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One side of the hallway with a thousand pillars which is notable feature of Ekambareswarar Temple. One of the largest and most ancient temple in India having been in existence since at least 600 AD.
Kanchipuram, india
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Descripció:
Dispositats en diferents nivells en el cim d'un turó al costat de la vila, el castell, tot i haver estat profundament reformat el segle XVI, mantingué a l'exterior l'originària estructurta de fortalesa i bona part dels seus paraments i àmbits interiors responen a empentes constructives medievals. Posseïa un doble recinte emmurallat, més tosc l'exterior, davant del fossat, i de carreuada grossa l'interior, amb espitlleres a la part baixa i amples obertures amb llinda i trencaaigües, avui tapiades, encimbellades per merlets al coronament, que correspondria a la reforma cinc-centista aixecada sobre els nivells inferiors d'època medieval. També segueix auqest esquema l'única de les torres conservades, de l'homenatge, que enlaira, sobre fonaments antics, els seus cossos superiors amb obertures motllurades La fortalesa conforma un recinte quadrangular amb edificacions disposades al voltant d'un pati trapezoïdal, que manifesten igualment les diferents fases de construcció. Així, malgrat l'estat ruïnós, hom pot suposar que les dependències senyorials es disposaven a l'ala dreta del pati, mentre que a l'esquerra hi havia magatzems i dependències militars. Destaquen, a l'àrea noble, el Saló, amb grans arcs rebaixats que sostenien una coberta, avui perduda, i l'antiga capella amb volta nervada. L'escala noble, a un costat del pati d'armes, d´na accés a les estances situades al pis principal, amb entrades decorades per calats. Una fotografia del 1943 permet encara percebre el bon disseny d'aquest accés, conformat per una escalinata amb arcs rampants sobre columnes toscanes i balaustrada que donava a un replà amb galeria d'arcs de mig punt i també sobre columnes , al final de la qual s'obria una porta amb emmarcament de pilastres i frontó. Aquesta part lamentablement perduda de fa pocs anys, és la més característica del grup d'actuacions que a finals del segle XVI (c. 1582) dotaren d'aspecte residencial l'edifici. De fet, si bé les reformes se succeïren al castell al llarg de la baixa Edat Mitjana, les intervencions cinc centistes, tot i que només foren parcials, resulten especialment significatives. Primerament perquè determinaren la convivència, amb caràcter ornamental, d'elements de la gramàtica clàssica amb d'altres enclosos encara dins la tradició gotitzant. D'altra banda, les actuacions renaixentistes del castell de Ciutadilla s'han d'interpretar en un context més ampli de reformes efectuades en altres castells lleidetans (Arbeca, Albi, Puiggròs, Bellpuig...) durant el segle XVI que potser foren necessàries a causa dels desperfectes causats per la guerra civil del segle XV, i que tendiren a dotar de caràcter palacial les velles construccions que no perderen, però, la seva funció militar originària El 1702, a l'entorn del castell fou creat el marquesat de Ciutadilla que l'any 1971 pertanyia a la família Sagnier. El castell fou abandonat el 1908, encentant-se aleshores un període de lenta devastació fins fa uns anys en què s'intentà la recuperació no reïxida d'alguns ambients.
Notícies històriques:
El 1029, any en què per primer cop apareix esmentat a la documentació, el castell de Ciutadilla era ja sota el domini senyorial dels Guimerà, que el retingueren fins el 1665, en què passà als Cardona. Fou en el periode de la possessio dels Guimerà quan es bastiren practicament totes les edificacions del castell, ara en estat de progressiu enrunament.
