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Lightning struck the roof of Arbroath Artisan Golf Club in August, 1994. Local builder Frank Murray is seen repairing the damage.
Camera: Nikon D90
Lens: 60mm
Strobist Info:
LP180 upper camera right firing at 1/8th power and zoomed to 24mm into a 4'x8' sheet of white foam core.
LP180 upper camera left firing at 1/128th power and zoomed to 35mm with a 1/8th honl speed grid on the front.
2'x3' sheet of white foam core on camera left with a pearl reflective paper taped to it for some nice semi specular reflected fill.
Small sheet of tinfoil lower camera right/centre for a little specular highlight on the front ice cream.
Flashes triggered via Cactus V4s.
Post work: PSCC and Lightroom CC
... at the Chelsea Flower Show 2014. Mr T and I had a wonderful day here. The weather was kind and the gardens were fabulous xxx
This retreat had my sis Julie Orchids love rainwater written all over it lol.
"I Haven't Had Tomorrow Yet... by Lizzie McQuade
Lizzie McQuade is a Scottish-born, London-based milliner who creates feminine and quirky yet wearable hats, with a focus on intricate hand embellishments and innovative materials.
I Haven't Had Tomorrow Yet...is a luxurious garden retreat and workshop for the woman who has everything! Inspired by Elizabeth Taylor's love of diamonds, flowers and finery, this is an ornate and calming space. Hyacinths and lilac create a perfumed haven in which to dream up, make and admire your perfect hat."
"The Chelsea Flower Show has been held in the grounds of the Chelsea Hospital, London every year since 1913, apart from gaps during the two World Wars. It used to be Britain's largest flower show (it has now been overtaken by RHS Hampton Court Palace Flower Show), but is still the most prestigious.
.
Key facts
• It takes 25 days to put the entire show up
• Number of exhibitors at first Chelsea: 244
• Current exhibitors' total: 550
• Hillier Nurseries holds the record for the greatest number of Chelsea Golds: 66 and counting…"
Artisan from West Africa.
www.novica.com/artistdetail/index.cfm?faid=3754
"My name is Abdul Karim Star, and I was born in the northern region of Ghana in 1966. Unfortunately, when I was four years old my parents divorced and my father decided to send me to Accra. I stayed with my uncle, called Mahama Wamzah who performed ritual circumcisions as well as being a beautician. Initially, I stayed with my uncle roaming the streets of Ayalolo until, one day, my uncle sent me to the Ayalolo Timber market school in 1973 where I begun my education.
"During my eighth year with my uncle, I realized that schooling was becoming difficult for me, both financially and intellectually. I often had to stay home from school because my uncle could not afford the tuition. During one of these long absences from school, I made the decision to help my uncle by looking for a job. One morning, while walking aimlessly around our neighborhood, a man I later got to know as Mustapha, called out to me and asked me to buy him food and some wood sanding discs for his job. When I returned, he wanted to pay for my services. I politely and humbly declined the gift, but on his insistence, I accepted a plate of cooked rice and beans. His show of love and appreciation endeared him to me, to the extent that I became his errand boy. With time, a friendship developed and I became fascinated with his craft – he was a wood carver.
"I regarded Mustapha as a very interesting man and believed this transcended into his art. I eventually joined his group of trainees, which required leaving my uncle's house when I was 18 years old. Mustapha trained us well in every area of the woodcarving realm and eventually I became a carver in my own right, working for Mustapha.
"I was soon selling my own pieces and had established an appreciative clientele, but competition was tough. Two of my competitors framed me on route to Nigeria and I was accused of smuggling museum pieces. I was detained for six hours, until inspectors sent by the Ghanaian Consulate went to the workshop and saw myriad objects at various stages of completion. They realized I had made the pieces and I was released. This experience made more determined to pursue and establish other venues through which to sell our wares. Luck began to smile on me and my clientele grew, both nationally and internationally. It gave me the opportunity to exhibit my work in Nigeria, Burkina Faso, Togo, Mali and the Ivory Coast.
"I still work with Mustapha but now I train apprentices. My work has enabled me to support my parents, my brother and sisters."
