View allAll Photos Tagged arjuna
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++Begawan MINTARAGA is the name that Arjuna used when he was living on Mount Indrakila. Being hermit is concerned about killing every desire.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The commotion happened in the Heaven is caused by a Giant King of Manimantaka kingdom named Nirwutakawaca (Nir = not, wuto = blind, kawaca = read; meaning that cannot accept/find the truth because the heart is blind). The king is really invulnerable. The king who always free his desire has caused a deep disappointment to the Gods. Initially, the Gods have let the Giant King marry a Fairy of the Heaven, Prabasini.
Unfortunately, the king forces to marry another fairy named Supraba. This demand surely makes the Gods feel angry. The demand is not met for this time since the Gods think that if the demand is met the King will ask fairy for the third, fourth, etc. Furthermore, the Gods are afraid that the King will destroy the order of Heaven. The Gods know well that the king has a great power that no one can defeat him.
Narada (one of the God) know that there is an ascetic named Begawan MINTARAGA living in Indrakila Mountain. The ascetic had a great power. The Gods, however, are still unsure with the power of the ascetic. Therefore, Narada suggests to test the ascetic power by sending some of heaven soldiers and fairies. Some of the Gods also test the ascetic by them selves. The test consists of three parts, in general, i.e. power test, sexual desire test, and loyalty test.
Begawan MINTARAGA is actually the transformation of Arjuna, one of Pandawa. Previously, Arjuna faces many problems that make him worried. Knowing that his master worries, Semar, one of Punakawan, suggest that Arjuna shall make himself calm by keeping silent/meditating in a mountain. Semar, furthermore, suggests Indrakila Mountain as the right place. During the meditation, Arjuan meets a mysterious creature that subsequently gives him the name of Begawan MINTARAGA .
The first test faced by Begawan MINTARAGA was power test. In this test, Bathara Indra has transformed himself into a giant. He challenges Begawan MINTARAGA by arguing that what Begawan MINTARAGA has done has disturbed his life. Begawan MINTARAGA does not feel worry nor afraid facing the giant. By his power, Begawan MINTARAGA is success to defeat the giant.
After that, seven fairies come to disturb Begawan MINTARAGA ’s meditation. This test is to investigate whether Begawan MINTARAGA can control his sexual desire or not. Begawan MINTARAGA passes the test as well. The last test is administered by Bathara Guru. He tests the power and loyalty of Begawan MINTARAGA . Begawan Guru transforms himself into a giant. Eventually, the ascetic passes the test.
Recognizing that the ascetic is really powerful and invulnerable, Bathara Guru then transform himself into his original body. Knowing that the Giant is actually Bathara Guru, Begawan MINTARAGA asks forgiveness. Subsequently, Bathara Guru explains his objectives of testing the ascetic. Bathara Guru, on behalf of the Gods, asks Begawan MINTARAGA to fight commotion caused by Nirwutakawaca. The ascetic accepts that and subsequently climbs to heaven accompanied by Bathara Guru.
After arriving in heaven, Bagawan MINTARAGA is received well by Bathara Indra. He asks his daughter, Supraba, that is also one of heaven’s fairies, to change Bagawan MINTARAGA ’s clothes. Supraba is the most beautiful fairy in heaven.
After that, Begawan MINTARAGA establishes a plan to defeat Nirwutakawaca. Begawan MINTARAGA knows that the giant really has desire to marry Supraba. The ascetic asks Supraba to come to the giant and says that she agrees to marry him. After Supraba has got closed with the giant, she has to find the weak point of the Giant. Begawan MINTARAGA also ensures Supraba that he will always stay near Supraba.
Supraba has agreed to the Begawan MINTARAGA ’s plan. She comes to Nirwutakawaca and tells him that she agrees to marry him. Fortunately, Nirwutakawaca is not suspicious to her. Supraba then asks why Nirwutakaca can be so strong that no one can defeat him. The giant tells her that his weak point is his throat. The throat must not contact with something sharp.
Knowing the weak point of the giant, Begawan MINTARAGA emerges from his hiding place. He suddenly holds Supraba and brings her away. This surely makes the giant feels really angry. The tries to catch Begawan MINTARAGA to get Supraba back. In the distance, Begawan MINTARAGA asks Supraba to run while he will fight the giant. The ascetic then turns back and finds the giant on the way.
The ascetic tries to find a way how he can stab the giant’s throat. During the combat, the ascetic fights using all his power. He finally finds an idea on how to make the giant opens his mouth. The ascetic pretends to lose. Surely, the giant feels that he is the strongest one and no one can defeat him. He laughs, laughs, and laughs, opening his mouth widely. The ascetic does not throw the chance away. When the giant opens his mouth, the ascetic quickly stabs his weapon (Keris) to the giant’s throat. The giant eventually comes to death.
