coding photos on Flickr

It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.

Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).

The wall portion is studded with balconied windows with ornate balustrades.

It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.

The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.

SCULPTURES

MAIN IDOL

Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.

The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).

_________________________________

The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.

The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.

LOCATION

Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.

HISTORY

The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.

NOMENCLATURE

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

DESCRIPTION

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.

All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.

Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

ARCHITECTURE OF THE TEMPLES

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.

Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.

CONSTRUCTION

The temples are grouped into three geographical divisions: western, eastern and southern.

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.

CHRONOLOGY

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

ARTS AND SCULPTURE

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.

TOURISM AND CULTURAL EVENTS

The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.

The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

___________________________________________________________________

Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.

GESCHICHTE

Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.

Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.

TEMPEL

Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.

Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.

Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.

WESTGRUPPE (Hindu-Tempel)

- Matangeshvara-Tempel (ca. 950)

- Varaha-Tempel (ca. 950)

- Lakshmana-Tempel (ca. 950)

- Devi-Tempel

- Vishvanatha-Tempel (ca. 1000)

- Nandi-Schrein

- Parvati-Schrein

- Jagadambi-Tempel

- Chitragupta-Tempel

- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)

OSTGRUPPE (Jain-Tempel)

- Parsvanatha-Tempel (ca. 960)

- Adinatha-Tempel (ca. 1050)

- Shantinatha-Tempel

- Ghantai-Tempel (ca. 990)

EINZELTEMPEL (Hindu-Tempel)

- Chausath-Yogini-Tempel (ca. 875)

- Lalguan-Mahadeva-Tempel (ca. 920)

- Brahma-Tempel (ca. 930)

- Khakra-Math-Tempel (ca. 980)

- Vamana-Tempel (ca. 1050)

- Javari-Tempel (ca. 1100)

- Chaturbuja-Tempel (ca. 1120)

- Duladeo-Tempel (ca. 1120)

ARCHITEKTUR

Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.

FRÜHZEIT

Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.

BLÜHTZEIT

Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.

Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.

Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.

SKULPTUREN

Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.

FRÜHZEITLICHE SKULPTUREN

Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.

SKULPTUREN DER BLÜHTEZEIT

Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.

Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.

ARCHÄOLOGISCHES MUSEUM

Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.

WIKIPEDIA

QR Code_QR Creations Twitter by QR Creations and Collections

Code 2 by fourbyfourblazer

3

Running hot

Code-Geass-Wallpaper by codegeassseu

4

code geass wallpaper

Code Red by Getunt [Rallyshot.de]

6

Beautiful Code Documentation by Aza Raskin

2

How code is documented in Ubiquity. For more information see Atul's blog post. For the actual documentation, see here.

Coding by Connor Wilkinson

7 1

code by aleksey_tkachenko

Painted QR code by Fabrice de Nola

1 3

The handmade QR code of the painting Palermo by Fabrice de Nola. QR code size: cm 120 x 120.

To see the full painting go to: flic.kr/p/8WxM1o

Cite as: Fabrice de Nola, 2010. Palermo, detail on painted QR code.

This work is part or the Palermu Project.

There's a Flickr group about the Genius of Palermo, please feel welcome to join! flic.kr/g/qJgY7

#Cape #Code #Summer by Constantin Traistaru

Code: RED by Propellorhead

4

Ferrari 458 Speciale, comic book style

Code Quest 2017 - Moorestown by Lockheed Martin

MM - FURY 03 by Andrea Chiapella

2

Mini mecha code name: FURY

St. Peter-in-Thanet, Kent by Jelltex

1

I have been doing the Kent church project for 11 years now, so I thought I knew most churches in Kent and all in East Kent, but just before Christmas a contact posted shots of a church I had not heard of before, St Peter-in-Thanet.

Once life settled down, I tried to arrange a visit before Christmas, that was impossible, but the church will be open every days from 2nd January I was told.

And as I had one more day off, why not start the year with a crawl?

I programmed the sat nav with the post code, and let it guide me to Sandwich then to Ramsgate and across the island via Westwood Cross, with the urban sprawl of Ramsgate and Broadstairs merging into one large town all around.

I saw the tower of St Peter from a mile away, surprisingly large. Nearer, I see that the area declares itself a village, also called St Peter, and there is a traditional village pub opposite.

I point out again at this point, the towns of Ramsgate and Broadstairs merge into one, St Peter is now part of Broadstairs. And indeed was the ancient centre of the town before the resort took off.