Gov Earl Ray Tomblin and 1st Lady Joanne Jaeger Tomblin lit the Christmas tree at the Capitol on Tuesday, Dec 6, 2016, during Joyful Night.
Welcome to Joyful Night!
As your Governor and First Lady we welcome you to the State Capitol to kick off our final 2017 Joyful Night celebration. We have cherished each holiday season we have spent with you, celebrating our state, our students and the arts!
This is a wonderful time of year, so while you are here we hope you will enjoy the sounds and sights of the season. Again this year we welcome the talents of West Virginia vocalists, instrumentalists and artisans whose commitment to the arts make the Mountain State a truly special place.
As you enjoy the evening and make your way from the tree lighting ceremony on the south side of the Capitol to the Governor’s Reception Room, please pay tribute to our first responders and military men and women who have sacrificed so much for our state and country. Many of these individuals are spending the holiday season away from their families, so we want to make sure we say “thank you” to those who serve, and for those who made the ultimate sacrifice. We hold you especially close to our hearts this holiday season.
Remember that this is a season of giving, friendship, family and camaraderie. These are the values that all West Virginians hold dear. Tonight is a joyful night, a night to reflect on our many blessings and extending goodwill to all.
We thank you for the privilege of serving the Great State of West Virginia as your Governor and First Lady for the past six years. May your holidays be filled with joy, laughter and love, and may you have a joyous New Year.
Tuesday, Dec. 6, 2016
Holiday Trees
South - Lincoln Plaza - Norway Spruce
donated by Brenda and David Hanson,
Winfield, W.Va.
North Plaza Fountain Circle - Spruce donated by Ike Smith (Kanawha Roxalana Company), Charleston, W.Va.
Governor’s Mansion Foyer - Frasier Fir donated by Al and Louise Toliver of Crickmer Farms, Danese, W.Va. (West Virginia
Christmas Tree Growers Assoc.)
State Capitol Rotunda
6:30 p.m. – Concert Performance and First Lady’s Ornament Competition
Governor’s Reception Room
7 p.m. – Gold Star, Military and First Responder Recognition
• Governor and First Lady Tomblin salute military tree
• Sign holiday cards for military
Culture Center
7:25 p.m. – Concert and Refreshments
• Martin Luther King Jr. Male Chorus
• Visit Santa and Mrs. Claus
Governor’s Mansion
8 p.m. – Concert Performances and Reading
• Appalachian Children’s Chorus
• Artistree presentation
• Governor and First Lady Tomblin read • Governor’s School for the Arts:
Fr
om Nicholas County High School
Jordan Harper, piano
Jacob Martin, violin
• Christ Church United Methodist Chancel Ringers
First Lady Introduces Ornament Winners
Grades K–2: Mountain View Elementary Kindergarten Class, Hurricane
Grades 3–5: West Teays Elementary Fourth Grade, Hurricane
Grades 6–8: Baileysville Elementary & Middle School, Seventh Grade, Oceana
Grades 9–12: Notre Dame High School Art I Class, Clarksburg
• Toys for Tots holiday donations program
South Plaza Fountain
5:30 p.m. - Concert Performance
• Cabell Midland High School
• Hurricane Middle School
• Hurricane High School
• Poca High School
• Spring Valley High School
• Appalachian Children’s Chorus
6 p.m. – Tree Lighting Ceremony
Posting of the Colors
Mountaineer ChalleNGe Academy
National Anthem
Pledge of Allegiance
Mountaineer Challenge Academy
Musical Performance
Appalachian Children’s Choir
Tree Lighting
Governor and First Lady Tomblin
Musical Performance - All Bands
Retirement of the Colors
Night
Joyful
Happy Holidays
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
Artisan from West Africa.
www.novica.com/artistdetail/index.cfm?faid=1014
"Novica clients know me as Kati Dagadu, but I would prefer to use my maiden name from now on, Torda. I'm Hungarian by birth. I was born in the Northeast corner of Hungary in my hometown, Gonc. I was born on May, 19 1959. I went to school in my hometown from 1965-1979.