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Les restes del castell de Ciutadilla presideixen el poble del mateix nom i es situen a l'extrem occidental del serrat que delimita pel sud la vall del Corb. Segurament, un dels elements més representatius del castell és la gran torre de planta rectangular que s'aixeca a l'angle sud-est, dominant tot el conjunt. El castell de Ciutadilla és una antiga fortalesa medieval del segle XI amb elements posteriors romànics i gòtics, transformada al segle XVI en palau renaixentista que va subsistir fins el 1835. Destaca la torre mestra de planta quadrangular se set plantes, el pati interior, de form atrapezoïdal té a la banda nord una gran escala que fins a inicis de segle disposava d'una galeria superior amb una magnísfica columnata. Les intervencions arqueològiques que s'hi han realitzat fins al moment han permès copsar l'evolució d'aquesta antiga fortificació cap al palau renaixentista. Així, el 1995, en el marc d'un camp de treball organitzat per la Generalitat de Catalunya, es va procedir a la neteja i desenrunament de l'edifici. Aquestes tasques van permetre la documentació de ceràmica moderna i contemporània, així com diversos materials petris (blocs escairats, restes arquitectòniques...). Durant les campanyes de 1999 i 2000, segons Sònia Pascual, ha aparegut material del Bronze final i ibèric, fet que permet corroborar una ocupació molt anterior a la medieval i moderna. A més, s'ha documentat el sistema de recollida d'aigües del segle XVI, així com una zona de producció d'oli de la mateixa cronologia. També s'ha pogut resseguir el recinte fortificat extern del castell i el fossat, excavat a les margues i colmatat per nivells corresponents a reformes arquitectòniques modernes. Entre els anys 2001-2002 es dugué a terme una nova campanya d'excavacions al castell, que corroborà la existència de quatre fases cronològiques. De l'època medieval documentada en el castell s'han diferenciat dos moments: l'alt medieval amb les estructures de la primera edificació, i la baix medieval dels segles XIV - XV. En època moderna la fisonomia del castell canvia de manera important, establint-ne també dues fases; per una banda, les reformes arquitectòniques que, iniciades a finals del segle XV i dutes a terme fins el segle XVII van canviar l'aspecte de l'edifici medieval convertint-lo en un palau renaixentista. Fou un moment en què el fossat ja havia perdut la seva funcionalitat defensiva i es convertí en una zona d'abocament de residus resultat de les reformes internes. D'altra banda, a les acaballes del període modern, s'evidencia l'inici d'una decadència del castell, noves reformes el convertiran de palau a centre de producció agropecuària, perdent la sumptuositat de la residència per passar a construccions en què els masovers desenvoluparan les seves activitats fins el segle XX. El 2008 es va excavar una sala al costat de la torre vella, es van documentar dos estrats, un era el nivell de circulació i l'altre d'enderroc, el material ceràmic recuperat es va trobar a l'estrat de l'enderroc, eren ceràmiques dels segles XVI-XX.
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Constructive criticism and comments are welcome.
CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of the photographer.
check out my new website www.chrisvandolleweerd.com
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Through our annual stakeholder convenings and Creating Shared Value Forum, we engage in constructive dialogue with different NGOs and interest groups on the topic of maternal, infant and young child nutrition. We are ready to work constructively with all concerned stakeholders towards our aim to contribute to the optimal health and nutrition of mothers, infants and young children.
Constructive critique welcomed and appreciated. Oh, and if someone can tell me how to create realistic looking stains - please do share, by all means! :)
Huge thank you to AnnFrost-stock for the awesome blood stain brushes annfrost-stock.deviantart.com/art/Blood-brush-set-84235083
Constructive criticism is always welcome.
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CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
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n. An apparent memory, of an event that did not actually happen, unconsciously constructed to fill a gap.
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Honest Constructive Critiques ALWAYS WELCOMED!
©Chris Adval All Rights Reserved 2012. Chris Adval Productions - www.ChrisAdval.com - Go to www.ChrisAdval.biz for service details.
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Photographer: Chris Adval MM#: 2175015
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Masonic Mosaic Pavement and Indented Skirting
www.masonicforum.ro/?cmd=displaystory&story_id=73&....
www.masonicforum.ro/?cmd=displaystory&story_id=73&....
The Mosaic Pavement
by GABRIEL VASILE OLTEAN
Expert Inspector of NGLR for Western Region; Past Worshipful Master, ZAMOLXIS Lodge, no. 182, Deva
"The interior decoration of a masonic lodge comprises ornaments, accessories and insignia. The ornaments are: the mosaic on the floor - respresenting spirt and matter, the shining star and the laced edge, which remind us always the first of the presence of God and the second of the protective wall" - cites Charles W Leadbeater from the ritual of mixed masonry in his work "Freemasonry - Rites and Initiations."
