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The Moonlight Pavilion, where the king invite his guests for dinner.
The Preah Thineang Chan Chhaya (Khmer: ព្រះទីន័ងច័ន្ទឆាយា) or "Moonlight Pavilion", is an open-air pavilion that serves as stage for Khmer classical dance in the past and present.
It is one of the most notable buildings of the palace as it easily seen from the outside as it was built alongside a section of the palace walls. The Chan Chhaya Pavilion has a balcony that was used as a platform for viewing parades marching along Sothearos Boulevard of Phnom Penh. The current Pavilion is the second incarnation of the Chanchhaya Pavilion, this one constructed in 1913–14 under King Sisowath to replace the earlier wooden pavilion built under King Norodom.
The current pavilion is of a similar design as the earlier version. The Chanchhaya Pavilion dominates the facade of the Palace on Sothearos Blvd. The Pavilion serves as a venue for the Royal Dancers, as a tribune for the King to address the crowds and as a place to hold state and Royal banquets. Most recently, the Pavilion was used for a banquet and a tribune for the new King at the 2004 coronation of King Norodom Sihamoni.
Another image of my classical dancer images and converted in monochrome. It seems I just love the noir effect and BW.
A classical dancer performing Bharatanatyam, a series of illustrative delicate moves with impressive footwork, facial expressions. The Origins of this dance stems from the early traditions of Hinduism possibly around 500 BCE and 500 CE. However in this image I have focused with a noir effect and the interplay of light and shadow.
Where one can discover the illuminated splendor of Lahore Fort and Huzoori Bagh with the History by Night tour by the Walled City of Lahore Authority. Where history dances under the stars.
An enchanting and mesmerizing tour to Mughal era, like traveling in a time machine to the court of Emperor Akbar where a captivating saga of grandeur and magnificence unfolded. Renowned for their refined tastes and opulent lifestyles, the Mughal emperors orchestrated nightly spectacles that went far beyond the ordinary, embracing the extraordinary with unparalleled finesse. For the Mughals, the shroud of darkness wasn’t merely an absence of light; it served as a canvas upon which they painted a vibrant tapestry of extravagant entertainment, a testament to their sophisticated sensibilities and profound love for the arts. Immersed in a rich fusion of art, music, dance, and culinary brilliance, these imperial evenings not only dispelled the shadows but also left an enduring imprint on the pages of history.
Where one can discover the illuminated splendor of Lahore Fort and Huzoori Bagh with the History by Night tour by the Walled City of Lahore Authority. Where history dances under the stars.
An enchanting and mesmerizing tour to Mughal era, like traveling in a time machine to the court of Emperor Akbar where a captivating saga of grandeur and magnificence unfolded. Renowned for their refined tastes and opulent lifestyles, the Mughal emperors orchestrated nightly spectacles that went far beyond the ordinary, embracing the extraordinary with unparalleled finesse. For the Mughals, the shroud of darkness wasn’t merely an absence of light; it served as a canvas upon which they painted a vibrant tapestry of extravagant entertainment, a testament to their sophisticated sensibilities and profound love for the arts. Immersed in a rich fusion of art, music, dance, and culinary brilliance, these imperial evenings not only dispelled the shadows but also left an enduring imprint on the pages of history.
before the snowstorm...the weather forecast says we will have a little snowstorm this weekend...cross my fingers that it's only a little one as I'm driving to Vejle on sunday to watch a classical /dance show based on Charles Dickens - A Christmas Carol :o)
Sleep tight ;o)
Khmer classical dance, the indigenous ballet-like performance art of Cambodia, is frequently called "Apsara Dance".
Apsaras represent an important motif in the stone bas-reliefs of the Angkorian temples in Cambodia (8th–13th centuries AD), however all female images are not considered to be apsaras. In harmony with the Indian association of dance with apsaras, Khmer female figures that are dancing or are poised to dance are considered apsaras; female figures, depicted individually or in groups, who are standing still and facing forward in the manner of temple guardians or custodians are called devatas.
Angkor Wat, the largest Angkorian temple (built AD 1116–1150), features both apsaras and devata, however the devata type are the most numerous with more than 1,796 in the present research inventory.
Angkor Wat architects employed small apsara images (30–40 cm as seen at left) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period. Some devata appear with arms around each other and seem to be greeting the viewer. “The devatas seem to epitomize all the elements of a refined elegance,” wrote Marchal.
