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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
Dedicated to Saint Peter and located on the path to Compostela (and therefore a UNESCO World Heritage site), the Benedictine abbey of Moissac was founded in the 700s. According to legend, it was founded even earlier, in 506, by the freshly converted Clovis, King of the Franks, but there is no historical evidence that this ever happened. Affiliated to Cluny from 1047, it became the most powerful monastery of southwestern France and numbered over 1,000 monks —most likely including lay brothers, though.
There is so much to say about the abbey of Moissac that I will, for the most part, refer my readers to the many lengthy internet pages that describe it, not to mention of course the Quercy roman book by Zodiaque. The most famous parts are the stunning tympanum, the iconic statue of Saint Jeremy and the Year 1100 cloister with its 7- capitals, most of them historied. All of those are masterpieces fo Romanesque art and known worldwide.
The abbey was on the very first list of Historic Landmarks in 1840. It is an absolute must-see for all people interested in the Middle Ages, and we will devote quite a few days to its visit.
This trapezoid shape is characteristic of the Moissac cloister, although other shapes can also be seen in the cloister. This one depicts the parable of the Three Young Jews in the Fiery Furnace.
Wild foals greeting each other.
Dedicated to Terri Farley, a stellar wild horse advocate, prolific author of young peoples books, and someone I am proud to call my friend.
Terri recently won the "Silver Pen Award" in Nevada.
Congratulations, well deserved Terri!
Another dedicated park space in Colonia Polanco is Parque Gandhi including a Gandhi statue.
The monument dedicated to the humanistic legacy of Mahatma Gandhi, a leader of the Indian nationalist movement and proclaimed a liberation struggle without violence or the use of weapons was placed here in 2008.
Inscriptions:
left side
Violence has reached men and will remain. She is the herald of world peace
right side
Our Struggle Has For Purpose the friendship with the whole world
There is stirring resentment to the statue in Mexico City as there has been in other cities with Gandhi statues due to Gandhi's reported African anti-black racism.
“But Only In Their Dreams Can Men Be Truly Free. ‘Twas Always Thus And Always Thus Will Be.”
- John Keating (played by Robin Williams) from the movie The Dead Poet’s Society
My Tribute to Robin McLaurin Williams (1951 – 2014)
Dedicated do U2 and all my chilean friends.
Have a nice - and beautifull day!
Volcan Osorno, Saltos de Petrohue.
Last night I read the sad news of passing away of a very sincere and beautiful flickr friend Rose (screen name: Summer and Rose)
May her soul rest in peace.
[explore]
This is dedicated to my dear friend Woija for surprising me with such a beautiful testimonial before his departure.
Woija, you know how I feel, but I want to say again, thank you so much for sharing such heartfelt and beautiful words. You have become an amazing flickr friend, and you always manage to put a smile on my face whether it's through your images or kind words. Welcome back Woija. I hope you like the view..
Kinkaku-ji (金閣寺, literally "Temple of the Golden Pavilion"), officially named Rokuon-ji (鹿苑寺, literally "Deer Garden Temple"), is a Zen Buddhist temple in Kyoto, Japan.[2] It is one of the most popular buildings in Japan, attracting many visitors annually.[3] It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.
The Golden Pavilion (金閣 Kinkaku) is a three-storey building on the grounds of the Rokuon-ji temple complex.[11] The top two stories of the pavilion are covered with pure gold leaf.[11] The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto.[2] When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.[2]
Architectural design
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor.[8] Each floor of the Kinkaku uses a different architectural style.[2]
The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy.[2] It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster.[8] This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion[8] and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ),[2] is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon.[8] The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.[8]
The roof is in a thatched pyramid with shingles.[12] The building is topped with a bronze hōō (phoenix) ornament.[11] From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines.[9] The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.
Garden
The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園 kaiyū-shiki-teien, lit. a landscape garden in the go-round style).[6] The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池 Mirror Pond), that reflects the building.[5] The pond contains 10 smaller islands.[8] The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature.[8] Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion.[10] A small fishing deck (釣殿 tsuri-dono) is attached to the rear of the pavilion building, allowing a small boat to be moored under it.[5] The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth.[6] The largest islet in the pond represents the Japanese islands.[5] The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.[5]
The garden complex is an excellent example of Muromachi period garden design.[11] The Muromachi period is considered to be a classical age of Japanese garden design.[10] The correlation between buildings and its settings were greatly emphasized during this period.[10] It was a way to integrate the structure within the landscape in an artistic way. The garden designs were characterized by a reduction in scale, a more central purpose and a distinct setting.[13] A minimalistic approach was brought to the garden design, by recreating larger landscapes in a smaller scale around a structure.
I just got very sad News. Skylers Mom passed away. This is so sad :((((((
Skyler, all my Thoughts and Prayers are with you !!! Your Mom is in Heaven now.
I will pray for you and your Mom. To all my Friends, please pray with me.