In the center of the Temple, on the ground, there is a rectangular floor, with black and white tiles, called the mosaic pavement (theoretically, cubes seen perspectivally), where a relgaion obtains between the sides, either 2:1 (the long square) or 1.618.../1 (the golden number), thus coming up with a surface proportional to the total area of the Lodge. Thus we see that practically the moasica, placed in the center of the Lodge is a microcosmic representation of the whole of creation and is by itself a sacred central area - whence the interdiction to ever step on the mosaic when the work of the Lodge is underway. The pavement symbolizes the indisociable operative complementarity of the two cosmic principles: the initiate must know how no longer let himself be dominated by the confrontation between positive and negative forces, to know (it is indispensable) how to use it, to master it so as to work constructively.
In Ancient Egypt, the mosaic was never stepped on except by a candidate and the masters of ceremony, and only at precise moments (by the Past Worshipful Master for the fulfilment of his tasks, by the First Expert when he took the light of the sacred fire, or by the sexton when he spread frankincense on the altar of the Temple. An extremely important aspect of the mosaic pavement is that, being placed in the middle of the Temple, framed by the three colonettes (which represent the Worshipful Master, the Senior and Junior Wardens), must be avoided by walking in a square, in a symbolic sense. The current of energy cross the floor, some along the length, some along the width, in lines that remind of the warp of a canvas.
Upon opening the work, the Trestle Board is depicted on this pavement, which varies with the first three degrees. The mosaic pavement signifies different things according to the traditional mode of work in the lodge, or the masonic rite employed.
The French Rite specifies that the pavement adorned the threshold of the geat porch of the Temple and showed that this is one of the ornaments of the Lodge, being the emblem of the intimate union among masons. Here it was explained to the Apprentice that he "could not stand on the mosaic pavement to contemplate the interior of the edifice". This started above from the seventh step, as we can well conclude by an attentive research of the Trestle Boards of the first two degrees.
The Rectified Scottish Rite speaks too little of this pavement, noting that "the mosaic pavement adorns the threshold of the great veranda of the Temple. It covers the entry to the subterranean part of the Temple between the two columns, to a crypt that held holy idols and especially the pledge of the alliance between the chosen people and the Creator: the Royal Ark (Ark of the Covenant).
The Ancient and Accepted Scottish Rite does not describe in any way this ornament. As to the decoration of the Lodge, it is said however "the floor of the lodge is the pavement in alternative black and white squares. When it is thus decorated, a pavement is achieved wit the shape of a long square, placed in the center of the Lodge, decorated on the model of the latter".
The York Rite affirms that "the mosaic pavement represents the floor of the Temple of Solomon", having the added laced edge. It is obvious enough that it is about a symbolic contribution in what regards the floor of the Lodge, because in the Bible the floor of the Temple isn't described as an series of black and white squares: "and the floor of the Temple was made from cypress planks" (3 Kings 6:15).
Whereas in the Emulation Rite (the Anglo-Saxon Rites are more precise in their descriptions) specifies that "the mosaic pavement may rightly be considered the wondrous tiling of a freemason Lodge due to its diversity and regularity. Thus the diversity of beings and objects in the world surfaces, as well the ensouled ones as those that are not". In the complementary course of the Rite of Emulation (in the fifth part) it is specified: "our lodge is adorned with mosaic pavement to mark the uncertainty of all terrestrial vanities... as we step on this mosaic, our thought must return to the original idea that we imitate and act as honorable men and masons". Mosaic pavement is presented as an image of faith, harmony, understanding..
Outside the definitions offered by different masonic rites, the mosaic pavement may be approached under many aspect, two of which seem edifying to us:
• The floor of the Lodge,
• The route of squares for the tracing of planes,
When we approach the mosaic pavement as floor of the Lodge, we are forced to distinguish between the pavement of operative and speculative Lodges.
