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This image for the Condition series was taken from a drone. I love how it turned out, but he quality of the image produced by the GoPro was disappointing. Very low res :(
Dassault Mirage III RS R-2109 Swiss Air Force at Buochs Airport. Preserved from Mirage-Verein Buochs in Taxi Condition. c/n 17-26-141/1034 Built 1969
Date Taken: December 21, 2015
Basic Details:
Operator: Worthy Transport, Inc.
Fleet Number: A-326
Classification: Air-Conditioned City Operation Bus
Seating Configuration: 3x2 Seats
Seating Capacity: 58 Passengers
Body:
Coachbuilder: Sta. Rosa Motor Works, Inc.
Body Model: Sta. Rosa Exfoh
Chassis:
Chassis Model: Nissan Diesel SP215NSB
Layout: Front-Longitudinally-Mounted Engine Rear-Wheel Drive
Suspension: Leaf Springs Suspension
Engine:
Engine Model: Nissan Diesel FE6-T
Cylinder Displacement: 6.9 Liters
Cylinder Configuration: Straight-6
Engine Aspiration: Turbocharged
Max. Power Output: 205 hp @ 2,800 rpm
Peak Torque Output: 588 N.m @ 1,400 rpm
Transmission:
Type: Manual Transmission
Gears: 6-Speed Forward, 1-Speed Reverse
* Some parts of the specifications may be subjected for verification and may be changed without prior notice...
Our Official Facebook Fan Page: Philippine Bus Enthusiasts Society (PhilBES)
Operator: VICTORY LINER, INC.
Fleet Number: 7031
Classification: Air-Conditioned Provincial Operation Bus
Seating Configuration: 2x2 Seats
Seating Capacity: 49 Passengers
Coachbuilder: Almazora Motors, Corp.
Body Model: Almazora Tourist Star RE
Chassis Manufacturer: MAN Truck and Bus AG
Chassis Model: MAN R39 18.350 HOCL
Layout: Rear-Longitudinally-Mounted Engine Rear-Wheel Drive(4x2 RR layout)
Suspension: Air-Suspension
inches (10,518 cc / 10.5 Liters)
Cylinder Configuration: Straight-6
Engine Aspiration: Turbocharged and Intercooled
Max. Power Output: 345 bhp (350 PS - metric hp / 257 kW) @ 2,200 rpm
Peak Torque Output: 1,291 ft.lbs (1,750 N.m / 179 kg.m) @ 1,000 - 1,400 rpm
Transmission:
Type: Manual Transmission
Gears: 6-Speed Forward, 1-Speed Reverse
Filipino Bus Enthusiast Association
Stagecoach South East / East Kent Scania N250UD enviro400 MMC 15272.
These new buses replaced the GN09 batch of Scania n230uds that previously ram the breeze route.
These new buses are very nice, they feature high back seats, wifi, USA ports, tinted windows, and air conditioning. They've got some unique things as well, the stop button goes "ding ding" as if it was an old half cab which I think is rather nice. I think the doors also make a sound when they open so that's also nice.
You might be wondering how are they to ride on, in my opinion, these are amazing.
They are incredibly smooth, they are very very comfortable, they are quiet, the only thing making noise is the air con unit. They are very very powerful buses. in 1st gear they are rather slow of the line, but once they get up to higher revs, they take off. They sound very nice as well. These are awesome buses.
Canadian Pacific train 390 was rolling along the Elgin Subdivision with CP AC4400CW 8506 with its front door wide open being passed by Metra F40C 607 at the B12 interlocking in Franklin Park in 2000.
This was not my best effort.
Company/Owner: Victory Liner, Inc.