I park next to the church, present myself in the large and friendly parish offices next door, and told the church is open.

I just have to find which one of the half dozen doors into the church and vestry is actually unlocked.

I introduce myself, again, and they are happy to let me go around taking shots, whilst they water the multitude of plants. But they do stop to point out interesting details.

Nothing more fabulous that the highly decorated chancel; painted panels on the roof, painted beams, tiles and mosaics.

Even at first glance it is stunning.

-------------------------------------------

The medieval church of Broadstairs, St Peter's stands well inland to serve the original farming community that showed little interest in the coast that was to change the later life of this part of Kent. The tower, however, is easily visible from the sea and was long used as a landmark to shipping, which is why it still flies the White Ensign. Although the church was restored in the nineteenth century by Joseph Clarke and is stamped with the atmosphere he usually managed to create, there is some fine Norman architecture in the five bay aisle arcades (although the central arch in the south arcade is a later insertion into an inexplicable break in the Norman work). The chancel arch is of the thirteenth century and there is a good cut-down sedilia in the sanctuary. The delicate marble font is of eighteenth century date and there are some fine hanging wall tablets of the same period. The stained glass presents a good cross-section of the nineteenth century art, much of it by Heaton, Butler and Bayne.

www.kentchurches.info/church.asp?p=St+Peters

------------------------------------------

ST. PETER'S

LIES the next parish south-eastward from St. John's, being so called from the dedication of the church of it to St. Peter. This parish is within the liberty and jurisdiction of the cinque ports, and is an antient member of the town and port of Dover, and though united to it ever since king Edward I.'s reign, yet so late as in that of king Henry VI. it became a dispute, whether this parish was not in the county at large; to take away therefore all doubt of it, that king, by his letters patent, united it to Dover, to which place, in like manner as St. John's above-mentioned, it is subsect in all matters of civil jurisdiction. The mayor of Dover here too appoints one of the inhabitants to be his deputy, who is chosen either yearly, or once in two or three years, at the mayor's pleasure; and to the charges of the sessions formerly held at Margate, this parish and Birchington used to contribute their proportion.

THE PARISH OF ST. PETER is as pleasant and healthy a situation as any in this island, the lands open and uninclosed, the soil a dry chalk, with frequent hill and dale interspersed throughout it. At Sowell hill, in the northern part of the parish, the land is reckoned to be the highest in the island. The village stands on a pleasing eminence, surrounded with trees, which is rather uncommon in these parts, having the church on the north-west side of it; at a little distance southward from which, is a small neat chapel, built by the sect of Methodists. Several genteel families reside in this village, situated about the middle of the parish, which is about two miles and a half across each way, and is bounded by the high chalk cliffs on the sea shore towards the north and east. It seems formerly to have been more populous than it is at present, for there were in the year 1563, as appeared by archbishop Parker's return to the orders of the privy council, one hundred and eighty-six housholds within this parish. Besides the village above mentioned, there are several other small hamlets and houses interspersed throughout it, viz. towards the south, Upton, Brompston, which is now the joint property of Henry Jessard, esq. and Mr. John Grey; Dumpton, great part of which extends into St. Laurence, it belongs to the earl of Hardwick; and Norwood. On the north-west side of the parish is Sacket's-hill, so called from its being the estate of an antient yeomanry family of this name, several of whom lie buried in this church, one of whom, John Sackett, as appears by his will, resided here and died possessed of his estate in this parish in 1444; on it there has been lately built a handsome house by Mr. King, for his summer residence, whose children are now possessed of it. In the northern part of the parish is the hamlet of Reading-street, southward of which is a small forstall, and then Sowell-street. In the eastern part of the parish, close to the cliffs, is Hackendon downe, or banks, where several antiquities have been dug up, as will be further mentioned hereafter; and the hamlet of Stone, formerly the residence of the Pawlyns, and then of the Huggets, where a few years ago Sir Charles Raymond, bart. built a small pleasant seat for his summer residence; Sir Harry Harper, bart. is the present owner of it. Not far from hence there formerly stood a beacon, which used to be fired to alarm the country in case of an invasion; a few years since some remains of the timber of it was dug up on the top of the Beacon-hill, about fifty five rods nearer to Stone than the present light-house.