In the first case, we specify that Lodges were usually annexes to the construction site, attached to the construction on the Southern side of the Work (to receive more light and to have the wall of the edifice for protection. It is extremely clear and evident that in this case no floor was imposed (nor would any be functional). The tiling that constitutes the mosaic is fragile in contradiction with the dimensions (weight) of the tools of freemasons (sledgehammers were very heavy). If we are talking about a surface for permanent cutting and polishing of rock, we can easily imagine that the floor of such a place was permanently covered by fragments, remains, abrasive dust. Not in the last place, we must note the fact that mosaic was principally fixed in especially prepared mortar in which designs were first marked that etched the image or drawing that was the purpose of the mosaic.
In the other approach, that of the speculative Lodges, a symbolic rug laid in squares may be laid on the floor, or it may be build from alternating black and white tiles, the decision being that of the Lodge. The notionc of mosaic pavement cannot be discussed before the appearance of Grand Lodges.
As a route of squares - as network of right angles - to trace planes is another mode of approach specific to operative lodges, which must distinguish:
A directory route of the edifice that must be understood after we describe the Medieval constructin site at the beginning of the work: on a leveled and cleared surface (treated with charcoal), a scheme of the main lines of the edifice was traced with the help of a rope covered in chalk. There
are documents to this effect that attest the describe practice, which reminds of certain answers from the masonic catechism. To the question: "how do you serve your Master?", there is the answer: "with charcoal, chalk and clay".
A technical assistance set of squares would be another variant of this approach. An amenably arranged surface, spread in regular squares through lines traced for inumerable uses, the first and most important being that of assembly table. It also served to establish easily a series of angles, in an approximate way that was sufficient for a mason (taking four divisions on a line, and on the perpendicular seven at one extremity, a reasaonbly 60° angle is obtained). In fact, we can imagine the banal math copybook paper that has helped us trace with more facility (and more precision) the geometrical shapes that tortured (or didn't) us in the geometry problems in elementary school.
The black and white, chessboard-like pavement is thus the mosaic pavement. In what pertains to the term "mosaic", there are two different opinions, one refering to Moses and one to the technique of decoration. Each school has its pros and cons, more or less logical and valid.
"The canvas of ours lives is a mixed thread, the good together with the bad" wrote Shakespeare. Anything is characterized by a combination of good and bad, light and shadow, joy and sadness, positive and negative, yin and yang. What is good for me may be bad for you, pleasure is generated by pain, etc.
Following the thread of the current Paper, we may say with certainty that the mosaic is not mart of the elements of Judaic architecture and that the mosaic pavement is a contribution of modern speculative Masonry, operative lodges never having been squared this way. It is obvious that the current exposition is not and does not wish to be an exhaustive work. It is a somewhat complex approach of an important symbol in the decoration of the masonic Temple and it wishes in fact to the a paper addressing an open question:
- The mosaic pavement is the floor of the Lodge (as the rituals consider it) or is it the space limited by the three pillars Power, Wisdom, and Beauty?
A good thought accompanied by the triple brotherly accolade!
Copyright Forum Masonic
A suspended 'G' in the centre of the lodge above the Masonic Altar.
The Masonic letter G
Source: Masonic Vibes
by Paul Foster Case
In the beginning was the Word, and the Word was with God, and the Word was God. St. John 1:1.
All in all that is all there is to the letter G. But I have found that if you make things to simple people tend to take them as unimportant.
I have not been able to determine when the letter G was introduced into Speculative Masonry as a symbol.
The letter G is not derived from the Operative Masons of the Middle Ages, and formed no part of the architectural decoration of old cathedrals.
Whether it entered the symbolism under the influence of those Rosicrucian’s and Qabalists who joined the Order during the last half of the 17th century, or whether it was introduced at some time subsequent to 1717, when the first Grand Lodge was established at the Apple-tree Tavern in London, is impossible to tell.
The letter G is the initial of Geometry. This makes it a symbolic summary of the entire Masonic system. The heart of Freemasonry is a doctrine founded on the science of geometry. In the old Masonic Constitutions it is specifically stated that Masonry and Geometry are one and the same.
