.
To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.
The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.
Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.
Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.
Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.
Source : en.wikipedia.org/wiki/Gotipua
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Goddess Durga killing the Demon Mahishashura (Buffalo Demon).
A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.
To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.
The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.
Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.
Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.
Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.
Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.
Source : en.wikipedia.org/wiki/Gotipua
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.