¶About a mile and an half north-eastward from the church, at the extremity of the chalk cliff, is a point of land called the NORTH FORELAND, (suppofed by most to be the Cantium of Ptolemy) so called to distinguish it from the other Foreland, betwixt Deal and Dover, usually called the South Foreland; it is a promontory, or cape of land, that reaches further into the sea, and is somewhat higher than most of the land herebouts. On the top of it was formerly a house, built of timber, lath, and plaister work, with a large glass lanthorn on the top of it, in which a light was kept to direct ships in the night in their course, that they might keep clear of the Goodwin Sands, which lie off this point, and on which ships are apt to strike before they are aware, on account of their endeavouring to keep clear of this land, which extends so far into the sea. This house being by some accident burnt down in 1683, there was for some time a sort of beacon made use of, on which a light was hoisted; but about the latter end of the last century there was built here a strong house of flint, an octagon, on the top of which was an iron greate, quite open to the air, in which was made a blazing fire of coals. But about the year 1732, the top of this light-house was covered with a sort of lanthorn, with large sash lights, and the fire was kept burning by the help of bellows, which the light-men kept blowing all night. This invention was to save coals, but the sailors complained of it, as being very much to the prejudice of the navigation, many vessels being lost on the Goodwin Sands for want of seeing it, and indeed it was so little seen at sea, that some of the sailors asserted, they had in hazy weather seen the Foreland before they saw the light; whereas, before the lanthorn was placed here, when the fire was kept in the open air, as the wind kept the coals constantly alight, the blaze of it was seen in the air far above the light-house; complaint being made of this, the governors of Greenwich hospital ordered Sir John Thomson to view it, who ordered the lanthorn to be taken away, and the light-house to be made nearly the same as it was before, the light to continue burning all night and till day-light; since which, a few years ago, it was again repaired, and two stories of brick were raised on the former building. The height of it at present, including the small room in which the lights are kept, is somewhat more than one hundred feet; this room, which may be perhaps best described as a done raised on a decagon, is about ten feet in diameter, and twelve feet high; it is coated with copper, as is the gallery round it, to prevent fires. From the gallery there is a very extensive view, of which a conception may be formed from these lights being visible in clear weather at the Nore, which is ten leagues distant; in each of the sides of the decagon, towards the sea, is a patent lamp, kept burning all night, with a reflector and magnifier, the latter being very large. The whole building is white-washed, except the light room on the top; and all the rooms in it are used by the man and his family, who take care of it. (fn. 1) To the repair and maintenance of this light-house, every ship belonging to Great Britain, which sails by this Foreland, is obliged to pay two-pence for each ton; and every foreigner four-pence. It is under the direction of the governors of Greenwich hospital, in whom it is vested. There is a signal house between the North Foreland and Stonehouse, erected in 1795, the establishment of it is a lieutenant and midshipman of the navy, and two men.

Here were two fairs formerly kept every year, one on June 29, being St. Peter's day; and the other on March 25, being Lady-day; but they have for several years past been changed to the 10th of july, and the 5th of April.

The manor of Minster claims paramount over the greatest part of this parish; the landholders holding of it, by a certain rent called Pennygavel. Subordinate to this manor is that of

Near this place, in 1574, a monstrous fish shot himself on shore on a little sand, now called Fishness, where, for want of water it died the next day; before which his roaring was heard above a mile; his length, says Kilburne, was twenty-two yards; the nether jaw opening twelve feet; one of his eyes was more than a cart and six horses could draw; a man stood upright in the place from whence his eye was taken; the thickness from his back to the top of his belly (which lay upwards) was fourteen feet; his tail of the same breadth; the distance between his eyes was twelve feet; three men stood upright in his mouth; some of his ribs were fourteen feet long; his tongue was fifteen feet long; his liver was two cart loads, and a man might creep into his nostril. (fn. 7) There were four whales, or monstrous large fish, towed ashore by the fishermen on this island a few years ago, one of which had been found floating on the sea dead, and was brought to Broadstairs, and measured about sixty feet long, and thirty-eight feet round the middle; its forked tail was fifteen feet wide, its lower jaw nine feet long; it had two rows of teeth, twenty-two in each row, about two inches long; the upper jaw had no teeth, only holes for the lower ones to shut in. It had only one nostril. It had two gills, and the lower jaw shut in about three feet from the end of the nose. It is said this fish sold at Deal for twenty-two guineas.

MANY BRASS COINS of the Roman emperors have been found near Broadstairs, on a fall of the adjoining cliff, after much rain and frost at different times; but they have been so much worn and defaced, as not to be distinguished what they were.