Fleet/Bus Number: 2223
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Manufacturing Corporation
Body Model: Daewoo/Santarosa BV115
Engine Model: Doosan DE12TIS
Chassis Model: Daewoo BV115 (PL5UN58JDFK)
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 49
Route: Olongapo City, Zambales–Cubao, Quezon CIty via Jose Abad Santos Avenue (Olongapo–Gapan Road)
Municipalities/cities passing: Tipo (Hermosa)/Dinalupihan/Lubao/Guagua/Bacolor/San Fernando City
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Central Luzon (Region III)
Shot Location: Victory Liner Terminal, Dolores, San Fernando City, Pampanga
Date Taken: August 25, 2015
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
I'll need some help with this one as I'm not entirely sure where these plates came from. My initial thoughts were Italy or Spain, but there isn't an AZ provincial code for either country that I can find. Either way, this Vitara is well travelled and looks in decent condition as it's clearly spent a lot of time in a warm climate.
This poor lady is loosing her fur, with a severe case of mange. Add the hole in the ear, ticks, and other problems, and she is in rough shape. But despite all that, this bushbuck holds her head erect and is wary and alert. She looks rather dignified, despite all the troubles she has.
Copyright 2015 Dave Montreuil
This photo can be licensed via Shutterstock
1950s-vintage medical building at 2265 El Camino Real
Santa Clara, California
The offices in this building are vacant, and the building has been surrounded by temporary fence. It appears that the building will be demolished and replaced with housing soon.
Two of the flagship operating motors rest at the GCRM on a hot Saturday afternoon. Note the dilapidated track condition.
Company/Owner: Pangasinan Five Star Bus Company, Inc.
Fleet/Bus Number: 88159
Classification: Air-conditioned Provincial Bus
Coachbuilder: Hyundai Motor Company
Body Model: Hyundai New Premium Universe Space Luxury
Engine Model: Hyundai D6AB (Q300)
Chassis Model: Hyundai Universe (KMJKG18BPEC)
Transmission: Manual (5-speed forward, 1-speed reverse)
Suspension: Wide Air Suspension
Seating Configuration: 2×2
Seating Capacity: 45
Route: Cubao, Quezon City–Santiago City, Isabela via NLEX-Balintawak–NLEX-Dau–SCTEX-Amucao / Santa Rosa–Tarlac Road / Carmen–Cabanatuan Road / Felipe Vergara Highway / N1 (Maharlika Highway)
Municipalities/cities passing: Dau (Mabalacat City)–Amucao (Tarlac City)/La Paz/Zaragoza/Aliaga/Cabanatuan City/Talavera/Santo Domingo/Science City of Muñoz/San Jose City/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano/Bagabag/Diadi/Cordon
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot Location: Five Star Bus Terminal, Calao East, Santiago City, Isabela
Date Taken: January 29, 2016
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
My 8th Bessa! Ready to shoot condition. Still need to pick up the newer version of this one. Well I don't need it, but I want it!
Voigtlander Baby Bessa 46
120 6x4.5cm Folding Optical Viewfinder Camera
Voigtlander Voigtar 75/f3.5-16
Scale-focusing lens
Swing-out filter holder with
Moment yellow 2x lens filter
Gauthier Prontor II B, T, 1-1/175 sec. Leaf shutter
Self-timer & Cable release
Made in Germany (1938-40)
Sometimes we lose context in our critiques and judge these vintage cameras like they are new models on the shelf. It shouldn’t matter now what the comparisons were between them 50 to 100 years ago, or how they may compare to cameras made today. Now they are all beautiful collector items and an important part of history!
(See links). Twelve modern air conditioned units, some with electric kitchens. Cool and quiet, located only 1/4 mile from center of activities. Turn off main street at Mountain View Hotel, on to Roaring Fork Road, Rt. 73. Moderate rates. Swimming pool in patio. Playground for children. The Woody Luthers - owner / managers. Phone 203. Gatlinburg, TN. Grade A - National Auto Ass'n., recommended.
Closed permanently in April 2010, 10 years ago.
Laurelwood Motel - pictures before & after on Photobucket
Laurelwood Motel - a postcard & info
Laurelwood Motel - the back of the postcard
Laurelwood Motel - another postcard & info
Laurelwood Motel - & another postcard & info
2 different people commented on Trip Advisor saying:
"Its been closed since the lady that owned it died a couple or so years ago. The 2 daughters are in probate over the property as well as their parents house across the street from it. Both the house and motel have been condemned by the city and as soon as the probate clears up, the motel will be torn down. We used to stay there all the time when I was a kid and I have a lot of ghosts haunting it. My husband and I walked around the property this pass weekend and its very sad to see it falling in."
"I've stayed there many times. One of the last times I was there, the place was really starting to get run down. I always thought it would be a great place to buy and fix up. The location is great!"
Someone else commented:
"More than 50 years ago – in 1961 – my brand new wife, Phyllis, and I spent several days in the Smokies as part of our honeymoon trip from Illinois to Georgia (where I was entering the Army). We had a wonderful time strolling the streets of Gatlinburg and visiting the Smoky Mountains National Park. We stayed at the Laurelwood Motel for only $5.00 a night. (The Laurelwood was vacant for many years and was finally torn down last year.) (2010)."
Gatlinburg, TN. 052720.
Old school air conditioning on this what I think is a Chevrolet 3100 truck, which I believe is a 1958 model. As seen at the Car & Strips 2017 car show at the Port of Los Angeles for the pre 4th of July Holiday!
Company/Owner: Hotel Delfino Tours
Fleet/Bus Number: 2
Classification: Air-conditioned Provincial Shuttle Bus
Coachbuilder: (Shanghai) Sunlong/Shenlong Bus Company, Ltd.
Body Model: Sunlong SLK6106
Engine Model: Yuchai YC6J245-30 (J61LA)
Chassis Model: Sunlong SLK6***
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 45
Franchise route: TBD
Route: Sampaloc, Manila City [SMP, MN]–Tuguegarao City, Cagayan [TUG, CV] via E1 (NLEX-Balintawak–SCTEX-Amucao–TPLEX-Pura) / Pura–Guimba Road / N114 (Pangasinan–Nueva Ecija Road) / N1/AH26 (Maharlika Highway)
Municipalities/cities passing: Pura/Guimba [GUI]/Santo Domingo/Talavera/Science City of Muñoz/San Jose City [SJC]/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano [SOL]/Bagabag/Diadi/Cordon/Santiago City [STO]/San Isidro/Echague/Alicia/Cauayan City [CYZ]/Reina Mercedes/Naguilian/Gamu/Ilagan City [ILA]/Tumauini/Cabagan/San Pablo/Peñablanca
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot location: N1 (Maharlika Highway), Barangay Soyung, Echague, Isabela
Date and time taken: May 22, 2018 (5:48 am)
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos. Do not (re)upload this in any social media platforms (especially in YouTube and TikTok).
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Thank you for a lot of "Visit comment".
Please receive the bouquet of thanks.
My physical condition has not recovered yet.
I am sorry for being not able to visit easily.
たくさんの「お見舞いコメント」ありがとうございました。
感謝の気持ちを込めて花束を。
一度よくなりかけたのですが、再び悪化しております・・・(×_×)
なかなかご訪問できなくて申し訳ありません。
Oct 7, 2008 #369
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.
Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.
With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.
ETYMOLOGY AND NOMENCLATURE
Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".
Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).
The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.
Parvati is sometimes spelled as Parvathy or Parvaty
HISTORY
Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.
She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).
Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
LEGENDS
The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.
According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,
I am the sea and you the wave,
You are Prakṛti, and I Purusha.
– Translated by Stella Kramrisch
After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.
ALTERNATE STORIES
There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
ICONOGRAPHY AND SYMBOLISM
Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.
A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.
In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.
If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.
Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.
In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).
SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS
Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).
MANIFESTATIONS AND ASPECTS OF PARVATI
Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.
In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.
In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,
- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.
- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.
- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.
- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.
- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.
- Navadurga nine forms of the goddess Parvati
- Meenakshi, goddess with eyes shaped like a fish.
- Kamakshi, goddess of love and devotion.
- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.
- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.
- Annapurna is the representation of all that is complete and of food.
STORY OF THE ATTAINMENT OF THE NAME DURG
A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.
LEGENDS
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.
Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.
Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.
David Kinsley states,
The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.
ARDHANARISVARA
Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.
IDEAL WIFE, MOTHER AND MORE
In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.
Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.
GANESHA
Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:
Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.
PARVATI IN CULTURE
FESTIVALS
Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.
In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.
Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.
ARTS
From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.
The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.
NUMISMATICS
Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.
MAJOR TEMPLES
Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.
Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.
One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.
Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.
Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.
OUTSIDE INDIA
Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.
Boisselier has identified Uma in a Champa era temple in Vietnam.
Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.
In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.
RELATED GODDESS
BUDDHISM
Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.
ANCIENT CIVILIZATIONS
Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.
As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.
Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.
108 NAMES OF PARVATI
Parvati is known by 108 different names. Following are the name along with it meaning.
Aadya: The meaning of this name is initial reality.
Aarya: It is the name of the Goddess
Abhavya: Signifies fear
Aeindri: The power of Lord Indra.
Agnijwala: Signifies fire
Ahankaara: Indicates pride.
Ameyaa: The name signifies beyond measure.
Ananta: Signifies one who is infinite.
Ananta: The Infinite
Anekashastrahasta: It means the possessor of many hand weapons
AnekastraDhaarini: It means the possessor of many weapons
Anekavarna: Person with multiple complexions.
Aparna: Signifies a person who does not eat anything during fasting
Apraudha: Signifies a person who does not age
Bahula: Various forms
Bahulaprema: Loved by everyone
Balaprada: Signifies the giver of strength
Bhaavini: The Beautiful Woman
Bhavya: Future
Bhadrakaali: One of the forms of Goddess Kali
Bhavani: The abode of the universe
Bhavamochani: The absolver of the universe
Bhavaprita: Loved by everyone in the universe
Bhavya: Indicates magnificence
Braahmi: God Brahma’s power
Brahmavaadini: Present everywhere
Buddhi: Intelligence
Buddhida: The bestower of wisdom
Chamunda: Name of Goddess who killed the demons Chanda and Munda
Chandaghanta: Mighty bells
ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda
Chinta: Tension
Chita: Death-bed
Chiti: The thinking mind
Chitra: The Picturesque
Chittarupa: Thinking or thoughtful state.
Dakshakanya: It is the name of daughter of Daksha
Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha
Devamata: Mother Goddess
Durga: The Invincible
Ekakanya: The girl child
Ghorarupa: Fierce outlook
Gyaana: Knowledge
Jalodari: Abode of the ethereal universe
Jaya: The Victorious
Kaalaratri: Goddess who is black and is similar to the night.
Kaishori: The adolescent
Kalamanjiiraranjini: Musical anklet
Karaali: Violent
Katyayani: Sage Katyanan worships this name
Kaumaari: Adolescent
Komaari: Beautiful adolescent
Kriya: Action
Krrooraa: Brutal
Lakshmi: Goddess of Wealth
Maaheshvari: Power of Lord Shiva
Maatangi: Goddess of Matanga
MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha
Mahaabala: Strength
Mahatapa: Penance
Mahodari: Keeping the universe in a huge belly
Manah: Mind
Matangamunipujita: Worshipped by Sage Matanga
Muktakesha: Open tresses
Narayani: Lord Narayana destructive attributes
NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha
Mahishasura Mardini: Goddess who killed demon Mahishasura
Nitya: Eternal one
Paatala: The color red
Paatalavati: Wearing the color red and white
Parameshvari: Ultimate Goddess
Pattaambaraparidhaana: Dress made of leather
Pinaakadharini: Trident of Shiva
Pratyaksha: Real
Praudha: Old
Purushaakriti: Taking the form of a man
Ratnapriya: Adorned
Raudramukhi: Fierce face like destroyer Rudra
Saadhvi: Sanguine
Sadagati: Bestowing Moksha
Sarvaastradhaarini: Possessor of missile weapons
Sarvadaanavaghaatini: Ability to kill all the demons
Sarvamantramayi: Instruments of thought
Sarvashaastramayi: Deft in all theories
Sarvavahanavahana: Rides all vehicles
Sarvavidya: Knowledgeable
Sati: Women who burned on the pyre of her husband
Satta: Above all
Satya: Truth
Satyanandasvarupini: Eternal bliss
Savitri: Daughter of the Sun God Savitr
Shaambhavi: Consort of Shambhu
Shivadooti: Ambassador of Lord Shiva
Shooldharini: Person who holds a monodent
Sundari: Gorgeous
Sursundari: Very Beautiful
Tapasvini: Engaged in penance
Trinetra: Person with three eyes.
Vaarahi: Person who rides on Varaah
Vaishnavi: Invincible
Vandurga: Goddess of forests
Vikrama: Violent
Vimalauttkarshini: Providing joy
Vishnumaya: The spells of Lord Vishnu
Vriddhamaata: Mother who is old
Yati: Person one who renounces the world
Yuvati: Woman
WIKIPEDIA
Company/Owner: St. Mary's Academy of Sta. Ana, Manila
Fleet/Bus Number: N/A
Classification: Air-conditioned School Shuttle Bus
Coachbuilder: Pilipinas Hino Auto Body, Inc.
Body Model: Pilipinas Hino Grand-Echo I RK
Engine Model: Hino J08C-TK
Chassis Model: Hino RK1JST 1425 (Long Wheelbase Version)
Transmission: Manual (6-speed forward, 1-speed reverse)
Suspension: Leaf Spring Suspension
Seating Configuration: 3+1×2
Seating Capacity: 72 (61 + 11 jump-seats)
Route: N/A (Shuttle Bus)
Municipalities/cities passing: N/A
Type of Operation: Shuttle Service Operation Non-Public Utility Bus (Private Class)
Area of Operation: N/A (Service Use)
Shot Location: In-front of Barasoain Church, Malolos City, Bulacan
Date Taken: October 9, 2015
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**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Company/Owner: Victory Liner, Inc.
Fleet/Bus Number: 7078
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Motors Corporation
Body Model: MAN/Santarosa Modulo R39
Engine Model: MAN D2066LOH12
Chassis Model: MAN 18.350 HOCL (PBMR391454MX)
Transmission: Manual (6-speed forward, 1-speed reverse)
Suspension: Air Suspension
Seating Configuration: 2×2
Seating Capacity: 49
Route: Earnshaw, Sampaloc, Manila–Tuguegarao City, Cagayan via N1 (Maharlika Highway) / Emilio Vergara Highway or Felipe Vergara Highway
Municipalities/cities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan/Baliuag/San Rafael/San Ildefonso/San Miguel/Gapan City/San Leonardo/Santa Rosa/Cabanatuan City/Talavera/Santo Domingo/Science City of Muñoz/San Jose City/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano/Bagabag/Diadi/Cordon/Santiago City/San Isidro/Echague/Alicia/Cauayan City/Reina Mercedes/Naguilian/Gamu/Ilagan City/Tumauini/Cabagan/San Pablo/Peñablanca
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot Location: Doña Remedios Trinidad Highway (Maharlika Highway), Barangay Cut-cot, Pulilan, Bulacan
Date Taken: August 10, 2015
Notices:
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*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
1959 Oldsmobile Super 88, at Big M Auto Dismantlers in Williams, California. Visit the set page for more information.
Night, 120 second exposure. Full moon, natural and blue-gelled flashlight.
Reprocessed and replaced, July, 2024.
Company/Owner: Pangasinan Five Star Bus Company, Inc.
Fleet/Bus Number: 3265
Classification: Air-conditioned Deluxe Provincial Bus (with restroom)
Coachbuilder: (Suzhou) Higer Bus Company, Ltd.
Body Model: Higer A80 KLQ6123K U-Tour
Engine Model: Yuchai YC6L310-30 (L52SA)
Chassis Model: Higer KLQ6123KQE31 (LKLR1FSJ3EB)
Transmission: 6-speed Manual Transmission
Suspension: Air Suspension
Seating Configuration: 2×2
Seating Capacity: 45
Franchise route: Dagupan City (Pangasinan)–Domestic Airport via Urdaneta (new); Moncada (Tarlac)–Balintawak via NLEX, SCTEX (former)
Route: Dagupan City, Pangasinan [DAG, PN]–Pasay City [PSY] via N57 (Urdaneta–Dagupan Road)–N2 (MacArthur Highway) / Gerona–Guimba Road / E1 [TPLEX-Pura–SCTEX-Amucao–NLEX-Angeles–NLEX-Balintawak]
Municipalities/cities passing: Calasiao/Santa Barbara/Urdaneta City/Villasis/Carmen (Rosales) [CEN]/San Manuel/Moncada/Paniqui/Gerona/Pura–Marquee Mall (Angeles City) [ALS]
Type of Operation: Provincial Operation Public Utility Bus (Deluxe Class)
Area of Operation: Ilocos Region (Region I)
Shot location: SCTEX, Mabalacat City, Pampanga
Date and time taken: May 17, 2018 at 8:28H
Notices:
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** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Company/Owner: Luzon Cisco Transport, Inc.
Fleet/Bus Number: 920
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Motors Corporation
Body Model: Nissan Diesel/Santarosa EXFOH
Engine Model: Nissan Diesel PE6-T
Chassis Model: Nissan Diesel RB46S
Transmission: Manual (6-speed forward, 1-speed reverse)
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 53
Route: Cubao, Quezon City–Cabanatuan City, Nueva Ecija via N1 (Maharlika Highway)
Municipalities/cities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan/Baliuag/San Rafael/San Ildefonso/San Miguel/Gapan City/San Leonardo/Santa Rosa
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Central Luzon (Region III)
Shot Location: Doña Remedios Trinidad Highway (Maharlika Highway), Barangay Cut-cot, Pulilan, Bulacan
Date Taken: September 29, 2015
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Mabuti at ginawang airconary itong BF106 ni Magicline dahil mukhang sa 2020, wala na dapat non-AC buses sa EDSA.
Company/Owner: Magicline Express Corporation
Fleet/Bus Number: 8885888
Classification: Non-Air-conditioned/Air-conditioned City Bus
Coachbuilder: Santarosa Motor Works, Inc. / Columbian Motors Corporation (rebody); Aspire Manufacturing and Rebuilding (original)
Body Model: Santarosa Daewoo Bus BF106
Original Body Model: Daewoo/Aspire HFC6108H Imperial Series
Engine Model: Doosan DE08TIS
Chassis Model: Daewoo BF106 (KL5UK42HD3P)
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 3×2
Seating Capacity: 58
Franchise route: Grotto (SJDM Bulacan)–NAIA via EDSA, SM Fairview
Route: Ninoy Aquino International Airport, Pasay City/Parañaque City–Sapang Palay, San Jose Del Monte City, Bulacan via N195 (Ninoy Aquino Avenue) / N194 (NAIA Road) / N61 (Roxas Boulevard)/EDSA/ N174 (East Avenue) / N170 [Commonwealth Avenue (Quezon City)] / N127 (Quirino Highway) and vice versa
Areas passing (underlines are designated stops for this bus scheme - EDSA area only: Magallanes–Ermin Garcia Avenue): Tambo\Coastal Mall\Bayview International Towers\City of Dreams\Airport Road\Baclaran Church\The Heritage Hotel\F.B. Harrison Street\Pasay Rotonda/Metro Point Mall\Tramo\Malibay/Cabrera\Evangelista\Magallanes\Ayala Avenue\Buendia Avenue\Estrella\Guadalupe\Boni/Pioneer\Reliance\Shaw Boulevard\SM Megamall\Ortigas Avenue\Robinsons Galleria\Boni Serrano\Main Avenue\Araneta Center Cubao/Farmers\Baliwag Transit/Five Star\Ermin Garcia Avenue\LTFRB Central Office/LTO Central Office\NIA Road\V. Luna Avenue/Land Registration Authority East Ave\Philippine Statistics Authority\SSS East Ave/BSP East Ave\BIR Road\East Avenue Medical Center\Philippine Heart Center\Matalino Street/Nat'l Kidney Transplant Institute\Quezon Memorial Circle/City Hall Gate 10\Nat'l Housing Authority Main Office/Maharlika Street\Philcoa\Techno Hub\Central Avenue\INC Templo Central\Tandang Sora Avenue\Luzon Avenue\Diliman Doctors Hospital\Don Antonio\Ever Gotesco\Saint Peter Parish\Sandiganbayan\Commission on Audit\Commonwealth Market\Manggahan\INC Capitol\Litex\Don Fabian\Doña Carmen Avenue\Winston Street\Pearl Drive\Fairview Center Mall/NCBA Fairview\Our Lady of Fatima Regalado\AMA Fairview/Bristol Street\Mindanao-Jollibee\Brittany Square/Belfast\Commonwealth Hospital and Medical Center\SM City Fairview\Trees Residences\Hilltop Mansion Subdivision/Our Lady of Fatima Hilltop\Mater Carmeli School\Sacred Heart Novitiate\Quezon City–Caloocan Boundary\Sacred Heart Village/Dela Costa Homes 2\Midway Park Subdivision\Amparo Subdivision Gate 2\Guadanoville Subdivision\Mountain Heights Subdivision\Pangarap Village\Bankers Village 2/North Caloocan Doctors Hospital\Cefels Park 3 Subdivision\Malaria Road\Funnside Ningnangan Caloocan\Ascoville Road\Sampaguita Street\Altaraza Town Center/Pleasant Hills Subdivision\Diamond Crest Village\Savano Park\Pecsonville Subdivision/SM Tungko (SM San Jose del Monte)\Skyline Hospital\Gumaok East\Francisco Homes Subdivision\Starmall San Jose del Monte\Palmera Subdivision\Igay RoadCurva\Classica Northgate\Santo Cristo\Tialo Bridge\Towerville\Newtown\Road 1\Bestlink College SJDM/Quarry\Road 2 (Dr. E. V. Roquero, Sr. Road)\Road 5\Minuyan\Citrus Road\Santo Niño I\Lawang Pari\Santo Niño II/Block 64 Street\Assumption\Libis-Rancho\Kadiwa/Sampol
Type of Operation: City Operation Public Utility Bus (Bus Segregation A | Regular Class/Economy Class)
Area of Operations: Central Luzon (Region III)/National Capital Region (NCR)
Shot Location: EDSA-Shaw, Mandaluyong City
Date Taken: May 12, 2018
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Nang mawala ang PSY (Pasay)–TUG (Tuguegarao) ni Victory, gumawa sila nang paraan kung paano pa rin nila mapapatakbo ang PSY–TUG.
Company/Owner: Victory Liner, Inc.
Fleet/Bus Number: 6020
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Motors Corporation
Body Model: Nissan Diesel/Santarosa EXFOH
Engine Model: Nissan Diesel PF6-TA (PF6-A)
Chassis Model: Nissan Diesel JA450SSN
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 49
Franchise route: Tuguegarao City (Cagayan)–Manila
Route: Tuguegarao City, Cagayan [TUG, CV]–San Fernando City, Pampanga [SFP, PP]–Pasay City [PSY] via N1 (Maharlika Highway) / N114 (Pangasinan–Nueva Ecija Road) / Pura–Guimba Road / E1 [TPLEX-Pura–SCTEX-Amucao–NLEX-SCTEX Connector; NLEX-Dau–NLEX-San Fernando/Robinsons Starmills–NLEX-Balintawak] / N215 (Dau Access Road)
Municipalities/cities passing: Peñablanca/San Pablo/Cabagan/Tumauini/Ilagan City [ILA]/Gamu/Naguilian/Reina Mercedes/Cauayan City [CYZ]/Alicia/Echague/San Isidro/Santiago City [STO]/Cordon/Diadi/Bagabag/Solano [SOL]/Bayombong/Bambang [BBM]/Ineangan (Dupax del Norte)/Gabut (Dupax del Sur)/Aritao [ART]/Santa Fe/Carranglan/San Jose City [SJC]/Science City of Muñoz/Talavera/Santo Domingo/Guimba [GUI]/Pura–Dau (Mabalacat City) [DAU]–San Fernando City [SFP]
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot Location: Miranda Boulevard, Barangay Calao East, Santiago City, Isabela
Date Taken: May 18, 2018 (15:06H)
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.