"I met my Ghanaian husband in Hungary where he was on government scholarship to pursue his studies. We got married when I was 20 years old and we moved to Ghana to begin our lives together. When we arrived in Ghana I had the Hungarian equivalent of the 'Ordinary Level' Certificate, and had no ability to speak English whatsoever. I was thus limited in terms of what Ghana had to offer me or what I could offer Ghana.
"Since I was limited by my inability to speak English effectively, I turned to handicrafts in order to communicate with my environment and my neighbors. I began working with macramé, the art of knotting and twisting strands to make decorative pieces. So I brought some threads from Hungary. Since I was used to doing this in Hungary I continued with it in Ghana. I discovered a wealth of beautiful kitchen accessories that I grew fond of and used these in my macramé. My search for very elaborate kitchen accessories took me deeper and deeper into the market. And I realized that beads were found in every corner on the market.
"I first came into contact with Ghanaian beads when I first arrived in the country to meet my husband's parents, in Tsume Afedoin the Volta Region. This custom demands that I, as the wife of their first son, be welcomed into the family with a stock of beads; my daughters were also presented with beads when they were born.
"I was fascinated by this gesture. I realized that beads play a huge role in the history, present and future of the Ghanaian peoples. With every bead comes a history of the circumstances surrounding its production, and with that comes the various occasions a particular bead should be worn, and why! I was amazed by this revelation and it encouraged me to research the culture and history of Ghanaian beads.
"Thus I began spending a lot of time in the markets, with any bead vendor or anybody who knew much about beads and didn't mind talking to me about them. I started asking questions: 'Why is this bead expensive?' 'Why is this cheap?' 'Why do these have this and not that?' It went on and on. As I got the replies to my questions I found the answers intriguing, fascinating and exciting. My craving for beads grew stronger and stronger. I found myself hiring an interpreter and buying schnapps, which is the customary drink that has to be presented to any traditional authority when one wants to confer with them. The interpreter accompanied me to speak with people in the villages that had a strong bead culture, I took a notepad and pencil and wrote everything that was relayed to me. At this time I was also studying for an O Level Certificate in English at the Institute of Languages in Accra, which I passed in 1986.
"With time I left the macramé threads which I used in arranging bead necklaces - I found them to be popular with the women. I wanted leather strings and I began getting them from the shoemakers from the Northern Region of Ghana, who specialize in leather slippers and sandals. I began using these leather strings, as they are stronger and more durable than the macramé threads. Also, my work was growing more sophisticated. People who saw my designs loved them, and when I told them about the history behind the arrangement, suggested I had my own exhibition for my collections.
"I was introduced to the director of the Goethe Institute here in Ghana, and he was interested in the concept of organizing an exhibition. I talked to a Ghanaian lady friend who created batik prints and another who made clothing and we put the show together. In 1987 we successfully held a two week exhibition of designer clothing, batiks, and beads at the Goethe Institute; this was a huge success. Each piece had its own explanation, and a publication about beads was launched under my name.
"I've held several other exhibitions in Ghana and other parts of the world. My designs have grown more elaborate and increasingly sophisticated. I'm also dealing with fashion designers. They invited me to supply locally manufactured beads with a new spark and shine, to make accessories for modern African clothing. My latest achievement in the fashion circles is supplying the jewelry for the annual Miss Lox Universe Beauty Pageant and Miss Ghana Beauty Pageant, both incredibly glamorous events. I also design beads for Angela Fisher, a well-known English designer from Nairobi, as well as other local and international designers.
"I'm also very proud of helping to establish the Ghana Bead Society. We want to re-educate Ghanaians to keep beads and stool beads intact within the family - these are actually family heirlooms - rather than selling them off for paltry amounts. Those beads are not ordinary beads. They have a history, and this makes them different from other beads - indeed priceless. We also try to create awareness in Ghanaian society about our national resources and treasures.
"I have two daughters and a son from my ex-husband's previous relationship. Before she died, my mother used to visit for long periods of time, my other relations drop in one after the other. I remember fondly when I announced to my parents my decision to relocate to Ghana with my husband. My mother was happy but for the distance. I've had an exhibition in my hometown as well and they were pleased with my collection. I'm glad Ghana has served me well."