Near the cliffs, about midway between the lighthouse and Kingsgate, are two large barrows, or banks of earth, called by the country people Hackendon, or Hackingdown banks, already noticed before. The tradition is, that these banks are the graves of those English and Danes, which were killed in a fight here; and that as one bank is greater than the other, the former is the place where the Danes were buried, who are said to have been defeated. It is not improbable that this battle referred to in history, was that fought A. D. 853, when the Danes having invaded this island with a considerable force, were attacked by earl Alcher with the Kentish men, and earl Huda with those of Surry, and an obstinate battle was fought, in which the English at first got some advantage, yet were at last deseated; great numbers were killed, among which were the two English generals; and the battle being fought so near the sea, a great many on both sides were pushed into it and drowned.

One of these barrows was opened in 1743, in the presence of many hundred people; a little below the surface of the ground several graves were discovered, cut out of the solid chalk and covered with flat stones; they were not more than three feet long, in an oblong oval form, and the bodies seem to have been thrust into them almost double; a deep trench was dug in the middle, and the bodies laid on each side of it; two of the skulls were covered with wood-coals and ashes. The skeletons seem to have been of men, women, and children, and by the smallness of the latter, these were conjectured to have been unborn.

¶Three urns made of very coarse black earth, not half burnt, one of them holding near half a bushel, were found with them, which crambled into dust on being exposed to the air. The bones were rather of a large size, and for the most part perfectly found. In 1765, the smaller barrow was opened, the appearances were similar to the former, but no urns were found. In memory of this battle, lord Holland erected a fantastic house, or monument, with an inscription, on the larger of the two banks.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere.

The church, which is dedicated to St. Peter, stands on a rising ground. It is a small structure which has something pleasing in the appearance of it. It is built, as the rest of the churches are hereabouts, of flints, covered with rough-cast, and the quoins, windows and doors cased with ashlar stone, only the porch has more workmanship used about it; above are stone battlements; the roof is covered with lead, and the portal or door way has a mitred arch of wrought stone. It consists of a nave with a small isle on each side of it, a large middle chancel, and a smaller one on the north side of it, part of which is now made into a vestry. The middle chancel, which is beautiful, is ceiled in compartments, the framing of which is enriched with carved work, as is the cornice round it. The church is elegantly pewed with wainscot, and has a very handsome desk and pulpit. In the middle isle are two handsome brass chandeliers, which were purchased by subscription, and there is a neat gallery at the west end, well contrived for the convenience of the inhabitants, and the whole is kept in excellent order, and more than usual neatness. At the west end of the middle isle, under the gallery, is a handsome font, of white marble, the gift of John Dekewer, esq. as appears by the inscription, erected in 1746; below the inscription are the arms of Dekewer. At the west end of the north isle stands the tower, which is a sea mark. There were antiently five bells in it, which some years ago were cast into six, the great bell being made into two. The high or middle chancel was beautified about the year 1730, at the expence of Mrs. Elizabeth Lovejoy, lessee of Callis grange; who, out of the profits of that estate, ordered this chancel as well as hers and her husband's monuments in it, to be repaired as often as should be needful; and the sum of twenty shillings to be paid yearly to the clerk, on the day of the anniversary of her death, March 29, as an encouragement for him to take due care of the monuments.

At the west end of the south isle is a room taken off for the school house. In this church were antiently, besides the high altar in the middle chancel, three other altars dedicated to St. James the Apostle, St. Mary of Pity, and St. Margaret. Before these altars, on which were the images of these saints, were wax-lights constantly burning, for the maintenance of which there were several fraternities and legacies left. Several antient monuments and inscriptions are in the body and chancels of this church, the principal ones of which are in the middle or high chancel: Among others, a monument for James Shipton, vicar, obt. 1665; another, for George Lovejoy, first school-master at Islington, then of the king's school at Canterbury, obt. 1685. He lies buried within the altar-rails; arms, Azure, three bars, dancette, or, impaling chequy, azure and or, on a fess, three leopards faces of the second. On a marble against the north wall is an account of the charities given by Mrs. Elizabeth Lovejoy, as follows: By her will and testament, to the mayor and commonalty of the city of Canterbury, her lease of Callis grange, upon trust, to pay yearly to the vicar of this parish, forty pounds; to a school master, to teach twenty poor children gratis in the parish, twenty pounds; to Jesus hospital, Canterbury, five pounds; to St. John's hospital, in Canterbury, ten pounds; to Kingsbridge hospital, in Canterbury, five pounds; to Cogan's hospital, in Canterbury, four pounds; to St. Stephens's hospital, five pounds; to Harbledown hospital, five pounds per annum; and she gave by her will to the school and hospital at Islington, 200l. and to the school at Wicomb, in Buckinghamshire, 100l.