Khmer classical dance, the indigenous ballet-like performance art of Cambodia, is frequently called "Apsara Dance".
Apsaras represent an important motif in the stone bas-reliefs of the Angkorian temples in Cambodia (8th–13th centuries AD), however all female images are not considered to be apsaras. In harmony with the Indian association of dance with apsaras, Khmer female figures that are dancing or are poised to dance are considered apsaras; female figures, depicted individually or in groups, who are standing still and facing forward in the manner of temple guardians or custodians are called devatas.
Angkor Wat, the largest Angkorian temple (built AD 1116–1150), features both apsaras and devata, however the devata type are the most numerous with more than 1,796 in the present research inventory.
Angkor Wat architects employed small apsara images (30–40 cm as seen at left) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period. Some devata appear with arms around each other and seem to be greeting the viewer. “The devatas seem to epitomize all the elements of a refined elegance,” wrote Marchal.
once again a classical dance capture and I have given something of a noir appeal. Maybe too dark and getting bit carried away. By the way the title of the image was of a movie and book which starred Natalie Portman and not Kiera Knightley.
Painting of Indian Classical Dancer by Inderjeet Grover displayed in the India Art Festival 24, Bengaluru.
The Choreographer, Jack Kek, illusion of dreaming and the mutual illusion between human and the butterfly leave infinite room for the imagination. He intend to express his aspiration for free life and spirit through this illusion.In this dance, he depicts the state of illusions of reality and fantasy using Chinese classical dance forms and long sleeves. The long sleeves are a metaphor of the butterfly and, when used by the dancer, Fu Xinpei, the long sleeves show that the human and butterfly coexist in a space and embody Zhuang Zhou's conception of fantasy and reality.
The young dancers belong to Binal Dance Academy and very talented with great classical dance movements . They recently performed at Mayor Of London Diwali ( Hindu New Year Celebrations at Trafalgar Square.
Traditional Thai dance. Thai classical dance drama include Khon, Lakhon, and Fawn Thai.
Note that each dancer's hand is in a different position .
And different rose flower position
Kathakali, the classical dance-drama of Kerala, is based on mythological themes. Mythical characters like the Devas, Asuras (the residents of heaven and earth representing good and evil, respectively), apart from some bird and animal characters can be represented only in larger than life, superhuman dimensions. In Kathakali, the make-up creates the superhuman effect.
It takes nearly three to four hours to complete the make-up which is done in stages, and the duration varies according to the character and complexity of the costume.
Kuchipudi Dancer, K Chandana Badri in Pataka Mudra, This hand gesture is formed by keeping all fingers straight and together, and bending a thumb so that it touches the end of the index finger.
indian classical dance is sustained by a profound philosophy. Form seeks to merge with the formless,motions seek to become a part of the motionless, and the dancing individual seeks to become one with the eternal dance of the cosmos. By Nita Ambani
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Kathak is one of the main classical dance forms from India. Originating from the northern parts of India, it showcases intricate rhythmic patterns through strong footwork and graceful hand and body movements.
Indian Classical Dancer performing at Alliance Francaise during Attendance Awards Ceremony in Bengaluru city.
This guinea pig that unexpectedly arrived in my digital creation with AI Bing Image Creator brought a smile to my face.
They don't know how to dance, much less classical dance, but I have hosted some of them and I still remember their presence and their cute vocalizations with pleasure.
Mi ha strappato un sorriso questa cavia che è arrivata inaspettatamente nella mia creazione digitale con AI Bing Image Creator.
Non sanno ballare, tantomeno la danza classica, ma ne ho ospitate alcune e ancora ricordo la loro presenza e i loro simpatici vocalizzi con piacere.
Kathak performance from India.
Wiki:- "Kathak is one of the nine major forms of Indian classical dance. Its origin is attributed to the traveling bards in ancient northern India known as Kathakar, who communicated stories from the Hindu epics through dance, songs and music".
The Moonlight Pavilion, where the king invite his guests for dinner.
The Preah Thineang Chan Chhaya (Khmer: ព្រះទីន័ងច័ន្ទឆាយា) or "Moonlight Pavilion", is an open-air pavilion that serves as stage for Khmer classical dance in the past and present.
