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Dedicated to Heather Buckley who luvs her some doll babies. More Toy Fair 2013 Coverage at idlehands1.blogspot.com !
Dedicated this video & song to my Beautiful Wife - i Adore youDedicated this video & song to my Beautiful Wife - i Adore you
The Netherlands has an ordered and clearly laid out road system. Cyclists, for the most part, have segregated routes along the sides of roads for motorised traffic.
It been a while since I cycled in the dark. Things seem faster, the air cleaner and generally far more thrilling!
DAY 1 of the FINALE to the 2021 Motorsport Season and the end of the Season Brings us once again Back to Brands Hatch for a weekend Dedicated to the Enduro KA Series with Many Ford KA'S Ready to do Battle on the Track along with other Support Races such as Champion of Brands MSVT Track Day Trophy and MSV Super Cup Championship to name Just a Few.
With a Full Day of Motorsport on the Circuit Each Driver was Getting their Car Ready and making sure they had a Really Hardy Breakfast Before Getting into their Cars to Begin their Respective Qualifying Sessions for the Day.
Lets Get to it and See what The Last Event of the Motorsport Season Brings and who has Taken the First Pole of the Weekend.
Champion Of Brands-(Qualifying)
First Up onto the Circuit was The Champion of Brands and these Cars are Formula Ford Based and can be Very Quick in a Straight Line and through the Corner. With Cars such as the Van Diemen JL13 and the Ray GR16 Thease Cars and Drivers know how to Really Push Hard and Get Superb Results.
Lets Find Out who Took Pole and By How Much
In First Place Taking the First Pole Position of the Weekend was (Morgan Quinn) in his Formula Ford 1600 Kent with a Best Lap Time of 50.561 and a Top Speed of 86.00mph. Brilliant Work there Morgan Fantastic Lap to Start the Weekend of with a Bang.
In Second Place was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.594 and a Top Speed of 85.95mph. Amazing Drive there Lucas Fantastic Work and a Very Good Spot on the Front Row for Race 1.
In Third Place was (Johnny Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.250 and a Top Speed of 84.85mph. Great Drive there Johnny Fantastic Car Control and a Brilliant Lap to Complete The Top Three.
A Really Great First Qualifying Session of the Day with the Likes of Morgan Lucas and Johnny all taking the Top Three Spots in Qualifying but will anyone Else in the Field be able to Beat them off the Line into the First Corner at Paddock Hill Bend?
Lets Find Out
Champion Of Brands-(Race 1 Results)
After a Thrilling Qualifying Session which saw the likes of Morgan Quinn take Pole Position from Second Place Lucas Romanek with Johnny Cochran in Third Position in a Very Close Battle at the Top, it was Now Time to see which of thease Top Three Drivers could Defend their Positions thought the Race and who would be Brave Enough to make a Challenge for the Podium.
In First Place Taking the Victory was (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.711 and an Average Speed of 84.44mph. Congratulations Lucas a Really Well Deserved Win Under Immense Pressure Thought The Entire Race from Morgan Quinn. Brilliant Drive.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.564 and an Average Speed of 84.42mph. Super Job out there Morgan Only 0.131 Seconds Behind Lucas and Some Really Good Defending and Battling From both of You Thought the Race. Fantastic Drive and Well Deserved.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.095 and an Average Speed of 83.99mph. Great Work there Benjamin Keeping Hold of that P3 Position and Doing some Incredible work to Keep that Car on the Tarmac in Conditions that were Already Quite Dark.
A Really Thrilling Race to Open up the Weekend with the Likes of Lucas, Morgan and Benjamin all Taking Superb Victories in Race 1 as Well As Proving Thrilling Battles at The Top End of the Field.
Really Well Done to (Morgan Quinn) who also Took the Fastest Lap of the Race an Incredible (50.564) Second Lap Around The Famous Indy Circuit. Amazing Driving from Morgan.
A Big Congratulations to All of the other Drivers who also Took Part Your Passion and Dedication is Immense.
With One Last Race to Go will the likes of Lucas Romanek be able to Make it 2 out of 2 Wins for Champion of Brands or will the likes of both Benjamin and Morgan try to take that Last Victory Away from Him?
Lets Find Out
Champion Of Brands-(Race 2 Results FINAL)
In First Place taking the Last Victory for Champion of Brands Is (Lucas Romanek) in his Van Diemen JL13 with a Best Lap Time of 50.825 and an Average Speed of 83.45mph. Congratulations Once Again Lucas Two out of Two Wins and no Doubt a Very Happy Team and Family Awaiting You Before and After the Podium Fantastic Driving All Weekend.
In Second Place was (Morgan Quinn) in his FF 1600 Kent with a Best Lap Time of 50.754 and an Average Speed of 82.99mph. Very Well Driven there Morgan Great to See Such an Intense Battle Between you and Lucas for Victory in Conditions that were Almost Impossible to see anything in. Incredible Dedication and Drive.