She wainscotted and adorned this chancel, and gave plate for the communion table in her life time, and two silver flagons by her will, A. D. 1694. She died of an apoplexy before she had sealed or finished her will, so that it took no effect as to her real estate, but after many suits and controversies was adjudged good as to her personal estate; and twenty shillings she left yearly to be paid to this parish clerk to keep both monuments clean. A memorial for Mr. Leonard Rowntree, minister, obt. 1624. In the north chancel, on an altar tomb, an inscription for Manasses Norwoode, of Dane court, and Norwoode, esq. obt. 1636; arms, Ermine, a cross, engrailed, impaling six coats. There are several brass plates and inscriptions for Culmer and Elmstone. In the north isle an altar tomb for Michael Webb, obt. 1587. A brass plate for Philip Smith, obt. 1451. Another for John Sacket, of this parish, obt. 1623. A memorial for Alexander, son of Alexander Nor woode, esq. of Dane-court. A black marble for Cornelius Willes, A. M. nineteen years vicar of this parish, and prebendary of Wells, obt. 1776. A like stone for the Rev. John Deane, A. M. forty-one years vicar, obt. 1757. A memorial for Daniel Pamflet, gent. and Mary his wife. He died 1719. An antient tomb for Mrs Elizabeth Omer, obt. 1709. A mural monument and inscription for the Rev. Roger Huggett, M. A. late vicar of the king's free chapel of St. George, in Windsor, and rector of Hartley Waspaill, in Southampton, eldest son of Roger Huggett, of Stone, in this parish, who was sole heir of the Pawlyns, an antient and respectable family of that place. He died at Hartley, in 1769, where he was buried; on it are inscriptions for others of the same name; arms, Gules, a chevron, between three stags heads, or, impaling parted per pale, sable and gules, a griffin passant, counterchanged. A tomb for Mr. Henry Huggett, gent. sole heir of the Pawlins, of Stone; he died in 1751; and for others of this family. A mural monument, shewing that in a vault underneath, lies Mary, wife of John Dekewer, esq. of Hackney, who died without surviving issue, one son and one daughter lying interred with her, obt. 1748. In the same vault lies the abovementioned John Dekewer, esq. an especial benefactor to this parish, obt. 1762, æt 76; arms, Vert, on a cross, or, five fleurs de lis, sable, between two caltrops, and two lions, rampant, impaling argent, parted per fess, three escallops, two and one, in chief, gules, in base three piles waved, sable. A tomb for John Dekewer, son of the above John, obt. 1740. In the same vault are others of this family. A beautiful mural monument of white marble, on which is the figure of a child sitting, weeping and leaning on an urn, erected to the memory of John-Alexander Dekewer, son of John Dekewer, esq. of Hackney, and Elizabeth his wife, obt. 1778, æt. ten years. A mural monument for the Rev. Tho. Reynolds, obt. 1754. Besides these there are memo rials for Noble, Gray, Read, Witherden, White, Simons, Cooke, Culmer, Wild, Jeken, Tilman, and Kerby. In the middle of the chancel, a memorial for Grace, wife of James White, gent. of Chilham, daugh ter of Gratian Lynch, gent. of Grove, in Staple, obt. 1740, and for Grace her daughter, wife of Thomas Hawkins, obt. 1746. A brass plate in the north isle, for John Sacket, of this parish, obt. 1623, æt. 59. At the end of the north isle is a large white stone, much obliterated, for Michael Pavlen, obt. 1662; Anne his wife, and Anne their daughter. In the church yard are many handsome tombs and grave-stones, of persons of different trades and occupations, residents of this parish. In the tower is a great crack on the east and west sides of it, from the top almost to the bottom, where it opened near an inch, and more than two at the top, so that the tower by it inclines to the northward; and it is wonderful, that when it was so rent it did not fall; the fissure is filled up with stone and mortar. As tradition reports, it was occasioned by the earthquake in queen Elizabeth's reign, in the 22d year of which, Mr. Camden tells us, there was a great one felt in this county.