Zucchero & Sinead O'Connor "Va Pensiero"
PLEASE NO INVITES !
Ekambaranathar Temple (Tamil: ஏகாம்பரநாதர் கோயில்) or Ekambareswarar Temple is a Hindu temple dedicated to Shiva, located in Kanchipuram in the state of Tamil Nadu, India. The temple is the largest temple in the town of Kanchipuram and is located in the northern part of the town. The temple gopuram (gateway tower) is 59m tall, which is one the tallest gopurams in India.
It is one of the five major Shiva temples or Pancha Bootha Sthalams (each representing a natural element) representing the element - Earth. The other four temples in this category are Thiruvanaikaval Jambukeswara (water), Chidambaram Natarajar (Sky), Thiruvannamalai Arunachaleswara (fire) and Kalahasti Nathar (wind). It is one of the 275 Paadal Petra Sthalams, where all of the four most revered Nayanars (Saivite Saints) have sung the glories of this temple.
Legend
Legend has it that once Parvati, the consort of Shiva was doing penance under the temple's ancient Mango tree near Vegavathi river. In order to test her devotion Shiva sent fire on her. Goddess Parvati prayed to her brother, Vishnu, for help. In order to save her, he took the Moon from Shiva's head and showed the rays which then cooled down the tree as well as Parvati. Shiva again sent the river Ganga (Ganges) to disrupt Parvati's penance. Parvati prayed to Ganga and convinced her that both of them were sisters and so should not harm her. Subsequently, Ganga did not disturb her penance and Parvati made a Shiva Linga out of sand to get united with Shiva. The God here came to be known as Ekambareswarar or "Lord of Mango Tree".
According to another legend, it is believed that Parvati worshipped Shiva in the form of a Prithivi Lingam (or a Lingam improvised out of sand), under a mango tree. Legend has it that the neighboring Vegavati river overflowed and threatened to engulf the Shiva Lingam and that Parvati or Kamakshi embraced the Lingam. Shiva touched by the gesture materialized in person and married her. In this context he is referred to as Tazhuva kuzhainthaar ("He who melted in Her embrace") in Tamil.
Tiurkuripputhonda Nayanar, one of the 63 saivite saints, called nayanars was a washerman in near the temple and he washed the clothes of all the Saivities. He was divinely tricked by God Shiva appearing as an aged brahmin and asked him to wash before dawn. At the same time Shiva made a cloudly evening. On observing the approach of the evening, the washerman banged his head in a stone in disappointment. God appeared in his true form and graced his devotee
History
This vast temple is one of the most ancient in India having been in existence since at least 600 AD. Second century AD Tamil poetry speaks of Kama kottam, and the Kumara kottam (currently the Kamakashi Amman temple and the Subramanya temple).Initially temple was built by Pallavas. The Vedantist Kachiyapper served as a priest at the temple. The existing structure then, was pulled down and rebuilt by the later Chola Kings. Adi Sankara, the 10th century saint got Kanchipuram remodelled along with expansion of this temple along with Kamakshi Amman temple and Varadaraja Perumal Temple with the help of local rulers.
The Vijayanagar kings, during the 15th century, also made lot of contributions to the temple[6] and later developed by Vallal Pachiyappa Mudaliar used to go regularly from Chennai to Kanchipuram to worship in this temple, he spent significant money he amazed during British rule on the temple renovation, Pachiyappa Mudaliar seated at horse back can be seen in the temple pillar. At the later stage a similar temple with same name Ekambareswarar was constructed in Chennai by Pachiappa Mudaliar in order to avoid travelling time to Kanchipuram. The Archaeological Survey of India report of 1905-06 indicates wide spread renovation activities carried out in the temple by Nattukottai Chettiar.
Temple
The temple covers an area of over 23 acres (93,000 m2).[2] Reaching a height of 59 meters, the temple's Raja gopuram (the entrance tower to the temple) is one of the tallest in South India[6]. One notable feature of the temple is the Aayiram Kaal Mandapam, or the "hallway with a thousand pillars", which was built by the Vijayanagar Kings. The temple's inner walls are decorated with an array of 1,008 Siva lingams. The campus is 25 acres with 5 prakarams (or court yards) and has a thousand pillared hall. Kampai Tirtha, the temple tank is believed to have an underground holy river. The fourth court yard contains a small Ganesha temple and a pond. The third court yard contains lot of smaller shrines. The sanctum sanctorum contains the lingam along with the image of Shiva.
There is no separate shrine for Parvati within the complex as with other Shiva temples in Kanchipuram. A local belief is that Kamakshi Amman Temple is the consort for Ekambaranathar. There is a small shrine for Vishnu named Thiru Nilaaththingal Thundathan inside the temple complex. Vishnu is prayed as Vamana Murthy and the shrine is hailed by the Alvar saints as one of the 108 Divya Desams. The sthala-virutcham or temple tree is a 3,500 year old mango tree whose branches are said to yield four different types of mangoes from its four branches.