At the end, Bathara Guru, on behalf of the Gods, shows gratitude and great appreciation to Begawan MINTARAGA . Furthermore, Bahtara Guru and all the Gods have agreed to pronounce Begawan MINTARAGA
and Supraba as wife and husband. From this marriage, Supraba bears a child subsequently named Abimanyu.
from : Freedom of Expression
Descent of the Ganges is a monument at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the Kancheepuram district of the state of Tamil Nadu, India. Measuring 96 by 43 feet (29 m × 13 m), it is a giant open-air relief carved of two monolithic rock boulders. The legend depicted in the bas-relief is the story of the descent of the sacred river Ganges to earth from the heavens led by Bhagiratha. The waters of the Ganges are believed to possess supernatural powers. The descent of the Ganges and Arjuna's Penance are portrayed in stone at the Pallava heritage site dating back to 7th and 8th centuries. The bas-relief is more of a canvas of Indian rock cut sculpture at its best not seen anywhere in India. It is one of the Group of Monuments at Mahabalipuram that were designated as a UNESCO World Heritage Site since 1984.
வானந்த மண்ணினந்தம் வைத்துவைத்துப் பார்க்கஎனக்(கு)
ஆனந்தம் தந்த அரசே பராபரமே !!!
தாயுமானவர் பராபரக்கண்ணி
Ensemble de monuments de Mahabalipuram
Pancha Rathas (également connu sous le nom de Five Rathas ou Pandava Rathas ou Ainthinai kovil) est un complexe de monuments à Mahabalipuram, sur la côte de Coromandel de la baie du Bengale, dans le district de Chengalpattu de l'état du Tamil Nadu, en Inde.
Pancha Rathas est un exemple d'architecture indienne monolithique taillée dans la roche. On s'est désigné que le complexe avait été sculpté sous le règne du roi Narasimhavarman I (630–668 CE.) Cependant, des historiens tels que Nagaswamy ont attribué tous les monuments de Mahabalipuram un Narasimhavarman II.(vers 690–725 CE) avec la découverte de nouvelles inscriptions. Le complexe est sous les auspices de l'Archaeological Survey of India (ASI) et fait partie du site du patrimoine mondial de l'UNESCO inscrit par l'UNESCO en 1984 en tant que groupe de monuments à Mahabalipuram.
Les cinq Ratha — Yudhishthira, Bhima, Arjuna, Draupadi et Nakula-Sahadeva — sont des monuments monolithiques de tailles et de formes différentes excavés dans un seul bloc de roche d'une petite colline, descendant en pente douce vers le sud, au sud du village de Mahabalipuram au Tamil Nadu en Inde.
Glacier seracs near Mount Arjuna in the Coast Mountains southeast of Bella Coola, seen from the Nusatsum FSR
the taller temple is called Arjuna Temple and the other one is Semar Temple @ Arjuna Temple Complex Dieng on Banjarnegara Regency in province of Central Java, Indonesia.
"Thank you very much for all your faves and stay healthy" 😃
"The Yogi is greater than the ascetics; he is thought greater than even men of knowledge.
The Yogi is greater than men of action.
Therefore, O Arjuna, be a Yogi."
(From the Gita, Upanishad, the Ordinance of Yoga, the discourse between Krishna and Arjuna)
A yogi (Sanskrit, feminine root: yogini) is a term for a male practitioner of various forms of the path of Yoga, maintaining a steadfast mind, the process of transcending the lower self through daily practices.
This word is often used to describe a monk or a householder who is devoted to meditation.
The Shiva-Samhita text defines the yogi as someone who knows that the entire cosmos is situated within his own body, and the Yoga-Shikha-Upanishad distinguishes two kinds of yogins: those who pierce through the "sun" (surya) by means of the various yogic techniques and those who access the door of the central conduit (sushumna-nadi) and drink the nectar.
This Yogi who seems to be ageless was in a little house with opened walls which is near river Ganga in Varanasi (Benaras).
It was three days ago as I was rooming around the ghats with my friends Rajesh, Eloise and Prabhat.
Then we took pictures of the same subjects but it is interesting to see how different our styles can be in our photostreams.
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Work: Arjuna Bukan Madu
Contemporary work, acrylic on canvas
Artist: I Gusti Putu Diatmika
At the Puri Lukisan Museum, Ubud, Bali
One of the True Hindu mythology works of art as you can see this giant rock carving has a world of birds, mammals, and Demi gods. This all serves for the theme of the Mahabharat hero Arjuna.
Relief on Pink Granite - 45 feet high, 100 feet long
7th Cent. CE
Mahabalipuram, Tamil Nadu
This is a section from the monument built during the Pallava Dynasty.