It is one of the most notable buildings of the palace as it easily seen from the outside as it was built alongside a section of the palace walls. The Chan Chhaya Pavilion has a balcony that was used as a platform for viewing parades marching along Sothearos Boulevard of Phnom Penh. The current Pavilion is the second incarnation of the Chanchhaya Pavilion, this one constructed in 1913–14 under King Sisowath to replace the earlier wooden pavilion built under King Norodom.
The current pavilion is of a similar design as the earlier version. The Chanchhaya Pavilion dominates the facade of the Palace on Sothearos Blvd. The Pavilion serves as a venue for the Royal Dancers, as a tribune for the King to address the crowds and as a place to hold state and Royal banquets. Most recently, the Pavilion was used for a banquet and a tribune for the new King at the 2004 coronation of King Norodom Sihamoni.
A Khmer classical dancer adds a spot of colour to a famous doorway at Ta Prohm temple with its extensive burden of encroaching strangler fig roots. Ta Prohm Khmer empire temple, Siem Reap, Cambodia.
18/04/16 www.allenfotowild.com
Indian Classical dance Kuchpudi performed by K. Chandana Badri showing Tripataka Mudra at Chowdiah Memorial Hall in Bengaluru. Tripataka mudra is used to represent a crown.
Kathak performance from India.
Wiki:- "Kathak is one of the nine major forms of Indian classical dance. Its origin is attributed to the traveling bards in ancient northern India known as Kathakar, who communicated stories from the Hindu epics through dance, songs and music".
Shooting with a young female ballet dancer. I love the elegance, the fine lines of arms and legs, the beauty of classical dance in general.
Technique of the camera-intern double exposure .
Studioshooting mit einer Ballerina. Ich liebe den klassischen Tanz sehr, die feinen Linien der Arme und Beine, die Eleganz.
Kamerainterne Doppelbelichtung
Studio shooting.
Canon Eos r5, RF 24-70mm
The Sun Temple at Modhera, Gujarat, India - a temple dedicated to the Sun - was built around 1026 CE, by King Bhimdev-I of the Solanki dynasty.
It enjoys the same significance as other two well known sun-temples in India, at Martand in Kashmir and Konark in Orissa. Though prayers are no longer offered here, the temple has religious significance for many. To me it is a fascinating piece of engineering and art.
The temple complex has three main structures - the kunda (sacred pond), the sabha-mandapa (assembly hall) and the gudha-mandapa (prayer hall) - aligned in an east-west axis, with the kunda toward the east, the gudha-mandapa to the west, and the sabha-mandapa in between these. The gudha-mandapa also contains within it the garbagriha (sanctum sanctorum).
If you were an ancient visitor to this complex, you would first descend to the water in the kund, wash your hands, and then climb the 50 or so steps to the sabha-mandapa, walk across it and enter the gudha-mandapa to offer your prayers.
In this photo you see the kunda, and the sabha-mandapa at the far end, as seen from the east.
A fascinating part of the design is that on the days of the solar equinox, the first rays of the rising sun will light up the
garbagriha having a straight path through the sabha-mandapa and the gudha-mandapa. And on the day of summer solstice, the sun shines directly overhead at noon casting no shadow.
The garbagriha housed an idol of the Hindu Sun God Surya, said to be made in gold. Much was lost, including the idol, when Mahmud of Ghazni from Persia (now Iran) plundered it during one of his repeated invasions of India.
A festival of Indian classical dance is held every January here.
As the civilisation evolved, religion and temples and other religious centres acted as focal point of societies around the world. India is no exception.
Many large temples in ancient and mediaeval India acted as learning centres. Religion was instrumental in laying ethics for the society, gave art, craft, sculpture, music, performing arts and linguistics a huge boost.
Tarakeswara Temple located in a small dusty town of Hangal, even today is centre for various societal activities.
When I visited this ancient temple, a group of women from around the locality were having their regular meeting. I was told that they exchange information, practice music and even exchange recipes while they meet under the roofs of this ancient temple.