This church was one of the three chapels belonging to the church of Minister, and very probably was made parochial sometime after the year 1200, when the church of Minster, with its appendages, was appropriated, in the year 1128, to the monastery of St. Augustine; it was at the same time assigned, with the above-mentioned chapels, with all rents, tithes, and other things belonging to that church and those chapels, to the sacristy of the monastery; and it was further granted, that the abbot and convent should present to the archbishop in the above-mentioned chapels, fit perpetual chaplains to the altarages of them; but that the vicar of the mother church of Minister should take and receive in right of his vicarage, the tenths of the small tithes, viz. of lambs and pigs, and the obventions arising from marriages and churchings, which were forbidden at these chapels, and were solemnized, &c. at the mother church only.

As to the chaplains of these chapels, though they were to receive no more than ten marcs of these altarages, yet they were not excluded the enjoyment of the manses and glebes given to these chapels when they were first consecrated, which made some additiou to their income, and enabled them to keep a deacon to assist them on the great and principal festivals. The inhabitants of these three chapelries, preceded by their priests, were accustomed to go in procession to Minster, in token of their subjection to their parochial or mother church. (fn. 10)

After this the appropriation of the church of Minster, with its appendant chapels, and the advowsons of the vicarages of them, continued with the abbot and convent till the dissolution of the monastery in the 30th year of king Henry VIII. when they were surrendered, together with the rest of the possessions of the monastery, into the king's hands.

After the dissolution of the monastery and the change in the service of the churches wrought by the reformation, this parochial chapel of St. Peter became entirely separated from the mother church of Minster, the vicar of this parish having no further subjection to it in any shape whatever; but by the same change he was likewise deprived of several of those emoluments he had before enjoyed in right of his vicarage, and all the great tithes of this parish, being appropriated to Callis and Salmestone granges, formerly belonging to the abbot and convent of St. Augustine, as has been already taken notice of before; the endowment of this vicarage consisted only of the small tithes of this parish, the payment of two bushels of corn yearly at Midsummer, from Salmanstone grange, and a pension of ten pounds to be paid yearly out of Callis grange; besides which he had a vicarage house, orchard, garden, and two parcels of land.

The small tithes of this parish being chiefly arable land, with the other emoluments of the vicarage, by reason of the great increase of every necessary article of life, falling far short of a reasonable maintenance, Mrs. Elizabeth Lovejoy, in the year 1694, further augmented it with the sum of forty pounds per annum, to be paid half yearly out of Callis grange above-mentioned; in consideration of which augmentation, the vicar is obliged, without accepting any dispensation, to be constantly resident on this vicarage, with several other injunctions mentioned in her will.

This vicarage is valued in the king's books at nine pounds, and the yearly tenths at eighteen shillings. In 1588 here were one hundred and forty-six communicants. In 1640 here were three hundred communicants, and it was valued at seventy pounds, but it appears by the return made in 1709, to the enquiry into the clear value of church livings, that this vicarage was worth only thirty pounds clear yearly income, before Mrs. Lovejoy's addition of forty pounds per annum.

¶The advowson of this vicarage coming into the hands of the crown, on the dissolution of the abbey of St. Augustine, continued there till king Edward VI. in his first year, granted the advowson of the vicarage of Minster, with the three chapels appendant to it, one of which was this church of St. Peter, among other premises, to the archbishop; since which this advowson has continued parcel of the possessions of that see, the archbishop being the present patron of it.

In 1630 the churchwardens and assistants reported, that here were belonging to the vicarage a mansion, with a well house, one orchard, one garden, and one acre of land adjoining to it, and one parcel of land, called the Vicar's Acre, lying within the lands of Capt. Norwood, who paid to the vicar, in consideration of it, five shillings a year; but no care being taken to preserve the bounds of this acre, the place where it lay was forgot, and the rent paid for it disputed, and at length quite discontinued.

www.british-history.ac.uk/survey-kent/vol10/pp355-377

Code-Geass_ by uzumaki_rehab

3

code 3 ex lothian volvo olympian alexander royale now with stagecoach by gaz

4

this royale comes in the interchange on service 5b .

Burren Code by John

4 10

Signs promoting the Burren Code in English, French, Italian, Polish, Spanish and German. Apparently visitors to the Burren tend to break pieces of the limestone pavement to make little cairns. I've no idea why. In the background you can see two of the Aran Islands in the distance.