Panguni Uthiram festival celebrated during the month of March-April is the most popular of all the temple festivals in Kanchipuram.
Храм Экамбарешвара (Ekambareshvara) - самый большой храм Канчипурама и наиболее важная шиваитская святыня. Храм также известный как Экамбарнатха (Ekambaranatha) легко обнаружить по его колоссальным выбеленным гопурамам, которые возвышаются почти на 60 метров на севере города. Главный храм состоит из нескольких частей, строительство храма было начало при Паллавах (Pallava), в современном виде храмы был завершен между шестнадцатыми и семнадцатыми столетиями. На территории храме помимо центральной мандины есть несколько меньших святынь и большой басейн, в котором водились священные рыбы.
Центральный вход через высокий арочный проход в гопураме южной стены ведет к открытому внутреннему двору и величественной "тысяча колонной зале" (kalyan mandapa), чьи частично разрушенные серые каменные колонны украшают пышнотелые девы, животные и божества. Этот зал обращен к храмовому бассейну на севере и святилищу на западе, где хранится символ Шивы (здесь Шива предстает в форме Камешвары (Kameshvara), Бога Желания) - лингам элемента земли, который является одним из пяти лингамов Тамил наду, представляющих элементы.
Легенда связывает лингам с историей о том, как супруга Шивы богиня Камакши ("имеющая глаза, полные желания"), игриво закрыла глаза Шивы, погружая мир во тьму. Видимо Камакши сделала это не ко времени, потому что другая легенда гласит, что когда Парвати так же шутя закрыла глаза Шивы, подойдя к нему сзади, с миром ничего плохого не случилось. У Шивы просто открылся третий глаз. Правда считается, что взгляд 3 глаза Шивы испепеляет, с другой стороны третий глаз называют глазом сокровенного знания или внутреннего видения, а с третьей - это место проекции аджна-чакры.
Шива расстроился, отругал Камакши и в наказание отправил ее лепить лингам из земли, что Kamakshi и сделала. Правда, закончив, она не могла сдвинуть лингам с места, хотя она обхватила лингам так крепко, что на нем отпечатались следы от ее грудей и браслетов.. Местные мифы сообщают про большое наводнение, которое вскоре пронеслось по Канчипураму и разрушило храмы, но не сдвинуло с места лингам, вылепленный Камашки. Во внутреннем дворе храма растет очень почитаемое дерево манго, потомок того дерева, под которым когда то поженились Шива и Камакши. Этот союз празднуется в течение фестиваля каждый апрель, и много пар всступают в брак тысячеколонном зале этого храма.
dedicated to our dear friend Virgie (imago2007) and the moments of grandeur caught through her eyes...be they as large as the Grand Canyon or as macro-small as a neighborhood snail!
thanks for your undying friendship and inspiration, dear V! and thanks for being you...always! *hugs*
Happy imagoism Thursday....HiT!
One of the inaugural runs of the Northwestern Pacific under new Operators after California Northern terminated their operations of the railroad.
The SP and NWP were favorites of my friend Jamie Miller, a young and talented photographer, whom lost his battle with cancer in 2023. Jamie, this one is for you buddy!
Pro-K64 9682-30
Dedicated to Veronika
Taken 31st July 2010
In the Greenhouse, Victoria Park Stafford
Used in the treatment of Malaria
The Basilica of Sacré Coeur de Montmartre (Sacred Heart of Montmartre), commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur is a Roman Catholic church and minor basilica in Paris, France, dedicated to the Sacred Heart of Jesus.
Sacré-Cœur Basilica is located at the summit of the butte of Montmartre. From the dome, two hundred meters above the Seine, it is possible to see all of Paris, and the countryside for fifty kilometres around, It is the second-most visited monument in Paris, after the Eiffel Tower. Sacré-Cœur Basilica has maintained a perpetual adoration of the Holy Eucharist since 1885.
The Basilica was first proposed by Felix Fournier, the Bishop of Nantes, on 4 September, 1870, following the defeat of France and the capture of Napoleon III at the Battle of Sedan, in the Franco-Prussian War, and six months before the Paris Commune. He blamed the defeat of France upon the "moral decline" of France since the Revolution, and proposed a new Paris church dedicated to the Sacred Heart of Christ.The site chosen was the butte of Montmartre, overlooking the whole city, and the traditional location of the martrydom of Saint Denis, the patron saint of Paris.
The basilica was designed by Paul Abadie, whose Neo-Byzantine-Romanesque plan was selected from among seventy-seven proposals. Construction began in 1875, and continued for forty years, under five successive architects. It was completed in 1914, but, because of World War I, it was not formally consecrated until 1919.
The site of the church was politically controversial, since Montmartre was also the site of beginning of the Paris Commune where, on March 18, 1871, Communard soldiers killed two French army generals and seized a park full of artillery. On the last day of the Commune, one of its leaders, the socialist and anarchist Eugène Varlin, was executed there. There was (and remains) a feeling of resentment on the French left against the church.