#Temple #templeArchitecture #India #Hinduism #Religion #Faith #Belief #People #Culture #Architecture #Arecheaology #Sculpture #Customs #Travel #WanderLust #Wanderings #Monuments #HistoryOfIndia #MonumentsOfIndia #Ancient #History #Medieval #Heritage #arts #crafts #music #linguistics #classical_dance
For someone who has not been to Galveston Island in many years, I was expecting the place to be dingier, the beaches dirty and stinky like they used to be. The good news is the "Third Coast" is first class. Kudos to the volunteers and other crews that keep it clean. It inspired me to do my part taking out a couple of plastic bottles and cups left in the sand.
The picture does not reflect it but it was extremely windy and the fine sugar like sand kept blasting onto my face and into my eyes. It took quite a few tries and a little bit of sacrificing ideal camera settings to achieve this result. What helped was remembering how I shoot classical dance performances to capture these beach beauties in their act.
Healthy colonies of Beach sunflower (Helianthus debilis) looked cheery and had their fresh faces to the soft morning Sun.
This is in continuation of my earlier post.
On our recent visit to the state of Kerala we witnessed a Kathakali performance in Kochi.Before the actual performance one of the male actor-dancers gave us a demonstration of the facial expressions and hand gestures (mudras) that would be used during the actual performance to express various emotions ,words etc - to tell us the story .We were really enthralled by the way he conveyed love, desire, anger, sarcasm, humour, sorrow and a myriad other feelings and emotions through the movement of his eyes, eyebrows, facial muscles and his hand gestures.He played the female role in the play and was probably the most versatile actor-dancer in the troupe.Kathakali actor-dancers undergo rigorous training for many years before they perform on stage.
Kathakali is a traditional form of Indian classical dance and one of the oldest theatre forms still practised.It is a "story game" genre of art , distinguished by the elaborately colourful make-up and costumes of the traditionally male actor-dancers.It is native to and almost entirely practised by the people of Kerala, the state at the south-western tip of India.
The roots of Kathakali can be traced back to at least the 1st millenium CE.
The term Kathakali is derived from the words "katha" meaning story or conversation and "kali" which means performance or play.The traditional themes are folk stories,religious legends and ideas from the Hindu epics and Puranas.Like all classical dances of India, a Kathtakali performance synthesizes music, vocalists, choreography and hand and facial gestures which express ideas and emotions.
A Kathakali repertoire is an operatic performance involving actor-dancers in the front supported by musicians and vocalists.Typically all roles (even the female ones) are played by male actor-dancers.
Traditionally a kathakali performance is long ,starting at dusk and continuing through dawn with breaks for the artists. Modern performances are shorter. The stage is mostly bare with only a few drama related items.The front of the stage is adorned with a huge brass lamp (kalivilakku) with its thick wick sunk in coconut oil.When there was no electricity this lamp provided the light for the night performances when the actor-dancers would gather around it.
Of all the classical dances, Kathakali has the most elaborate make-up and costumes consisting of head dresses, vividly painted faces and masks.It typically takes hours to prepare a kathakali troupe for a play.
The make-up follows an accepted code that helps the audience identify with the characters.The colours which are made from natural ingredients are used denote different characters.For eg.The colour Pacha (green) with brillint coral lips potrays a noble character ,Thaadi (red) denotes an evil streak, Kari (black) is the code for forest dwellers, hunters, demons etc.
The actors speak a sign language where the word part of the dialogues is expressed through hand gestures ( mudras) while emotions and moods are expressed through facial and eye movements.
Source :- Wikipedia
Kathak is one of the main classical dance forms from India. Originating from the northern parts of India, it showcases intricate rhythmic patterns through strong footwork and graceful hand and body movements.
Another high key tone presentation of Indian classical dance kathak performer Parbati Chaudhury. The grainy noisy effects and background gives a timeless edge to the image
Something a little different this time.Make-up of artists before a Kathakali performance in Kochi.
Kathakali is a traditional form of Indian classical dance and one of the oldest theatre forms still practised.It is a "story game" genre of art , distinguished by the elaborately colourful make-up and costumes of the traditionally male actor-dancers.It is native to and almost entirely practised by the people of Kerala, the state at the south-western tip of India.
The roots of Kathakali can be traced back to at least the 1st millenium CE.
The term Kathakali is derived from the words "katha" meaning story or conversation and "kali" which means performance or play.The traditional themes are folk stories,religious legends and ideas from the Hindu epics and Puranas.Like all classical dances of India, a Kathtakali performance synthesizes music, vocalists, choreography and hand and facial gestures which express ideas and emotions.