A highly acclaimed meal in downtown paso robles! And they are playing Tom Waits!! How can't you love it here!?
Conservative and reliable, the Heritage range captures the essence of historic Australian house design. This timeless tile profile achieves a look and style reminiscent of Australia's historic federation homes.
i REALLY hate having my photo taken with flash... just so you know...
i'm really pleased with how this cake turned out. it was supposed to be a green and gold lotus inspired wedding cake with a big sugar lotus flower on top and a lotus bulb and flower design hand painted on the side with edible gold, but i was informed that we needed more children's display cakes, so i changed it to this. notice i have no pink on the cake? the pink colouring that i use fades when exposed to sunlight for extended periods of time! lets just say it's a mistake i won't make twice.
It was dusk by the time we reached the Artisans d'Angkor. Artisans d'Angkor are an artisan group trained by the Chantiers-Écoles de Formation Professionnelle or CEFP for short. CEFP provides unschooled rural youth with a free vocational training program while Artisans d'Angkor provides them a professional, economic and social integration into contributing to their local communities. After the local culture and art of Cambodia were almost wiped out by the Khmer Rogue lunatics. It's good to see that some public spirited people, albeit from outside the country, are making a sincere effort to revive the arts in Cambodia. (Siem Reap, Cambodia, Oct. 2008)
The Burke Museum hosted a wonderful Artisan Market on July 20-21, where six of the cooperatives featured in the Empowering Women exhibit visited in addition to numerous local cooperatives. Learn more about the exhibit here: www.burkemuseum.org/empowering
The Qutb complex (Hindi: क़ुतुब, Urdu: قطب), also spelled Qutab or Qutub, is an array of monuments and buildings at Mehrauli in Delhi, India. The best-known structure in the complex is the Qutb Minar, built to honor the Sufi saint Qutbuddin Bakhtiar Kaki. Its foundation was laid by Qutb-ud-din Aibak, who later became the first Sultan of Delhi of the Mamluk dynasty. After the death of the viceroy, the Minar was added upon by his successor Iltutmish (a.k.a. Altamash) and much later by Firoz Shah Tughlaq, a Tughlaq dynasty Sultan of Delhi in 1368 AD. the construction of the Qubbat-ul-Islam Mosque or Dome of Islam [later corrupted into Quwwat-ul Islam] next to the Qutb Minar, in the Qutb complex, built on the ruins of Lal Kot Fort built by Tomar Rajput ruler, Anangpal in 739 CE and Qila-Rai-Pithora, Prithviraj Chauhan's city, the Rajput king, whom Ghori's Afghan armies had earlier defeated and killed, at the Second Battle of Tarain.
The complex was added to by many subsequent rulers, including Firoz Shah Tughlaq and Ala ud din Khilji as well as the British. Other structures in the complex are the Qutb Minar, the Quwwat ul-Islam Mosque, the Alai Gate, the Alai Minar, the Iron pillar, and the tombs of Iltutmish, Alauddin Khilji and Imam Zamin, surrounded by Jain temple ruins.
Today, the adjoining area spread over with a host of old monuments, including Balban's tomb, has been developed by Archaeological Survey of India (ASI) as the Mehrauli Archaeological Park, and INTACH has restored some 40 monuments in the Park. It is also the venue of the annual 'Qutub Festival', held in November–December, where artists, musicians and dancers perform over three days. The Qutb Minar complex, with 3.9 million visitors, was India's most visited monument in 2006, ahead of the Taj Mahal, which drew about 2.5 million visitors.
ALAI DARWAZA
The Alai Darwaza is the main gateway from southern side of the Quwwat-ul-Islam Mosque. It was built by the second Khilji Sultan of Delhi, Ala-ud-din Khilji in 1311 AD, who also added a court to the pillared to the eastern side. The domed gateway is decorated with red sandstone and inlaid white marble decorations, inscriptions in Naskh script, latticed stone screens and showcases the remarkable craftsmanship of the Turkish artisans who worked on it. This is the first building in India to employ Islamic architecture principles in its construction and ornamentation.