In Third Place was (Benjamin Cochran) in his Formula Ford LA10 with a Best Lap Time of 51.862 and an Average Speed of 81.70mph. Nice Work there Benjamin Fantastic Driving in both Qualifying and The Two Races with a Brilliant P3 Finnish to Round off The Weekend for Champion of Brands.
What a Fantastic Day it has been for Champion of Brands seeing some Incredible Racing Action and a huge amount of Competitiveness from the Likes of Lucas Morgan and Benjamin who All Drove Fantastically and Put on One Hell of a Good Show.
A Huge Congratulations to both Lucas and Morgan as Well Who were in a Class of their Own at The Front of the Field Racing in Deteriorating Lighting Conditions with no Front Headlights on their Formula Fords to Light their Way around The Indy Circuit they Both Drove Insanely Well.
MSV Super Cup-(Qualifying)
Next Up onto the Circuit for the Day was the MSV Super Cup Championship and with a Wide Range and Variety of Racing Cars on Display it will be Very Interesting to see how many different Battles will Develop thought Both Qualifying and The Race.
From BMW E36's to Seat Super Copa's and even a Peugeot 205 GTI This Series has a Huge Amount of Variety Racing Within it.
Lets Take a Look at Qualifying and See Who Came Where
In First Place taking Pole Position was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.257 and a Top Speed of 82.21mph. Great Work there Darren Really Pushing the Car Hard and Having to Extract Everything from both Car and Driver to take P1. Super Job.
In Second Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.621 and a Top Speed of 82.64mph. Really Well Driven Gentlemen Very Close to Darren looking Forward to a Competitive First Race Between you All.
In Third Place was (Gary Hufford) in his BMW E46 M3 with a Best Lap Time of 52.723 and a Top Speed of 82.48mph. Nice Work there Gary Keeping that Fast and Capable BMW on the Track Looked to be no Easy Task but what a Fantastic Position to Start the First Race in.
Another Really Close Qualifying Session Between the likes of Darren Goes and the Pairing of A Brandley and D Bradley at the Top with Third Place Gary Hufford Following Closely Behind them.
With Their Only Race of the Day Coming Up Next will Daren Be able to Fend off the Charging Pair of A Bradley and D Bradley to take Home Victory or Will the Likes of Gary Hufford Surprise them All and Take the Victory for Himself?
Let's Find Out!
MSV Super Cup-(Race 1 Results FINAL)
In First Place Taking Victory was (Darren Goes) in his Seat Cup Racer with a Best Lap Time of 52.891 and an Average Speed of 77.05mph. Congratulations Darren A Well Deserved Victory Under Immense Pressure the Entire Time and No Doubt a Very Proud and Happy Family Waiting for Him Back in the Paddock.
In Second Place was the Pairing of (Brytchta/Smith) in their Seat Super Copa with a Best Lap Time of 52.594 and an Average Speed of 77.04mph. Great Drive from Both of You and Keeping Right on the Heels of Darren All The Time as well as Putting up a Huge Fight for First Place. Superb Drive and a Well Deserved P2 Finnish.
In Third Place was the Pairing of (A Bradley and D Bradley) in their BMW E36 with a Best Lap Time of 52.680 and an Average Speed of 76.93mph. Great Work to the Both of You Putting Pressure on Second Place Brytchta and Smith.
What an Intense Finnish to the Super Cup Championship with the Likes of Darren Goes Brytchta/Smith and A Bradley and D Bradley All Taking Superb Podium Finishes and no Doubt Going Back Home to a Very Happy and Proud Family of Great People.
Congratulations to All of the Other Drivers who were Also Out there Giving it their All You Guys are What Brings to Sprit of Every Racing Series to Life. Keep Working Hard and I'm Sure your Time Will Come.
MSVT Trackday Championship-(Qualifying)
Next Up was the Track Day Championship and with Another Massive Grid of 32 Cars from All Different Makes such as BMW Volkswagen Renault Ford and Caterham it was Going to be a Dynamic Qualifying Session with Many Different Cars and Drivers All Battling for Positions thought the Qualifying Session.
Lets Find Out who Came Out on Top and Who will be Starting on the Front Row for what Promises to be a Very Exciting and Close Race Later on.
In First Place taking the Victory and The Fastest Lap was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.419 and a Top Speed of 79.90mph. Congratulations Scott a Brilliant Pole Lap and Fantastic Car Control thought Every Corner.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.540 and an Average Speed of 79.73mph. Awesome Drive there from Chris Keeping up at The Front with Scott and Trading Fastest Laps thought the Qualifying Session. I Think both of them are going to put on a Brilliant Display of Racing Later.