Here's a link to the Burren Code online:

www.burrenconnect.ie/burren_code/burren_code.html

Please do NOT use my photos without my permission

Computer Hacker DNS Code by Paintimpact

If you use this image please credit to paintimpact.com (Paintimpact).

Please link to paintimpact.com, not our Flickr account.

[code]-04249 by APPLEDOLLS RAGDOLL CATTERY

QR Code 01 by Whitney H

2

Use your phone barcode scanner to read these! ;)

code orange kids by Dan Bassini

5

Fall 2011 Student Hackathon Coding by hackNY.org

1

Photo by @matylda

The Fall 2011 Hackathon brought in hundreds of students from nearly 50 universities in the U.S. and Canada to NYU's Courant Institute for 24 hours of creative hacking on New York City startups' APIs.

Selected startups presented their technologies at the beginning of the event, and students formed groups to brainstorm and begin coding on their ideas. Many students worked into the night, foregoing sleep to fulfill their visions.

On Sunday afternoon students presented their projects to an audience including a judging panel, which selected the final winners.

hackNY hosts hackathons one each semester, as well as a Summer Fellows Program, which pairs quantitative and computational students with startups which can demonstrate a strong mentoring environment, a problem for a student to work on, a person to mentor them, and a place for them to work. Startups selected to host a student are expected to compensate student Fellows. Students enjoy free housing together and a pedagogical lecture series to introduce them to the ins and outs of joining and founding a startup.

For more information on hackNY's initiatives, please visit www.hackNY.org and follow us on twitter @hackNY

AngularJS Code II by Kevin Woblick

1

Picture of code from the open source software AngularJS (angularjs.org)

The hanged man ....Lucifer the light bringer's great fall from elevated position in heaven.... Can 'Lucifer' be the Hanged Man #12 card ? Pittura infamante; by Hughes Songe

4

Gargoyle is a mouth for ejected words of sweeping Lucifer this took other angels that had the seed of desire planted within them, for it is selfish desires that fuel the ego. He was expelled from the higher regions because he no longer had the Christic virtues but had the ego crystallized instead. Since we assert that selfish desires and interests strengthen the egos hold on us, it is also true that altruistic, compassionate service vivify the Christic force within us that stirs us to self-sacrifice for humanity (The hanged man). Can 'Lucifer' be the Hanged Man #12 card ? Here are a few depictions of the card for reference first: The Hanged Man...also known as Perspective....now also known as "Lucifer"....here's why I think this is an awesome pictorial for the meaning. What is the central meaning for the Hanged Man?

Letting go...as in accepting God's Will (give me a chance to explain...just a little more)

Giving up control

Accepting what is

Putting others first

NOW WAIT A MINUTE, ERIC !! You said this would all make sense....Lucifer isn't this way!

...TRUE.....and that's my point. He is the card's "shadow side" (or Reversed). The shadow side of every card is the not-so-well known or publicized meanings that are just as much true as the upright meanings...just from a different 'perspective' (like how i tied that all in...LOL)

Lucifer...Satan....the Devil....whoever you may call him....he IS the Hanged Man's other half to complete the whole story.

Let's look at the original card again...upside down or Shadow side: This way what does the card suggest? The man is now grounded again, able to walk on his OWN TWO FEET, under his OWN power. What about his head? It's still a-glow with enlightenment ! But wait....I thought the man got his enlightenment while hanging upside and submitting? He did....but he also CAN on his own...

...just like Lucifer did !

Remember the first card above said "New Vision"? The figure was 'standing tall' with wings spread, leaving the corpse on the ground that was a slave to the 'old ways'. Keeping these images in mind lets see the meanings of the Hanged Man again...as it's 'True' other "Shadow"

Reversing...turning the world around...overturning old priorities

Seeing things from a new angle or perspective

Up-Ending the old order...doing an about-face

Living in the moment...for the NOW !

Defiance

Self-assertion

Sound more like the Lucifer you know? Let's look again: What we are witnessing is the moment Lucifer made his choice to rebel...and just BE HIMSELF ! On the left...heaven...his appointment there, where he was told what to do and had limited choice. On the right, FREEDOM as not a PLACE, but an IDEA....where he stretches his hand out in acceptance (notice the other is more closed with a "shackle of light" restricting it's movement).