The Slave dynasty did not employ true Islamic architecture styles and used false domes and false arches. This makes the Alai Darwaza, the earliest example of first true arches and true domes in India. It is considered to be one of the most important buildings built in the Delhi sultanate period. With its pointed arches and spearhead of fringes, identified as lotus buds, it adds grace to the Quwwat-ul-Islam mosque to which it served as an entrance.
QUTB MINAR
The Qutb Minar is the tallest brick minaret in the world, inspired by the Minaret of Jam in Afghanistan, it is an important example of early Afghan architecture, which later evolved into Indo-Islamic Architecture. The Qutb Minar is 72.5 metres high, has five distinct storeys, each marked by a projecting balcony carried on muqarnas corbel and tapers from a diameter 14.3 metres at the base to 2.7 metres at the top, which is 379 steps away. It is listed as a UNESCO World Heritage Site along with surrounding buildings and monuments.
Built as a Victory Tower, to celebrate the victory of Mohammed Ghori over the Rajput king, Prithviraj Chauhan, in 1192 AD, by his then viceroy, Qutbuddin Aibak, later the first Sultan of Mamluk dynasty. Its construction also marked the beginning of Muslim rule in India. Even today the Qutb remains one of the most important "Towers of Victory" in the Islamic world. Aibak however, could only build the first storey, for this reason the lower storey is replete with eulogies to Mohammed Ghori. The next three floors were added by his son-in-law and successor, Iltutmish. The minar was first struck by lightning in 1368 AD, which knocked off its top storey, after that it was replaced by the existing two floors by Firoz Shah Tughlaq, a later Sultan of Delhi 1351 to 1388, and faced with white marble and sandstone enhancing the distinctive variegated look of the minar, as seen in lower three storeys. Thus the structure displays a marked variation in architectural styles from Aibak to that of Tughlaq dynasty. The inside has intricate carvings of the verses from the Quran.
The minar made with numerous superimposed flanged and cylindrical shafts in the interior, and fluted columns on the exterior, which have a 40 cm thick veneer of red and buff coloured sandstone; all surrounded by bands of intricate carving in Kufic style of Islamic calligraphy, giving the minar the appearance of bundled reeds. It stands just outside the Quwwatul mosque, and an Arabic inscription suggests that it might have been built to serve as a place for the muezzin, to call the faithfuls for namaz. Also marking a progression in era, is the appearance of inscriptions in a bold and cursive Thuluth script of calligraphy on the Qutb Minar, distinguished by strokes that thicken on the top, as compared to Kufic in earlier part of the construction.
Inscriptions also indicate further repairs by Sultan Sikander Lodi in 1503, when it was struck by lightning once again. In 1802, the cupola on the top was thrown down and the whole pillar was damaged by an earthquake. It was repaired by Major R. Smith of the Royal Engineers who restored the Qutub Minar in 1823 replacing the cupola with a Bengali-style chhatri which was later removed by Governor General, Lord Hardinge in 1848, as it looked out of place, and now stands in the outer lawns of the complex, popularly known as Smith's Folly.
After an accident involving school children, entry to the Qutub Minar is closed to public since 1981, while Qutub archaeological area remains open for public. In 2004, Seismic monitors were installed on the minar, which revealed in 2005 Delhi earthquake, no damage or substantial record of shakes. The reason for this has been cited as the use of lime mortar and rubble masonry which absorbs the tremors; it is also built on rocky soil, which further protects it during earthquakes.
QUWWAT-UL-ISLAM MOSQUE
Quwwat-ul-Islam mosque(Arabic: قوة الإسلام ) (might of Islam) (also known as the Qutub Mosque or the Great Mosque of Delhi) was built by Qutb-ud-din Aibak, founder of the Mamluk or Slave dynasty. It was the first mosque built in Delhi after the Islamic conquest of India and the oldest surviving example of Ghurids architecture in Indian subcontinent. The construction of this Jami Masjid (Friday Mosque), started in the year 1193 AD, when Aibak was the commander of Muhammad Ghori's garrison that occupied Delhi. The Qutub Minar was built simultaneously with the mosque but appears to be a stand-alone structure, built as the 'Minar of Jami Masjid', for the muezzin to perform adhan, call for prayer, and also as a qutub, an Axis or Pole of Islam. It is reminiscent in style and design of the Adhai-din-ka Jhonpra or Ajmer mosque at Ajmer, Rajasthan, also built by Aibak during the same time, also constructed by demolishing earlier temples and a Sanskrit school, at the site.