A Kathakali repertoire is an operatic performance involving actor-dancers in the front supported by musicians and vocalists.Typically all roles (even the female ones) are played by male actor-dancers.
Traditionally a kathakali performance is long ,starting at dusk and continuing through dawn with breaks for the artists. Modern performances are shorter. The stage is mostly bare with only a few drama related items.The front of the stage is adorned with a huge brass lamp (kalivilakku) with its thick wick sunk in coconut oil.When there was no electricity this lamp provided the light for the night performances when the actor-dancers would gather around it.
Of all the classical dances, Kathakali has the most elaborate make-up and costumes consisting of head dresses, vividly painted faces and masks.It typically takes hours to prepare a kathakali troupe for a play.
The make-up follows an accepted code that helps the audience identify with the characters.The colours which are made from natural ingredients are used denote different characters.For eg.The colour Pacha (green) with brillint coral lips potrays a noble character ,Thaadi (red) denotes an evil streak, Kari (black) is the code for forest dwellers, hunters, demons etc.
The actors speak a sign language where the word part of the dialogues is expressed through hand gestures ( mudras) while emotions and moods are expressed through facial and eye movements.
On our recent trip to Kerala we saw a Kathakali performance in Kochi. We were also allowed to see the make-up being put on.It was a mesmerizing performance.
Source :- Wikipedia
Photos of the actual performance to follow.:-)
Have a great Sunday my friends.
Indian Classical Dance performed by the Young girls during Dasara Festival at White House in Bengaluru.
The Moonlight Pavilion, where the king invite his guests for dinner.
The Preah Thineang Chan Chhaya (Khmer: ព្រះទីន័ងច័ន្ទឆាយា) or "Moonlight Pavilion", is an open-air pavilion that serves as stage for Khmer classical dance in the past and present.
It is one of the most notable buildings of the palace as it easily seen from the outside as it was built alongside a section of the palace walls. The Chan Chhaya Pavilion has a balcony that was used as a platform for viewing parades marching along Sothearos Boulevard of Phnom Penh. The current Pavilion is the second incarnation of the Chanchhaya Pavilion, this one constructed in 1913–14 under King Sisowath to replace the earlier wooden pavilion built under King Norodom.
The current pavilion is of a similar design as the earlier version. The Chanchhaya Pavilion dominates the facade of the Palace on Sothearos Blvd. The Pavilion serves as a venue for the Royal Dancers, as a tribune for the King to address the crowds and as a place to hold state and Royal banquets. Most recently, the Pavilion was used for a banquet and a tribune for the new King at the 2004 coronation of King Norodom Sihamoni.
Bharata Natyam or Chadhir Attam(Tamil: பரதநாட்டியம்), is a classical dance form from the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music.
The Moonlight Pavilion, where the king invite his guests for dinner.
The Preah Thineang Chan Chhaya (Khmer: ព្រះទីន័ងច័ន្ទឆាយា) or "Moonlight Pavilion", is an open-air pavilion that serves as stage for Khmer classical dance in the past and present.
It is one of the most notable buildings of the palace as it easily seen from the outside as it was built alongside a section of the palace walls. The Chan Chhaya Pavilion has a balcony that was used as a platform for viewing parades marching along Sothearos Boulevard of Phnom Penh. The current Pavilion is the second incarnation of the Chanchhaya Pavilion, this one constructed in 1913–14 under King Sisowath to replace the earlier wooden pavilion built under King Norodom.
The current pavilion is of a similar design as the earlier version. The Chanchhaya Pavilion dominates the facade of the Palace on Sothearos Blvd. The Pavilion serves as a venue for the Royal Dancers, as a tribune for the King to address the crowds and as a place to hold state and Royal banquets. Most recently, the Pavilion was used for a banquet and a tribune for the new King at the 2004 coronation of King Norodom Sihamoni.
KESUMA & UMa Dance Showcase 2023/2024 Semester 1 (photo from rehearsal) is a performance presented by the dance department of University Malaya, featuring repertoires, choreographies, and classwork learned by students throughout the semester. The KESUMA segment, accompanied by live music, showcases six types of dance genres, highlighting the diversity of Malaysian dances, including Malay classical dance, Malay folk dances, Chinese folk dance, Indian folk dance, and ethnic dances from Sabah and Sarawak.