It is a UNESCO World Heritage Site - whc.unesco.org/en/list/249/
Shot on Ilford 50 B&W film in 2006.
7 CE
Can you spot the meditating cat? ;)
[Sculptures at Mamallapuram portray what Pandavas saw or encountered in the Himalayas during their ‘vanvas’]
Here's some interesting info:
www.thehindu.com/todays-paper/the-stone-depicts-arjunas-p...
Today I experimented a bit with my new Sigma 18-35 mm 1.8 lens and my Birman cat Arjuna is always a very beautiful subject!
Here he looks perfectly straight into my camera. Lovely light!
Here in this Panel we find The Lord testing Arjuna the Pandava before bestowing the Pashupatastra .
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage.
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres (47 mi) from the Chennai, the capital city of Tamil Nadu.Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism.
The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram.
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram.
Arjuna nirtham performer , Kerala , India
Taken during Athachayam perfomance , during onam festival celebrations , Kerala
Arjuna nritham (the dance of Arjuna) is a ritual art performed by men and is prevalent in the Bhagavathy temples of Kerala. Arjuna, the most valiant of the five heroic brothers - the Pandavas - of the epic Mahabharatha, was also a renowned singer and dancer and is said to have propitiated goddess Bhadrakaali by a devotional presentation.
Arjuna nritham is also called Mayilppeeli nritham as the costume includes a characteristic garment made of mayilppeeli (peacock feathers). This garment is worn around the waist in a similar fashion as the uduthukettu of Kathakali . The performers have their faces painted green and wear distinctive headgears
Recently had a chance to do a photo series about the Street play Artists (the art we lost due to televisions). During our last year CWC exhibition, Writer S.Ramakrishnan said about the street play artist performing the Mahabaratha play (Epic of India). It was a 15 day event in rural Tamilnadu.
This time the show took place at Sengaadu, a village near Cheyyar & Kanchipuram.
We reached there the play was in 10th day, and the story was the 13th year "Hidden life of Pandavas", - A year in disguise, without being recognized by anyone. (Pandavas are required to go into exile for 12 years, and in the 13th year must remain hidden is the result of the Dice game) . They spent this period in the court of Virata, Matsya Kingdom.
The 10th day play was the entry of Pandavas ( Yudhisthira, Bhima, Arjuna, Nakula and Sahadeva & their wife Draupadi ) into the Matsya Kingdom and they disguised themselves as normal people. King Yudhisthira as Bharamana, Bhima as Cook, Arjuna as Transgender, Nakula as a Muslim Horseman, and Sahadeva as Astrologer and Draupadi as Maid to the Queen.
After they settle down in the country, the problem came in the form Kesesakan, brother-in-law of King Virata. He tried to molest the Maid Draupadi. When the powerful Bhima heard about this, he dressed like a woman and waited in the place where Kesesakan asked her to wait, and he killed him.
More Details about
Pandavas
Mahabarata
Today I experimented a bit with my new Sigma 18-35 mm 1.8 lens and my Birman cat Arjuna is always a very beautiful subject!
I love the way the light falls onto his face.
Meet the Indonesian version of Krishna and Arjuna. They look like Yogi and Wayan, two guys I met in Bali. And their physiques too - typical Balinese. Bali is full of such enormously large statues of mythical characters from Ramayana and Mahabharata. Even the Indians probably don't have that many intricately built gigantic statues in their country.
Pancha Rathas (also known as Pandava Rathas) is a monument complex at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the Kancheepuram district of the state of Tamil Nadu, India. Pancha Rathas is an example of monolith Indian rock-cut architecture. Dating from the late 7th century, it is attributed to the reign of King Mahendravarman I and his son Narasimhavarman I (630–680 AD; also called Mamalla, or "great warrior") of the Pallava Kingdom. An innovation of Narasimhavarman, the structures are without any precedent in Indian architecture. The complex is under the auspices of the Archaeological Survey of India (ASI) and is part of the UNESCO World Heritage site inscribed by UNESCO as Group of Monuments at Mahabalipuram.
Draupadi's Ratha
Each of the five monuments in the Pancha Rathas complex resembles a chariot (ratha), and each is carved over a single, long stone of granite which slopes in north-south direction with a slight incline. Though sometimes mistakenly referred to as temples, the structures were never consecrated because they were never completed following the death of Narasimhavarman I. The structures are named after the Pancha Pandavas and their common wife Draupadi, of epic Mahabharata fame. In order of their size, they include the Dharmaraja Ratha, Bhima Ratha, Arjuna Ratha, Nakula Sahadeva Ratha, and Draupadi Ratha.