The plan to build a new Parisian church dedicated to the Sacred Heart of Jesus was first proposed on September 4, 1870, by Felix Fournier, the Bishop of Nantes, following the defeat of France and the capture of Emperor Napoleon III by the Prussians at the Battle of Sedan in the Franco-Prussian War. Until his death in 1877, Fournier was an active builder who completed the long-delayed restoration of Nantes Cathedral. He wrote that the defeat of France in 1870 was a divine punishment for the moral decline of the country since the French Revolution.
In January 1871, Bishop Fournier was joined by the philanthropist Alexandre Legentil, who was a follower of Frederic Ozanam, the founder of the Society of Saint Vincent de Paul. Legentil declared that France had been justly punished for its sins by the defeat of the French Army at Sedan and the imprisonment of the Pope in Italy by Italian nationalists. He wrote, "We recognize that we were guilty and justly punished. To make honourable amends for our sins, and to obtain the infinite mercy of the Sacred Heart of our Lord Jesus Christ and the pardon of our sins, as well as extraordinary aid which alone can delivery our sovereign Pontiff from captivity and reverse the misfortune of France, we promise to contribute to the erection in Paris of a sanctuary dedicated to the Sacred Heart of Jesus." The influence of Legentil led to a successful fundraising campaign based entirely on private contributions.
Montmarte was selected as the site of the new Basilica due to its prominent height and visibility from many parts of the city. Since the location included land belonging to the local government as well as private owners, the French parliament assisted in securing the site by declaring that the construction of the Basilica was in the national interest. In July 1873, the proposal was finally brought forward and approved in the National Assembly with the official statement that "it was necessary to efface by this work of expiation the crimes which have crowned our sorrows." The groundbreaking for the new church finally took place in 1875.
Apart from its physical attributes, Montmartre or the "Hill of the Martyrs" was also chosen for its association with the early Christian church. According to tradition, it was the place where the patron saint of Paris, Saint Denis of Paris, was beheaded by the Romans. His tomb became the site of the Basilica of Saint Denis, the traditional resting place for the Kings of France until the French Revolution.
In addition, Montmartre was the birthplace of the Society of Jesus, one of the largest and most influential religious orders in the history of the Catholic Church. In 1534, Ignatius of Loyola and a few of his followers made their vows in Saint-Pierre de Montmartre, one of the oldest churches in Paris. The church survived the Revolution although the Montmartre Abbey to which it belonged was destroyed.
A competition was held for the design of the Basilica and attracted seventy-seven proposals. Architect Paul Abadie was selected, and the cornerstone finally laid on June 16, 1875.
The early construction was delayed and complicated by unstable foundations. Eighty-three wells, each thirty meters deep, had to be dug under the site and filled with rock and concrete to serve as subterranean pillars supporting the Basilica.[8] Construction costs, estimated at 7 million francs drawn entirely from private donors, were expended before any above-ground structure became visible. A provisional chapel was consecrated on March 3, 1876, and pilgrimage quickly brought in additional funding.
Not long after the foundation was completed in 1884, Abadie died and was succeeded by five other architects who made extensive modifications: Honoré Daumet (1884–1886), Jean-Charles Laisné (1886–1891), Henri-Pierre-Marie Rauline (1891–1904), Lucien Magne (1904–1916), and Jean-Louis Hulot (1916–1924).
During construction, opponents of the Basilica were relentless in their effort to hinder its progress. In 1882, the walls of the church were barely above its foundations when the left-wing coalition led by Georges Clemenceau won the parliamentary election. Clemenceau immediately proposed halting the work, and the parliament blocked all further funding for the project. However, faced with enormous liabilities of twelve million francs from project cancellation, the government had to allow the construction to proceed.
In 1891, the interior of the Basilica was completed, dedicated and opened for public worship. Still, in 1897, Clemenceau made another attempt to block its completion in the parliament, but his motion was overwhelmingly defeated since the cancellation of the project would require repaying thirty million francs to eight million people who had contributed to its construction.
The dome of the church was completed in 1899, and the bell tower finished in 1912. The Basilica was completed in 1914 and formally dedicated in 1919 after World War 1.
Criticism of the church by leftist journalists and politicians for its alleged connection with the destruction of the Paris Commune continued from the late 19th century into the 20th and 21st centuries, even though the church had been proposed before the Paris Commune took place. In 1898, Emile Zola wrote sarcastically, "France is guilty. It must do penitence. Penitence for what? For the Revolution, for a century of free speech and science, and emancipated reason... for that they built this gigantic landmark that Paris can see from all of its streets, and cannot be seen without feeling misunderstood and injured."