According to a Persian inscription still on the inner eastern gateway, the mosque was built by the parts taken by destruction of twenty-seven Hindu and Jain temples built previously during Tomars and Prithvi Raj Chauhan, and leaving certain parts of the temple outside the mosque proper. Historical records compiled by Muslim historian Maulana Hakim Saiyid Abdul Hai attest to the iconoclasm of Qutb-ud-din Aibak. This pattern of iconoclasm was common during his reign, although an argument goes that such iconoclasm was motivated more by politics than by religion.
However, many historians were unanimous regarding the fact that Qutb ud-Din Aibaq like many other Muslim rulers, had a pathological bigotry and distaste towards henotheistic values, and intolerance on cultures considered anathema in Islamic dogma, which had impelled him to vandalise those historic monuments.
The mosque is built on a raised and paved courtyard, measuring 43x32 m, surrounded by pillared cloisters added by Iltutmish between 1210 and 1220 AD. The stone screen between prayer hall and the courtyard, stood 16 m at its highest was added in 1196 AD, the corbelled arches had Arabic inscriptions and motifs. Entrances to the courtyard, also uses ornate mandap dome from temples, whose pillars are used extensively throughout the edifice, and in the sanctuary beyond the tall arched screens. What survives today of the sanctuary on the western side are the arched screens in between, which once led to a series of aisles with low-domed ceilings for worshippers. Expansion of the mosque continued after the death of Qutb. Qutbuddin's successor Iltutmish, extended the original prayer hall screen by three more arches. By the time of Iltutmish, the Mamluk empire had stabilised enough that the Sultan could replace most of his conscripted Hindu masons with Muslims. This explains why the arches added under Iltutmish are stylistically more Islamic than the ones erected under Qutb's rule, also because the material used wasn't from demolished temples. Some additions to the mosque were also done by Alauddin Khilji, including the Alai Darwaza, the formal entrance to the mosque in red sandstone and white marble, and a court to the east of the mosque in 1300 AD.
The mosque is in ruins today but indigenous corbelled arches, floral motifs, and geometric patterns can be seen among the Islamic architectural structures. To the west of the Quwwat ul-Islam mosque is the tomb of Iltutmish which was built by the monarch in 1235.
IRON PILLAR
The iron pillar is one of the world’s foremost metallurgical curiosities. The pillar, 7.21-metre high and weighing more than six tonnes, was originally erected by Chandragupta II Vikramaditya (375–414 AD) in front of a Vishnu Temple complex at Udayagiri around 402 AD, and later shifted by Anangpal in 10th century CE from Udaygiri to its present location. Anangpal built a Vishnu Temple here and wanted this pillar to be a part of that temple.
The estimated weight of the decorative bell of the pillar is 646 kg while the main body weighs 5865 kg, thus making the entire pillar weigh 6511 kg. The pillar bears an inscription in Sanskrit in Brahmi script dating 4th century AD, which indicates that the pillar was set up as a Vishnudhvaja, standard of god, on the hill known as Vishnupada in memory of a mighty king named Chandra, believed to Chandragupta II. A deep socket on the top of this ornate capital suggests that probably an image of Garuda was fixed into it, as common in such flagpoles.
TOMS
IOMB OF ILTUTMISH
The tomb of the Delhi Sultanate ruler, Iltutmish, the second Sultan of Delhi (r. 1211–1236 AD), built 1235 CE, is also part of the Qutb Minar Complex in Mehrauli, New Delhi. The central chamber is a 9 mt. sq. and has squinches, suggesting the existence of a dome, which has since collapsed. The main cenotaph, in white marble, is placed on a raised platform in the centre of the chamber. The facade is known for its ornate carving, both at the entrance and the interior walls. The interior west wall has a prayer niche (mihrab) decorated with marble, and a rich amalgamation of Hindu motives into Islamic architecture, such as bell-and-chain, tassel, lotus, diamond emblems.