Notice, also, the color of his wings: white on left from that of God's control, dark on right to show expansive freedom like that of space. In-between there is a struggle for control, for power, and for self-enlightenment. Both God and now Lucifer know this....the time for a new perspective has come...and Lucifer chose FREE WILL.

Whether I believe in Lucifer or not is unimportant...only the symbolism here to help see the relationship of the meanings of both Light and Shadow...neither one more important than the other....both necessary to the True meaning of the Hanged Man card.

Which side are you? Do you submit to what others tell you is right...or do you find you listen to what your heart tells you? You may have more in common with this card than you previously thought ! Cheers !

Eric "MoonLightTrucker"

“Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.” – Manly P. Hall, The Secret Teachings of All Ages.

In the Tarot with the twelfth (12th) card called ‘The Hanged Man”or in French, “Le Pendu.” The Hanged Man (XII) is the twelfth trump or Major Arcana card in most traditional Tarot decks.

This card portrays a young man hanging upside down by his left leg from a horizontal beam, the latter supported by two tree trunks from each of which six branches have been removed. The right leg of the youth is crossed in back of the left and his arms are folded behind his back in such a way as to form a cross surmounting a downward pointing triangle. According to Elphias Levi, the Hanged Man thus forms an inverted symbol of sulphur. Elphias Levi had stated in his book, Transcendental Magic; ” It is also implied fantastically that the Roman alphabet is related to Tarot cards, but whereas the Hebrew Mem answers to the card of Death the Roman M is referred to the Hanged Man, Resh to the Judgement card but R to the Blazing Star.” Levi likens the hanged man to the legend of Prometheus, the titan who gave fire to mankind and in turn suffered the wrath of Zeus by becoming the eternal sufferer, not just by being bound to a rock, but to also have his liver fed upon by an eagle each day. the Egyptian Tarot the hanged man is hung upside down between two palm trees, which is said to signify the Sun God who dies perennially for his world. In some Tarot decks, the figure in the 12th card carries under each arm a money bag from which coins are escaping. Some people have said that this latter card is that of Judas Iscariot who is said to have gone forth and hanged himself, the money bags representing the payment he received for his crime. The Hanged Man is a form of Pittura infamante;

(Italian for “defaming portrait”; plural pitture infamanti) is a genre of defamatory painting and relief, common in Renaissance Italy. It came to be regarded as a form of art rather than effigy; the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. Common themes of pittura infamante—which were meant to be humiliating—include depicting the subject as wearing a mitre or hanging upside down, being in the presence of unclean animals such as pigs or donkeys or those deemed evil like snakes; pittura infamante would also contain captions listing the offenses of the subject.Pittura infamante could originate as more favorable depictions, only to be transformed after the subject had fallen out of favor.

Codes by Marcin Wichary

z-code by Alberto Win

#Coding #objc by g051x7db

coded by Sue

1 8

for 7DoS: the barcodes in supermarkets aren't just used to keep control of stock and prices anymore, I use them to buy my shopping ... so sneaking a photo is pretty easy, as I have it in my hand zapping barcodes along the way.

It's a shame my supermarket hasn't quite mastered the technology regarding stock control, as the empty shelf was were the eggs I wanted, should have been :(

[code]-04223 by APPLEDOLLS RAGDOLL CATTERY

Code is poetry by tetue

1

Code Pink by Andy Worthington

4 2

Protesting against the use of drones and the use of torture, these are members of Code Pink, photographed on January 12, 2013, at a demonstration outside one of the entrances to the headquarters of the CIA, in McLean, Virginia. On the left is Lachelle Roddy, and on the right is Nancy Mancias, the coordinator for Code Pink's War Criminals and Ground the Drones campaigns. The event also involved Episcopal Peace Fellowship DC, Northern Virginians for Peace & Justice, Pax Christi and World Can’t Wait, and activists from the group Witness Against Torture, protesting about the ongoing existence of Guantánamo, the day after the 11th anniversary of the prison's opening.

For Code Pink, see: www.codepink4peace.org/

For an article about drones, see: www.andyworthington.co.uk/2012/06/10/pragmatism-over-ideo...

For my photos of the rally and march in Washington D.C. on the 11th anniversary of the opening of Guantánamo, see: www.flickr.com/photos/andyworthington/sets/72157632514230...

and: www.flickr.com/photos/andyworthington/sets/72157632548354...

For more on Andy Worthington, see: www.andyworthington.co.uk/

[code]-04231 by APPLEDOLLS RAGDOLL CATTERY