Shortly after the completed Statue of Liberty was transported from France to the United States, opponents of Sacre-Coeur came up with a new strategy. They proposed installing a full-size copy of the Statue of Liberty on top of Montmartre, directly in front of the Basilica, which would entirely block the view of the church. This idea was eventually dropped as expensive and impractical.
A bomb was exploded inside the church in 1976. To make the government opposition to the church clear, the socialist prime minister Lionel Jospin in 2004 renamed the square in front of and below the church for Louise Michel, the prominent anarchist and participant in the Paris Commune. He expressed his wish that the basilica be demolished as a symbol of "obscurantism, bad taste and reactionism."
In 2021, to avoid celebrating the church's history in the same year as the 150th anniversary of the Paris Commune, leftist members of the French parliament blocked a measure to declare the church a national historic monument and postponed it until 2022.
The church is 85 meters long and thirty-five meters wide. It is composed of a large central rotunda, around which are placed a small nave, two transepts, and an advance-choir, which form a cross. The porch of the church has three bays, and is modelled after the porch of Périgueux Cathedral. The dominant feature is the immense elongated ovoid cupola, 83.33 meters high, surrounded by four smaller cupolas. At the north end is the campanile, or bell tower, 84 meters high, containing the "Savoyarde", the largest bell in France.
The overall style of the structure is a free interpretation of Romano-Byzantine architecture. This was an unusual architectural style at the time, and was in part a reaction against the neo-Baroque of the Palais Garnier opera house by Charles Garnier, and other buildings of the Napoleon III style. The construction was eventually handed on to a series of new architects, including Garnier himself, who was a counsellor to the architect Henri-Pierre Rauline between 1891 and 1904,
Some elements of the design, particularly the elongated domes and the structural forms of the windows on the south facade, are Neo-classical, and were added by the later architects Henri-Pierre Rauline and Lucien Magne.
The campanile, or bell tower, on the north front, houses the nineteen-ton Savoyarde bell (one of the world's heaviest), cast in 1895 in Annecy. It alludes to the attachment of Savoy to France in 1860.
The porch of the south façade, the main entrance, is loaded with sculpture combining religious and French national themes. It is topped with a statue representing the Sacred Heart of Christ. The arches of the façade are decorated with two equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both executed in bronze by Hippolyte Lefèbvre.
The white stone of Sacré-Cœur is travertine limestone of a type called Chateau-Landon, quarried in Souppes-sur-Loing, in Seine-et-Marne, France. The particular quality of this stone is that it is extremely hard with a fine grain, and exudes calcite on contact with rainwater, making it exceptionally white.
The nave is dominated by the very high dome, which symbolises the celestial world, resting upon a rectangular space,symbolising the terrestrial world. The two are joined by massive columns, which represent the passage between the two worlds.
The plan of the interior is a Greek cross, with the altar in the center, modelled after Byzantine churches. More traditional Latin features, the choir and the disambulatory, were added around the altar. The light in interior of the church is unusually dim, due to the height of the windows above the altar, and this contributes to the mystical effect. Other Byzantine features in the interior include the designs of the tile floor and the glasswork.
The mosaic over the choir, entitled The Triumph of the Sacred Heart of Jesus, is the largest and most important work of art in the church. It was created by Luc-Olivier Merson, H. M. Magne and R. Martin, and was dedicated in 1923. The mosaic is composed of 25,000 enamelled and gilded pieces of ceramic, and covers 475 square meters, making it one of the largest mosaics in the world.
The central figure is Jesus Christ, dressed in white, with open arms offering his heart, decorated with gold. He is joined by his mother, the Virgin Mary, and by the Archangel Michael, the protector of the church and of France. At his feet, kneeling, is Saint Joan of Arc offering him a crown. A figure of Pope Leo XIII offers a globe to Christ, symbolising the world.
To the right of Christ is a scene titled "The Homage of France to the Sacred Heart;" a group of popes and cardinals present a model of the basilica to Christ. On his left is "The Homage of the Catholic Church to the Sacred Heart": where people in the costumes of the five continents pay their homage to the Sacred Heart. At the base of the mosaic is a Latin inscription, stating that the basilica is a gift from France. "To the Sacred Heart of Jesus, France fervent, penitent and grateful." The word "grateful" was added after World War I.
At the top of the mosaic is another procession, called "the Saints of France and Saints of the Universal Church". In all of the mosaic, the artists adapted elements of Byzantine art in the organization of the figures, the altered perspective, and the use of polychrome colors enhanced with silver and gold.
The basilica complex also includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which spreads out to the south of the basilica.
The use of cameras and video recorders is forbidden inside the basilica.
The interior of the basilica is surrounded by a series of chapels, mostly offered by professional groups or religious orders. The chapels are decreed with sculpture, relief sculpture, and tapestries, often relating to the professions of the donors. For example, the Chapel of the Order of Notre Dame of the Sea is decorated with tapestries illustrating Christ walking on the water and the Miraculous Catch of fish.