In 1914, during excavations by Archaeological Survey of India's (ASI) Gordon Sanderson, the grave chamber was discovered. From the north of the tomb 20 steps lead down to the actual burial vault.
ALA-UD-DIN KHILJI´S TOMB AND MADRASA
At the back of the complex, southwest of the mosque, stands an L-shaped construction, consisting of Alauddin Khilji's tomb dating ca 1316 AD, and a madrasa, an Islamic seminary built by him. Khilji was the second Sultan of Delhi from Khilji dynasty, who ruled from 1296 to 1316 AD.
The central room of the building, which has his tomb, has now lost its dome, though many rooms of the seminary or college are intact, and since been restored. There were two small chambers connected to the tomb by passages on either side. Fergusson in his book suggested the existence, to the west of the tomb, of seven rooms, two of which had domes and windows. The remains of the tomb building suggest that there was an open courtyard on the south and west sides of the tomb building, and that one room in the north served as an entrance.
It was the first example in India, of a tomb standing alongside a madarsa. Nearby stands the Alai Minar, an ambitious tower, he started constructing to rival the Qutub Minar, though he died when only its first storey was built and its construction abandoned thereafter. It now stands, north of the mosque.
The tomb is in a very dilapidated condition. It is believed that Ala-ud-din's body was brought to the complex from Siri and buried in front of the mosque, which formed part of the madrasa adjoining the tomb. Firoz Shah Tughluq, who undertook repairs of the tomb complex, mentioned a mosque within the madrasa.
ALAI MINAR
Alauddin Khilji started building the Alai Minar, after he had doubled the size of Quwwat ul-Islam mosque. He conceived this tower to be two times higher than Qutb Minar in proportion with the enlarged mosque. The construction was however abandoned, just after the completion of the 24.5-metre-high first-story core; soon after death of Ala-ud-din in 1316, and never taken up by his successors of Khilji dynasty. The first story of the Alai Minar, a giant rubble masonry core, still stands today, which was evidently intended to be covered with dressed stone later on. Noted Sufi poet and saint of his times, Amir Khusro in his work, Tarikh-i-Alai, mentions Ala-ud-din's intentions to extend the mosque and also constructing another minar.
OTHER MONUMENTS
A short distance west of the enclosure, in Mehrauli village, is the Tomb of Adham Khan who, according to legend drove the beautiful Hindu singer Roopmati to suicide following the capture of Mandu in Madhya Pradesh. When Akbar became displeased with him he ended up being heaved off a terrace in the Agra Fort. Several archaeological monuments dot the Mehrauli Archaeological Park, including the Balban's tomb, Jamali Kamali mosque and tomb.
There are some summer palaces in the area: the Zafar Mahal, the Jahaz Mahal next to Hauz-i-Shamsi lake, and the tombs of the later Mughal kings of Delhi, inside a royal enclosure near the dargah shrine of Sufi saint, Qutbuddin Bakhtiar Kaki. Here an empty space between two of the tombs, sargah, was intended for the last king of Delhi, who died in exile in Rangoon, Burma, in 1862, following his implication in the Indian Rebellion of 1857. Also standing nearby is the Moti Masjid mosque in white marble.The ruins of the alai minar are currently in the qutb complex.
WIKIPEDIA
Réalisation d'un enduit à la chaux teinté dans la masse sur une isolation chaux chanvre
www.pittet-artisans.ch/pages/services/enduits-naturels/en...
Espace de présentation du centre national de la soie des Artisans d'Angkor
Au cours des dernières années, Artisans d’Angkor a étendu son champ d'activités permettant de sortir l'entreprise du cadre traditionnel de l'artisanat, en particulier vers des activités culturelles, de décoration et de création de gammes de produits haut de gamme destinés à une clientèle internationale ciblée.