It is no secret that the letter G is a symbol for the Deity. It so happens that God is the English name of the Grand Architect of the Universe. The fact that G is the first letter of God is not the only connection between the symbol and the Deity.
Its Greek equivalent is the initial of Gaia, the earth Mother, eldest born of Chases, whose name is the root of the noun geometria, geometry.
Gimel, the Hebrew correspondence to G, is the initial of gadol, majesty, and of gebur, strong, words used to designate the Deity throughout the Hebrew sacred writings. Gimel itself is regarded by the wise men of Israel as being the alphabetical sign of the sacred wisdom which is founded on the science of geometry.
So basically we are back to St. John 1:1. In the beginning was the Word, and the Word was with God, and the Word was God.
When I was raised to a Master Mason, I was told to learn the following lesions:
The Pot Of Incense Symbolizes man, the pot being the physical body, the Incense being the mind of man, and when they are lit, the heat given off being the spirit of man as given to him by God.
The Beehive Symbolizes unity of purpose, with just one leader, for life and just one goal, the betterment of the hive.
The Anchor And Ark The Anchor is an emblem of Jesus Christ who gave his life to ensure us a safe harbor to find rest in. The Ark is an emblem of God, that divine ark that carries us through a lifetime of trials and tribulations, and finally to our Heavenly home.
The 47th Problem of Euclid Is commonly excepted to represent the physical body, the psyche, and the spiritual, and this figure being the complete man. Let us just suppose the 47th problem of Euclid represented the life spirit, the human spirit, and the divine spirit. The life spirit being Friendship, the human spirit being Morality, and the divine spirit being Brotherly Love. This figure could represent the perfect man.
The Hour Glass Is an emblem of human life. Like the hour glass, when the first grain of sand falls it is a fact that the last grain of sand will fall too. When man is born it is a fact that he will also die. The difference being that man has control over how he lives his life and the sand only falls down.
The Sword Reminds us that we should be ever watchful and guarded in our thoughts, words, and actions, because all of these will be recorded in the Great Book of Life, that all men are judged by when" they die.
The Scythe Is used as an emblem of Death but it is in reality an emblem of transition from one life to another. Because as this mortal life comes to an end it brings with it the beginning of a spiritual life.
When I went through York Rite Masonry, it was explained to me the meaning of all these lesions.
When I went through my reception into Scottish Rite Masonry, even more lesions were taught and explained to me.
When I was admitted to the Thirty-Third Degree, came the Surprise of my life. No more lesions, no more explanations, I was only told to remember a few simple facts and to do one thing, which changed my whole outlook on life.
1. Any man who fails, in his duties to God, fails mankind and himself.
2. While you live, you should work to secure for all people their rights and voice in its government.
3. You must labor to enlighten and teach mankind.
4. To teach the people their power and their rights.
5. To let the enemies of mankind be your enemies.
6. Come to no terms with them, but complete surrender of their ways.
7. That even though I been exalted to the Thirty-Third Degree, I would still be among my equals in every Blue Lodge and that all “worthy” Master Masons are my Brothers.
Now the one thing that changed my life was, I was informed that it was not enough to just know or just understand the lessons of Masonry, I had to live the lessons of Masonry.
Believing this I feel that I will be “A life time Apprentice” my whole life. When the time comes to return this physical body back to the ground from wince it came.
The sprit that lived in this body will be returned to God as a “Fellow Craft” and then at the feet of God the labors of my sprit will be judged by God.
Then and only then, if God finds the work of my sprit as “true work, good work”, will my sprit be raised from a dead level to a living perpendicular on the angle of a square by God.
In this belief, I will live my life as “A life time Apprentice”, always trying to subdue my passions and learning to improve myself.
The Masonic letter G reminds us that our every act is done in the sight of the Great Architect of the Universe.
"By letters four and science five, this “G” aright doth stand, in due Art and Proportion; you have your answer, friend.”