Beginning to the right of the main entrance, they are:
The Chapel of the Archangel Michael, or Chapel of the Armies
The Chapel of Saint Louis (Louis IX) or the Attorneys
The Tribune of Commerce and Industry (end of the East transept)
The Chapel of Marguerite-Marie Alacoque
the Chapel of Notre Dame of the Sea
The apse itself is ringed by an additional seven chapels.
The Chapel of Saint Francis of Assisi
The Chapel of Saint John the Baptist, offered by Canada and the Knights of Malta
The Chapel of Saint Joseph
The Chapel of the Virgin Mary
The Chapel of Saint Luke the Evangelist, Comé and Damien, or the Doctors
The Chapel of Ignace de Loyola
Th Chapel of Saint Ursula of Cologne
The Chapel of Saint Vincent de Paul
The Tribune of Agriculture (at the end of the west transept)
The chapel of the Queens of France
The crypt below Sacré-Cœur is different from traditional crypts, which are usually underground. At Sacré-Cœur, the crypt has stained glass windows, thanks to a "saut-de-loup", a trench about four meters wide around it, which allows light to enter through windows and oculi of the crypt wall. In the centre of the crypt is the chapel of the Pieta, whose central element is a monument statue of the Virgin Mary at the foot of the cross, at the altar. The statue was made by Jules Coutain in 1895. A series of seven chapels is placed on the east side and seven on the west side of crypt, corresponding to the chapels on the level above. The crypt contains the tombs of important figures in the creation of the basilica, including Cardinals Guibert and Richard.
Art and decoration
Decoration covers the walls, the floor, and the architecture. Much of the decoration is in a distinctly neo-Byzantine style, with intricate patterns, and abundant color.
The basilica contains a large and very fine pipe organ built by Aristide Cavaillé-Coll, the most celebrated organ builder in Paris in the 19th century. His other organs included those of Saint-Denis Basilica (1841), Sainte-Clotilde Basilica (1859), Saint-Sulpice church and Notre Dame de Paris (1868). The organ is composed of 109 ranks and 78 speaking stops spread across four 61-note manuals and the 32-note pedalboard (unusual before the start of the 20th century; the standard of the day was 56 and 30), and has three expressive divisions (also unusual for the time, even in large organs).
The organ was originally built in 1898 for the Biarritz chateau of the Baron Albert de L'Espée. It was the last instrument built by Cavaillé-Coll. The organ was ahead of its time, containing multiple expressive divisions and giving the performer considerable advantages over other even larger instruments of the day. It was almost identical (tonal characteristics, layout, and casework) to the instrument in Sheffield's Albert Hall, which was destroyed by fire in 1937. However, when installed in Paris in 1905 by Cavaillé-Coll's successor and son-in-law, Charles Mutin, a much plainer case was substituted for the original ornate case.
The organ was recognised as a national landmark in 1981. It has undergone several restorations. The most recent, begun in 1985, replaced only the most severely damaged pneumatic parts, but others have deteriorated and some are no longer usable. The pipes are now covered with a thick layer of dust which impacts the pitch and timbre. Both the organ and the church itself have been recognized as national landmarks.
Bells
The belfry of the Basilica of the Sacred Heart of Montmartre houses five bells. The four small bells named from largest to smallest are Félicité, Louise, Nicole and Elisabeth, which were the original bells of the church of Saint-Roch and moved to the basilica in 1969.
Below the four bells is a huge bourdon called "The Savoyarde", the biggest bell in France. The full name of the bourdon is “Françoise Marguerite of the Sacred Heart of Jesus". It was cast on May 13, 1891, by the Paccard foundry (Dynasty of Georges, Hippolyte-Francisque and Victor or "G & F") in Annecy-le-Vieux.
The Savoyarde itself only rings for major religious holidays, especially on the occasion of Easter, Pentecost, Ascension, Christmas, Assumption and All Saints. One exception was on the night of August 24, 1944 when La Nueve – 9th Company, Régiment de marche du Tchad of the French 2nd Armored Division – broke into Paris and arrived at the Hôtel de Ville during the Liberation of Paris from Nazi German occupation, becoming the first French Army troops to return to the city since 1940. The bell then rang when Pierre Schaeffer broadcast the news on a Radiodiffusion Nationale broadcast and then, after a playing of "La Marsellaise", asked any priests who were listening to ring their churches' bells. The Savoyarde can be heard from 10 km away.
This bell is the fifth largest in Europe, ranking behind the Petersglocke of Cologne (Germany), the Olympic Bell of London, Maria Dolens of Rovereto (Italy), and the Pummerin of Vienna (Austria). It weighs 18,835 kg, measures 3,03 m of diameter for 9.60 m of outer circumference, with a base thickness of 22 cm and a leaf of 850 kg. With its accessories, its official weight reaches 19,685 kg. It was offered by the four dioceses of Savoy. It was transported to the basilica on October 16, 1895, pulled by a team of 28 horses. In the late 1990s, a crack was noticed in the bell.