Etymology
The monoliths are named after the Pandavas – Arjuna, Bhima, Yudhishthira ("Dharmaraja"), Nakula and Sahadeva – and Draupadi. These names are considered to be a misrepresentation as the structures have no link to the iconic characters of the Mahabharata epic. They have no religious significance either, as they remained unfinished and unconsecrated; the uncut rock parts at the base and top of the rathas are still visible. The ASI confirmed the unfinished nature of the structures and suggested that they instead be referred to as vimanas. However, the Pandava names have become permanent.
According to a plaque displayed at the site by ASI, the Pallava dynasty had planned the structures as models of chariots in rock based on prototypes of ancient rathas built in wood. The Pancha Rathas were carved during the reign of King Mahendravarman I and his son Narasimhavarman I. Work on these five rathas was discontinued following the death of Narasimha Varman in 668 AD. The purpose of their construction is not known as the structures were not completed. Part of the collection within the Group of Monuments at Mahabalipuram, they were classified as a UNESCO World Heritage Site in 1984.
The site is located at Mahabalipuram (previously known as Mammallapuram), on the Coromandel Coast of the Bay of Bengal, in Kancheepuram district. It is approximately 35 miles (56 km) south of Chennai (previously known as Madras), the capital city, while Chengalpattu is about 20 miles (32 km) distant. The structures are part of the nine monolithic rock cut structures seen here.
Layout
Each of the five rathas is a monolith, carved whole from a rock outcropping of pink granite. They are carved over a common mounted plinth which is north-south oriented with a slight slope. Each has a different layout, such as square, rectangular, or apsidal plans. The largest measures 42 by 35 feet (13 m × 11 m), and the tallest is 40 feet (12 m) high.
Representations
The Pancha rathas represent the diversity of Dravidian architecture of the time and it is likely that their original design traces back to wood constructions of temple chariots and were scale models or templates for much bigger temples built subsequently in Tamil Nadu. Most of the rathas are stated to be modelled on the Buddhist Viharas and Chaityas.
Design
The structural design and elevation are with towers or domes with single (ekathala) to triple (trithala) towers, which present a unique exhibition of South Indian Dravidian architecture. The chiseling done by the stone sculptors are occasional along joints between the stones. The walls are arranged and sequentially partitioned. The projections and recesses in these walls give the appearance of a set of shallow pilasters. The niches created in the walls are of rectangular shape and have carved sculptures of gods, demi-gods and the kings. The skirting around the images are of wild aquatic animals with “foliated tails and open jaws.” The wall pilasters have curved brackets, and columns on the porch provide support to an overhanging eave; arch windows occasionally carved with images are located above them. The mouldings culminate in parapets. The carvings above the eave overhangs are decorated roof forms in miniature size, which are seen in rows all round each of the structure.
Preservation
The rathas have been preserved well on account of the sturdiness of their material, granite, and in spite of constant salty winds from the Bay of Bengal and catastrophic tsunamis in 13th century and in 2004.
Notable landmarks
The architectural elegance of the Dharmaraja Ratha is its pyramidal structure which rises in three steps. It is built with a square layout. Its composition has been accentuated with carvings of Hindu gods Harihara, Brahma, Skanda, Ardhanarishvara and King Narasimhavarman I. One of the distinctive carvings seen on the eastern face of the rahta is of Indra (a demi-god of rain and thunderstorms), seated on his mount Airavata (meaning: "a White Elephant"). There is also an independent monolithic stone sculpture of Nandi, adjoining this ratha in the open space. The next in order is the Arjuna Ratha, which is well decorated with an elegant façade and is akin to the Dharmaraja Ratha. Next in line is the Bhima Ratha built to a rectangular plan and with lion mounted columned (four columns) galleries on both long sides. The Nakula Sahadeva Ratha is the next in line. It is built to a simple plan with no embellishing carvings in its apses. A stone monolithic sculpture of an elephant is fixed in the open space, next to this ratha. The Draupadi Ratha, which is the last in the line, is a square structure, which resembles a village hut with thatch roof. The fresco inside this shrine is of mother goddess Durga.
Candi Arjuna. Hinduism set foot in Java and Indonesia since the 1st century CE. This very ancient temple complex is the evidence how intricate their religious beliefs were long before the contemporary one.
Highly inspired by steve mccurry's 'afgan girl' and some random magazines that i found.
Found the backdrop on my way back from lunch at the office and remembered what joe mcnally taught me about lighting.
The model which is also a make up artist happens to live at arjuna area :D
-----------------------------------------------------------
Strobist info :
one light camera left slight above model with full CTO
one light camera right behind model with blue gel
Arjuna's Penance or Bhagiratha's Penace is the name of a massive open air bas-relief monolith dating from the 7th century CE. Measuring 96 feet long by 43 feet high, the bas-relief is also known as The Descent of Ganga. It has been classified as a UNESCO World Heritage Site as part of 'Group of Monuments at Mahabalipuram'.