What are the "letters four"? It is believed that they stand for "YHWH", the name of the Great Architect of the Universe (pronounced "Yahway". (sometimes pronounced Jehovah) in the ancient Hebrew language, from which the Bible was translated:
Which is the 5th science? Geometry.
The Letter G stands for "Geometry", which is the mathematical science upon which Architecture and Masonry were founded.
When did the letter G become part of the Square and Compass? No one knows exactly, but it is believed to be somewhere between 1730 and 1768, here in the United States. The "G" is not used in the center of the square and compasses in all jurisdictions around the world.
Letter G
In Hebrew, the language our Bible was originally written in, it is called Gheemel (or Gimel) and has a numerical value of 3.
Throughout history, we see reference to the number 3 when we speak of the Supreme Architect of the Universe... no matter which language we speak!
Gimel (in slightly different forms) is the 3rd letter of many Semitic languages including Phoenician, Greek, Aramaic, Hebrew, and Syriac.
Phonecian: Gimel (11th century BCE)
Greek: Gamma (9th century BCE)
Aramaic: Gamal (800 BCE to 600 CE) (800 years Before Common Era
to 600 years after Common Era)
Hebrew: Gimel (3rd century BCE)
Syriac: Gomal / Gamal (2nd century BCE)
G Throughout the Centuries
B.C.E. means "Before Common Era". The Common Era (C.E.), also known as the Christian Era and sometimes as the Current Era, is the period beginning with the year 1 onwards.
The term is used for a system of reckoning years that is chronologically equivalent to the Anno Domini (A.D.), which is Latin for "In the year of our Lord".
Therefore, the 3rd letter of the Phonecian alphabet, "gimel", was in use 11 centuries Before the Common Era, which is 8 centuries before the Hebrew language...give or take a few hundred years.
Why give or take a few hundred years? While scholars who study languages are very thorough; we have to remember that they have very little from which to study.
Much of our knowledge of ancient languages comes from the study of hieroglyphics carved into stone and the subsequent attempt to determine which time frame they were carved; from mummies and their accompanying sarcophagi (carved wooden coffins), etc.
Note, however that while the letter G is the 7th letter in the English, Latin and Romanic alphabets, in Russian, and some others, it is 4th; in the Arabic the 5th, and in the Ethiopian language, the 20th.
These languages are much "younger" than the "ancient" languages and most, therefore, are propagations (changes that occurred) to the ancient languages throughout the centuries due to many factors.
The letter G in Freemasonry stands for both the Great Architect of the Universe and Geometry....or, to be more technically correct, it stands for Geometry under the Great Architect of the Universe.
Just as the Supreme Architect of the Universe watches the revolutions of the planets and stars in the sky, so does HE, who placed each of us here, watch each of our movements, hears not only our words, but our thoughts, as well ...and it is to HIM that we are ultimately responsible.
As usual - constructive criticism is welcomed! Please feel free to leave either positive or negative comments.
Not the most exciting image, sorry! I wanted to practice my long exposures - I'm determined to get the hang of it somehow! As I can't drive, and no one was in the mood to give me a lift anywhere, then it had to be somewhere within walking distance - so I walked down to the beach, daughter in tow.
The sun was setting exactly behind me, but there's no sea that way and I didn't really want wet feet! So I settled for the muted colours over the bay and towards Peveril Point.
I thought about cropping out the seaweed at the bottom - would that have been better? Or maybe I should have chucked a bit more in for foreground interest!
CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
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Constructive criticism, thoughts and advice encouraged and welcomed!
Copyright 2015 Berlin Green. Please visit my website at berlingreencreative.com for contact information.
CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
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Joaquín Torres García ’Pintura constructiva’ (Constructive Painting), 1929, Museo Nacional de Artes Visuales, Montevideo, Uruguay
Constructive work: Artists / a few are pushed or driven / to the ultimate cliff / earn a lot, / or are falling off. // Many others look at one another, / half with the urge to cut off one ear, / the other half waiting / to eat it.
(Assemblage, wood, metal, glass, paint, H 42, W 33, D 23 cm) www.meurtant.exto.org
(in private collection)