Role in Catholicism
The church is dedicated to the Sacred Heart of Jesus, which was an increasingly popular devotion after the visions of Saint Margaret Mary Alacoque (1647–1690) in Paray-le-Monial. In response to requests from French bishops, Pope Pius IX promulgated the feast of the Sacred Heart in 1856. The basilica itself was consecrated on 16 October 1919.
Since 1885 (before construction had been completed) the Blessed Sacrament (Christ's body, consecrated during the Mass) has been continually on display in a monstrance above the high altar. Perpetual adoration of the Blessed Sacrament has continued uninterrupted in the basilica since 1885.
Christian de Chergé, one of the killed monks of Tibherine, was chaplain at the basilica in the years 1964-1969.
Tourists and others are asked to dress appropriately when visiting the basilica and to observe silence as much as possible, so as not to disturb persons who have come from around the world to pray in this place of pilgrimage, especially since the Blessed Sacrament is displayed. Photos are not allowed to be taken in the basilica.
Access
The basilica is accessible by bus or metro line 2 at Anvers station. Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and to 18:00 in the winter.
Copy in Martinique
A much smaller version of the basilica, Sacré-Cœur de la Balata, is located north of Fort-de-France, Martinique, on N3, the main inland road. Built for the refugees driven from their homes by the eruption of Mount Pelée, it was dedicated in 1915.
The Beaumont-Hamel Newfoundland Memorial is a memorial site in France dedicated to the commemoration of Dominion of Newfoundland forces members who were killed during World War I. The 74-acre (300,000 m2) preserved battlefield park encompasses the grounds over which the Newfoundland Regiment made their unsuccessful attack on 1 July 1916 during the first day of the Battle of the Somme.
The Battle of the Somme was the regiment's first major engagement, and during an assault that lasted approximately 30 minutes the regiment was all but wiped out. Purchased in 1921 by the people of Newfoundland, the memorial site is the largest battalion memorial on the Western Front, and the largest area of the Somme battlefield that has been preserved. Along with preserved trench lines, there are a number of memorials and cemeteries contained within the site.
Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.
Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.
The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.
The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.
The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.
Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.
In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.
The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.
By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.
John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.
By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.
Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.
In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.
Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.
By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.
In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.
In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.
In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.
Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.
Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.
More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.
Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.
Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.
Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.
From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.
The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.
The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.
Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.
Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.
In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.
The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.
The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".
West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.
The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.
At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.
Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.
The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.
The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."
The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.
In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.
According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.
Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.
The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.
The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".
The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.
The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.
Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.
In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.
The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.
The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.
The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.
The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.
Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.
Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.
The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.
The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.
The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.
Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.
The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.
The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.
The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.
The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.
The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.
Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.
The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.
Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".
The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.
The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.
Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.
Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.
The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.
In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.
The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.
On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.
In 2010 the official clock-winder retired and was replaced by an electric mechanism.
The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.
The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.
Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.
The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.
There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.
The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.
In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.
The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.
The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.
The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.
The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.
Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.
Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.
To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.
To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.
The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.
The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.
The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.
An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.
The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.
September 2011.
All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…
In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.
On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders.
The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.
Dans toute la ville, les publicités d’Arirang (« Grande représentation gymnastique et artistique de masse », « Bienvenue à Pyongyang » etc.) mettent le profane en garde …Entre août et octobre, a lieu l’une des plus grandes et impressionnantes représentations au monde. Le ton est donné : pas même la cérémonie des Jeux de Pékin ne peut rivaliser avec les mass games organisés par la République Démocratique Populaire de Corée (RDPC). Le spectacle se tient plusieurs fois par semaine et accueille des touristes du monde entier, y compris des Etats-Unis, dans l’un des pays les plus isolés et méprisés sur terre. Les biens nommés mass games (« mouvements de masse») sont conçus pour mettre en avant les dynamiques de groupe plutôt que les performances individuelles comme emblème suprême du communisme. Préparés par des centaines de milliers d’artistes tout au long de l’année, après les cours pour les plus jeunes d’entre eux, les jeux sont entièrement dédiés au leader de la Corée du Nord, Kim Jong Il, et feu son père Kim Il Sung, considéré comme l’ « Eternel président » et « soleil du 21ème siècle »…
Aux environs du Stade géant May Day de Pyongyang, deux filles courent pour participer au spectacle de Arirang. Elles sont déjà en costume de gymnastique, tout comme quelque 100 000 autres qui participent à la représentation. Tous viennent pour honorer leur autoproclamé « cher leader » Kim Jong Il, après un très difficile et éprouvant entraînement, depuis leur plus jeune âge. Pourtant, cela fait plusieurs années que Kim Jong Il ne s’est pas montré, formellement pour des raisons professionnelles. Mais des officiels admettent les assertions des médias occidentaux sur sa maladie. Quoi qu’il en soit, Kim Jong Il ou pas, les jeux de masse ont lieu chaque année à Pyongyang, comme moyen pour le régime de montrer au monde entier la puissance et bonne santé du pays. Pour atteindre ce seul but, pas moins de 100 000 personnes sont engagées dans une chorégraphie de danses et gymnastiques synchronisées. De nombreux symboles sont affichés par des milliers d’athlètes entraînés, qu’il s’agisse d’adultes ou même d’enfants. Main sur le cœur, les jeunes élèves chantent en chœur « Nous sommes les enfants les plus heureux du monde », l’une des chansons de propagande les plus connues en Corée du Nord. De nombreux danseurs font des mouvements avec des rubans ou avec des fleurs colorées appelées « kimjonglias », du nom du leader Kim Jong Il. Tout le long du spectacle, un orchestre joue une musique solennelle.