In Third Place was The Pairing of (Keen and Roberts) in their Honda Civic Type R with a Best Lap Time of 55.231 and a Top Speed of 78.73mph. Amazing Drive from Thease Two Both Pushing Hard and Securing a Brilliant P3 Position for The Race. Great Job.
What a Qualifying Session with the Likes of Scott Parkin and Chris Payne Both Looking to be Very Competitive and Ready to Take Each other Head On Come the Race. But Will the Pairing of Keen and Roberts Come in and Also do Battle with Them?
Lets Find Out!
MSVT Trackday Championship-(Race 1 Results FINAL)
In First Place taking the Victory was (Scott Parkin) in his VW Golf TDI with a Best Lap Time of 54.706 and an Average Speed of 70.47mph. Congratulations Scott what a Performance and a Really Dominant Display of Driving to take Home a Wonderful Victory.
In Second Place was (Chris Payne) in his Caterham Supersport with a Best Lap Time of 54.397 and an Average Speed of 70.35mph. Amazing Drive there Chris Really Working Hard to Keep that 2nd Position while Also Fighting Hard to take 1st away from Scott at the front during some Laps.
In Third Place was (John Lyne) in his BMW E36 328i with a Best Lap Time of 55.309 and an Average Speed of 68.87mph. Congratulations John P3 with a Very Clean and Perfectly Controlled Drive thought, Its so Great to See a New Face on the Podium and Taking Victory. His Family and Close Friends Will be Very Proud of Him Indeed.
Another Incredible Race Today with the Likes of Scott Chris and John All Taking Home Superb Victories and no Doubt some Fantastic Memories from the Days Events too.
A Big Congratulations to both the Pairing of Keen and Roberts too who also put in a Monstrous Qualifying Lap to Land P3 on the Gird. Finishing the Race in 8th is not too Bad but I'm sure they have a lot of Work to-do Back at the Workshop and Will Come Back Next Year with an even more Competitive Honda Ready to Go.
Finally Congratulations to the Many other Drivers who also Took Part in this Race You All Put in a Tone of Hard Work and Dedication and I'm Sure that Over Time We Will See Some of You also on the Podium Just like John Lyne Today.
MSVT Trackday Trophy-(Qualifying)
Now it was Time for The Penultimate Qualifying and Race of the Day for the Track Day Trophy. Just like with the Previous Track Day Championship Many of the Same cars that Competed Before Also Entered This Race Giving Some Drivers a Second change to Show their Skills and Talents on the Race Track.
Lets take a Look at Qualifying and See Who will be on Pole This Time.
In First Place Taking Pole Position and The Fastest Lap was The Pairing of (R. Parkin and S. Parkin) in their VW Golf with a Best Lap Time of 53.795 and a Top Speed of 80.83mph. Incredible Work by both of the Parkin Pair as Scott Parkin Previously Won in Super Cup and Now he takes His Second Pole Position of the Day! Brilliant Driving.
In Second Place was (Chris Kirby) in his Caterham 1.6 Super Sport with a Best Lap Time of 53.863 and a Top Speed of 80.73mph. Brilliant Driving there Chris Keeping the Two Parkins on their Toes and Almost Taking Away Pole Position from them by Just 0.068 at The Checkered Flag.
In Third Place was the Pair of (Palk and Pottinger) in their Reno Clio with a Best Lap Time of 54.757 and a Top Speed of 79.41mph. Very Well Done both Palk and Pottinger on a Well Deserved and Defended P3 Finish by Less than a Second to Start on the Second Row for The Race.
A Super Fast and Really Exciting Qualifying Session Once Again with the Pairing of R. Parkin and S. Parkin Taking Pole Position Followed Closely by Chris Kirby in Second Place and Finally The Pairing of Palk and Pottinger in Third Place.
With The Race Just Around the Corner Will it be the Pairing of R Parkin and Scott Parkin Taking Victory Once More or Will a New Challenger Appear to take the Fight right to the Front of the Field?
MSVT Trackday Trophy-(Race 1 Results FINAL)
In First Place Taking the Victory is (R.Parkin and S.Parkin) in their VW Golf with a Best Lap Time of 54.046 and an Average Speed of 74.44mph. What a Dominant Display of Driving from thease Two Drivers in a Class of their Own they Have Managed to Win in Both Trackday Championship and Trackday Trophy. Brilliant Driving Well Deserved.
In Second Place was (John Lyne) in his BMW E36 328 with a Best Lap Time of 55.415 and an Average Speed of 73.09mph. Congratulations Once Again John P2 Finish and a Lot of Smiles and Congratulations from the Family I'm sure when you Return to the Paddock. Great Driving All Weekend.
In Third Place was (Stewart Donavan) in his Toyota Celica with a Best Lap Time of 55.083 and an Average Speed of 73.08mph. Congratulations Stewart P3 and Another New Face on the Podium and a Brilliant Looking Celica too. