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'Yung badge nito, LCK6107H nga ito dahil mas maikli pa siya sa LCK6118H ng Partas.
Company/Owner: REM Liner
Fleet/Bus Number: 2023
Classification: Air-conditioned Inter-provincial Bus
Coachbuilder: Zhongtong Bus Holding Company, Ltd.
Body Model: Zhongtong LCK6107H Elegance
Engine Model: Yuchai YC6G270-20 (G46MB/G46REM)
Chassis Model: Zhongtong LCK6103RA (LDY6GS9D5G0)
Transmission: 6-speed Manual Transmission
Suspension: Air Suspension
Seating Configuration: 2×2
Seating Capacity: 45
Franchise route: Tuguegarao–Dagupan City via Ilagan (Isabela)
Route: Tuguegarao City, Cagayan–Santiago City, Isabela via N1/AH26 (Maharlika Highway/Pan-Philippine Highway)
Municipalities/cities passing: Peñablanca/San Pablo/Cabagan/Tumauini/Ilagan City/Gamu/Naguilian/Reina Mercedes/Cauayan City/Alicia/Echague/San Isidro
Type of Operation: Intra-regional, Inter-provincial Operation Public Utility Bus (Economy/Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot Location: N1 (Maharlika Highway), Barangay Soyung, Echague, Isabela
Date Taken: May 21, 2018 (11:13H)
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.
Company/Owner: Tarlac–San Fernando Transport Service Cooperative, Inc. (also known as "TSF-TSCI")
Fleet/Bus Number: 2122 Marin
Classification: Non-Air-conditioned Inter-provincial Bus
Coachbuilder: CP Motors
Body Model: Isuzu/CP Motors modified EXFOH / ZK6107HA FRR replica
Engine Model: Isuzu 6BG1
Chassis Model: Isuzu FRR90
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 3×2
Seating Capacity: 56
Franchise route: TBD
Route: Camp Olivas, San Fernando City, Pampanga [SFP, PP]–Tarlac Integrated Terminal, Tarlac City, Tarlac [TRL, TR] via N3 (Jose Abad Santos Avenue) / E1 [NLEX-San Fernando City–NLEX-Dau] / N215 (Dau Access Road) / N2 (MacArthur Highway)
Municipalities/cities passing: Mabalacat City/Bamban/Capas
Type of Operation: Intra-regional, Inter-provincial Operation Public Utility Bus (Ordinary Class)
Area of Operation: Central Luzon (Region II)
Shot location: N3 (Jose Abad Santos Avenue), Barangay Dolores, San Fernando City, Pampanga
Date and time taken: May 25, 2018 (16:37H)
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.
Air conditioners and chimneys on the roof of a fast food place (Hungry Jacks or MacDonalds) on the corner of West Terrace and Grote Street, in Adelaide.
January Scavenge Challenge - #8. Look to the rooftops for weathervanes, wind gauges or other non-religious decorations.
Taken with iPhone 4S.
Went out looking for wildlife today at Charlottetown. Came across some guys training their 7 gun dogs. The dogs were amazing , very well trained and in beautiful condition.
Really enjoyed this unplanned photo shoot !
Area of Operation:Provincial Operation
Classification: Air-Conditioned
Seating Configuration: 2x2
Transmission: Manual Transmission
shot location:NLEX Petron
Its absolutely stunning!!! By far my favourite find of the year after the Tbird its in mint condition theres not a single mark on it this must of fallen off when it was brand new! Of course its all complete on the rear what a find! 😃
An unknown Leyland Beaver tractor unit which belonged British Estates Services is seen in a derelict but fairly intact condition in Woodcote , Oxfordshire.
Network Rail Track Condition Monitoring Units 153384 and 153379 arrive at Paignton working 2Q64 09:30 Par to Bristol Kingsland Road on Friday 8th August 2025
Company/Owner: Baliwag Transit, Inc.
Fleet/Bus Number: 2178 (former 2372)
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc.
Body Model: Hino/Santarosa EXFOH RF
Engine Model: Hino EK100
Chassis Model: Hino RF821
Transmission: Automatic - ZF Ecomat (6-speed forward, 1-speed reverse)
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 49
Route: Baliuag, Bulacan–Grace Park, Caloocan City via Old Cagayan Valley Road / N1 (Doña Remedios Trinidad Highway)
Municipalities/cities passing: Pulilan/Plaridel/Guiguinto
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), Sta. Rita, Guiguinto, Bulacan
Date Taken: October 9, 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.
The introduction of air-conditioned double-deckers on franchised bus services in Hong Kong heralded an era where higher fares were charged to reflect the additional comfort factor, but with such a high proportion of vehicles in advertising liveries, it was necessary to add suitable lettering for intending passengers for the 'premium product' for a few years until the concept gained wider acceptance (and the numbers of suitably equipped vehicles increased significantly). KMB Dennis Dragon AD30 illustrates the point as it arrives at the Star Ferry Terminus of the 6 in October 1992, having been new the previous year.
This image is copyright and must not be reproduced or downloaded without the permission of the photographer.
The Union and Red Cross flags above the wooden war memorial in the chancel of St. John the Baptist in Garboldisham, Norfolk, are said to have come from the medical post where Major George Frederick Crisp Molyneux-Montgomerie, 3rd. Battalion, Grenadier Guards was treated for the head wound that killed him on Friday 22nd. October 1915. It is impossible to ascertain if this is in fact the case although the condition of them would indicate some age.
George Frederick Crisp Molyneux-Montgomerie was born on 18th. September 1869 in Bury St. Edmonds, Suffolk, the only son of Cecil and Sybil Molyneux-Montgomerie of Garboldisham Old Hall. He was baptised on the 24th. October 1869. George had five younger sisters, Mary, Olive, Esther, Geraldine and Katy.
He was educated at Castlemount School, Dover and at Eton College, Berkshire.
On 4th. June 1901 at St. Paul's Church in Knightsbridge, George married Sybil Mary Blanche Somerset. Due to the recent death of George's father, a wedding reception was not held. They had two daughters, Violet Beare Molyneux-Montgomerie, born on the 16th .December 1906 but sadly died the same day, and Rosemary Heartsease Beare Molyneux-Montgomerie, born on 23rd. June 1908.
George was initiated a Mason at Thetford, Norfolk on the 5th January 1912.
A professional soldier, he was a Gentleman Cadet at the Royal Military College and was appointed 2nd. Lieutenant with the Grenadier Guards on 31st. July 1889. Promoted to Lieutenant in August 1892, Battalion Adjutant 1897- 1898.
George was seconded to China in 1898 and was present at the relief of Tientsin on 13/14th July 1900 and the Relief of Pekin in August 1900.
Promoted to Captain in 1899, Aide-de-Camp to Major General Sir H Trotter KCVO Commanding Home District 1901 and promoted to Major in December 1904. He was Regimental Adjutant in from 1906 to 1909. He retired in 1909. His name remained on the Officers of Reserve list and he was a co-opted member of the Norfolk Territorial Force.
In August 1914 as war broke out, George was called out of the reserve and posted to the 3rd. Battalion of his old regiment, the Grenadier Guards at Wellington Barracks, London. He moved overseas on the 27th. July 1915, landing at Le Havre. On the 19th. August 1915 he was attached to 2nd. Guards Brigade, Guards Division.
George died of wounds, aged 46, on Friday 22nd. October 1915. He was responsible for writing the Battalion War Diary and his entries for the days preceding his death are as follows:
15th. October 1915.
'Paraded after dinners and marched back through VERMELLES to take up a line of Trenches opposite BIG WILLIE & HOHENZOLLERN REDOUBT. The relief took a very long time and the communication trenches were shelled. Began a sap from K1* towards 1st Bn Coldstream Guards who were holding the line to just short of Point 60 /W/.'
16th. October 1915.
'Trenches heavily shelled from 7-8 a.m. by guns of medium calibre. Received orders to complete sap, join with Coldstream and bomb down BIG WILLIE to meet 2nd Bn Scots Guards. Attack to start at 5 a.m. 17th. Were unable to complete sap and were unable to attack in consequence. Casualties* 5 killed 12 W 1 Missing. approximately.'
17th. October 1915.
'Very heavy and accurate shelling from 6 a.m. – 2 p.m. by guns of all sizes. Capt Lord F. Blackwood was blown up by a shell and concussed. Soon after 12 noon Capt. Dowling and Lt. Hirst were buried in their dugout and had to be evacuated. No. 1 Coy had far the largest proportion of casualties. At night Major Montgomeries took out No. 4 and finished the sap. 11 K 33 W 1 Missing.2/Lt. P. Walker went sick suffering from heart attack. The Battalion was relieved by 1st Bn Scots Guards and went into rest Trenches behind VERMELLES railway. (SUSSEX TRENCH) a smooth relief which finished at 2 a.m.'
18th. & 19th. October 1915. 'Resting'
20th. October 1915.
'Paraded at 3 p.m. and went back into the line relieving 1st Bn Scots Guards. Started a fire trench parallel and close to BIG WILLIE (afterwards called KAISERINE TRENCH)'
21st. October 1915.
'Improved fire trench and continued sapping on KAISERINE TRENCH. Enemy snipers active. We accounted for 3. Major Montgomerie (the author of this diary) was shot through the head and killed on the night of 21/22 whilst superintending work on KAISERINE TRENCH under heavy fire. K 4 W 9 M -Sap completed to join with 1st Guards Brigade.'
George was buried in Grave: VI. D. 22 at Vermelles British Cemetery, Pas de Calais, France with the personal inscription
'SO HE PASSED OVER
AND ALL THE TRUMPETS
SOUNDED FOR HIM
ON THE OTHER SIDE'
In Garboldisham parish church is a stained glass window commissioned by George's widow Sybil. George's original wooden Battlefield Cross from 1915 hangs next to the window in the alcove. The lettering on the window reads,
'This window is given by his wife and those who loved him in ever-living memory of a brave man George Frederick Molineux-Montgomerie, Major, Grenadier Guards who gave his life for his country at the Hohenzollern Redoubt in France Oct. 22nd 1915.
I thank my God upon every remembrance of you.'
George is commemorated in many other locations,
Garboldisham war memorial.
Garboldisham WW1 Roll of Honour in St John the Baptist church.
War memorial at Lords Cricket Ground, George was a member of Lords Cricket Club
Etonians of the Grenadier Guards WW1 Memorial, Eton College
Travellers Club Memorial, St. James, London
Masonic Roll of Honour 1914-1918, book 1921
Masonic WW1 Roll of Honour, scroll 1940
Grenadier Guards WW1 Memorial, Royal Memorial Chapel, RMA Sandhurst
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:
* 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.
Its in decent condition and honestly this could pass as a genuine VW if the badge was better and its all complete on the rear not bad!
Present condition these slides/slippers are in now after being worn by Gigi for months. Gigi says there is still some life left in these so she will continue pounding them with her adorable feet with every step (2)
Wednesday, 19 August 2020: our temperature just before 1:00 pm is 19C (windchill 19C), and it is supposed to reach 29C this afternoon. Sunrise is at 6:30 am and sunset is at 8:47 pm. Another sunny day, with a continuing Heat Warning. Much too hot without air-conditioning!
Three days ago, on 16 August 2020, our temperature soared to 33C. Without air-conditioning, my place was like being in an oven. I knew that I was going to have to spend as much time driving my car as possible. Actually, I had already made an appointment to visit a farm in the afternoon, so I knew I was going to be driving east of the city. I also knew that I would be driving a few other backroads afterwards, though I ended up driving further than I had expected.
This was another great day, leaving home at 10:00 am and getting back fairly early evening. I enjoyed my visit to the small, family-oriented Red Fox Farms, where I saw and photographed some of the ten beautiful mushroom species that they grow for food. All of them grow on trees in the wild. At the Farm, they grow in a special, very carefully regulated greenhouse, using no chemicals or pesticides. I absolutely love to see them as they emerge from the bags of hardwood sawdust in which the spores are placed. They grow and form the most beautiful displays.
www.producer.com/2019/09/farm-finds-demand-for-gourmet-mu...
cultivatr.ca/blogs/news/red-fox-farms
Before getting to the farm, I had stopped briefly to take a few photos of Eastern and Western Kingbirds, After the Farm, I drove further north and came across so many Swainson's Hawks - my guess would be around 14+.
There were also several old buildings that I stopped to photograph. Some were familiar and a few were possibly new ones. When I was at my furthest north, I made the split decision to drive just a little bit further to see Sharples grain Elevator and old barn again. This was about the fourth time I had made that drive. A pleasure to look at these very old, weathered structures.
Another day of mixed sightings - the kind of day I absolutely love and find very rewarding. The heat was so awful, so I was very thankful to travel in air-conditioning. Each time I climbed out of the car to take photos, it felt like walking into an oven. Brought back many memories of climbing out of planes into the great heat of the Middle East many years ago.
Yesterday, 18 August, I drove over to my daughter's home to drop off a few things. It was so good to see her and chat outside with her, keeping our distance. Temperature yesterday afternoon was 33C and even hit 34C on the drive home.
Victory Liner 305
Date Taken: July 24, 2015
Observer/Spotter: Dan Mark Esplana
Class: Air conditioned
Brand: Pilipinas Hino Inc.