À l’arrière-plan, quelque 20 000 jeunes coréens sont assis sur les gradins, faisant face aux spectateurs. Ils retournent des cartes colorées à une grande vitesse pour former une fresque d’images animées et détaillées, changeant de l’une à l’autre. Chaque fois qu’ils tournent la page pour créer une nouvelle illustration, ils crient. Cela crée une atmosphère impressionnante, le cri étant mêlé avec le bruit de milliers de pages tournées au même moment. Les chiffres sont stupéfiants : pour composer ces images, 2000 enfants sont nécessaires pour faire un seul soldat, 20 000 pour un drapeau de la Corée du Nord. Cachant une réalité bien plus dure, les panneaux représentent Pyongyang éclairée la nuit, des champs de blé prêt à être récolté, des scientifiques au travail, des atomes comme symboles de la bombe nucléaire et d’autres pour la réunification des deux Corées. L’un des mythes de Corée du Nord (ou histoire selon eux) est relaté au moyen d’une image gigantesque faite par des milliers d’enfants. Elle représente les deux pistolets que Kim Il Sung aurait utilisés quand il a fondé l’armée de guérilla populaire anti-japonaise en 1932. Lorsque les deux pistolets apparaissent, le public applaudit bruyamment. Parmi eux, de nombreux soldats assistent au spectacle comme récompense ultime après des années de bons et loyaux services. Les milliers et milliers de garçons et de filles participant créent un mouvement de masse géant dans le stade, qui laisse le public ébahi. Ces artistes talentueux sont coutumiers de ce type de représentation : en Corée du Nord ils doivent danser, chanter, sauter et virevolter autant de fois qu’il y a de célébrations, toujours à la gloire de leurs chefs.
Le spectacle continue de cette façon pendant une heure. Ensuite, les milliers de personnes présentes disparaissent dans les rues sombres et silencieuses de Pyongyang, ce qui contraste avec le déluge de lumières et de musique dans le stade. En l’espace de quelques heures, cela nous donne un étrange sentiment, entre le réel et l’irréel, d’un autre univers à la fois terrifiant et fantastique.
© Eric Lafforgue
Dedicated to All Fisherman, especially Mamede
When you go out with a fisherman, in hot sun light, and nothing to do, waiting for him to catch his BIG fish, a photographer will shoot anything that was remotely considered as interesting. When I developed this, I really liked it. Only a photographer would spot this and make it interesting!
The blue and white are the reflections of the sky and clouds and the green and brown are the trees.
For any fisherman, he will know what is that orange thing, and of my 30 shots of this object, this was the only one that has two reflections of the orange thing.
ISO-400, f5.3, 1/950 sec, maximum zoom (equivalent to 800mm)
Adjustment on sharpness, denoising and saturation only.
Dedicated to John Davies who would have loved this moment in history seeing Air Canada's newest airplane at YOW
E sereno weekend ai miei cari amici di Flickr……
And happy weekend to you, my dear Flickrfriends….
Enjoy this music and video www.youtube.com/watch?v=-eaaR1Ay5P0
... is what i need at the moment. It is still the time of more or less darkness for me... so everything what means light in any way is welcome... :=))) have a great week ahead...
my heart is heavy of learning of an elite angelic 1's passing...
many blessings on ur journey..
^i^
www.flickr.com/groups/flickrelite/
"For me, the essence of a medicine man's life is to be humble, to have great patience, to be close to the Earth, to live as simply as possible, and to never stop learning." --Archie Fir Lame Deer, LAKOTA
The Medicine people focus on their Being, not their doing. After all, we are human beings not human doings. The Medicine people are very patient and consciously trying to live a life of humility. Medicine people are servant leaders. Their main purpose is to serve the needs of others. By this service attitude, they become the leaders people listen to and the leaders the people want to follow. The Medicine people say everyone is their teacher. Maybe we should try to live this way ourselves; humble, patient, honoring the Earth and listening to our teachers. Grandfather, today, let me know all people are my teachers and I am the student.
Dedicated to Wans2pics.... Went to shoot a 5K at Ypao but was there an hour before the event. So this is all I could do to pass the time. =)