Model: MR Series
Chassis: Hino RK1JMT
Engine: Hino J08C-TK
Seating Config.: 2x2
Capacity: 49
Taken at: Victory Liner Terminal, Earnshaw St., Sampaloc, Manila
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: AJU Global Transport Corporation
Fleet/Bus Number: 825
Classification: Air-conditioned Tourist Chartered Bus
Coachbuilder: Zyle Daewoo Bus Corporation
Body Model: Zyle Daewoo BH115E Royal Economy
Engine Model: Doosan DE12TiS
Chassis Model: Daewoo BH11E (KL5UN61JD4P)
Transmission: Manual (5-speed forward, 1-speed reverse)
Suspension: Leaf Spring Suspension
Seating Configuration: 2+1×2
Seating Capacity: 60 (49 + 11 jump-seats)
Route: Various (Tourist Chartered)
Municipalities/cities passing: N/A
Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip / Tourist Class)
Area of Operation: Any point of Luzon: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR)
Shot Location: In-front of Barasoain Church, Malolos City, Bulacan
Date Taken: August 20, 2015
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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 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.
Mas gusto ko itong 3rd batch ng BS106 dahil sa DRL (daytime running lights) at yung porma ng fascia ay mas maganda kesa sa dalawang naunang serye (1300 Series at 1500 Series).
Company/Owner: Baliwag Transit, Inc.
Fleet/Bus Number: 1719
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Manufacturing Corporation
Body Model: Daewoo/Santarosa BS106
Engine Model: Doosan DE08TIS
Chassis Model: Daewoo BS106 (PL5UM52HDHK)
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 3×2
Seating Capacity: 61
Franchise route: Baliwag (Bulacan)–Cubao (Quezon City)
Route: Cubao, Quezon City–Baliuag, Bulacan via N1/AH26 (Pan-Philippine Highway/Doña Remedios Trinidad Highway) / Pulilan–Plaridel Bypass Road / Old Cagayan Valley Road
Municipalities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Central Luzon (Region III)
Shot Location: Pulilan–Plaridel Diversion Road, Barangay Cut-cot, Pulilan, Bulacan
Date Taken: May 23, 2018 (16:55H)
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.
Its in fair condition its from a rear wheel which explains why theres no brake dust on the rear it has all the clips but the ring is missing luckily though i found the ring on the side of road
Company/Owner: Gold Line Tours, Inc.
Fleet/Bus Number: 637
Classification: Air-conditioned Tourist Chartered Bus
Coachbuilder: Del Monte Motor Works, Inc.
Body Model: Mercedes-Benz/Del Monte Aero Adamant OH 1625
Engine Model: Mercedes-Benz OM 449 LA
Chassis Model: Mercedes-Benz OH1625L
Transmission: 6-speed Manual Transmission
Suspension: Air Suspension
Seating Configuration: 2×2
Seating Capacity: 40
Franchise route: Manila to any point of the Philippines
Route: various (Tourist Chartered)
Municipalities/cities passing: N/A
Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip/Tourist Class)
Area of Operation: Any point of Philippines: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR), Western Visayas (Region VI), Central Visayas (Region VII), Eastern Visayas (Region VIII), Zamboanga Peninsula (Region IX), Northern Mindanao (Region X), Davao Region (Region XI), Soccsksargen (Region XII), Caraga (Region XIII), Autonomous Region in Muslim Mindanao (ARMM)
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Company/Owner: AJU Global Transport Corporation/King Coach Tours and Transport Corporation
Fleet/Bus Number: 840
Classification: Air-conditioned Tourist Chartered Bus
Coachbuilder: Kia Motors Corporation
Body Model: Kia Granbird SD-II Parkway
Engine Model: Hyundai D6AC (Q340)
Chassis Model: Kia KM949S (KN2GBJ722YK)
Transmission: 5-speed Manual Transmission
Suspension(s): Air Suspension
Seating Configuration: 2+1×2
Seating Capacity: 60 (49+11 jump-seats)
Franchise route: N/A
Route: various (Tourist Chartered)
Municipalities/cities passing: N/A
Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip/Tourist Class)
Area of Operation: Any point of Luzon: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR)
Shot location: In-front of Barasoain Church, Malolos City, Bulacan
Date and time taken: September 24, 2015 (7:33H)
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 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.
A John Deere 6920S tractor fitted with a John Deere 1365 10ft Mower Conditioner at work in spring sunshine.
This defunct motel has been closed in my summer visits to Boissevain in 2016 and 2017, and its condition is deteriorating.
I have previously posted two pictures in this scene.
One is of the Royal Canadian Mounted Police mural at the motel site:
www.flickr.com/photos/138983880@N03/33918680183/in/photol...
The other is of the elevator in the background:
www.flickr.com/photos/138983880@N03/36620792975/in/datepo...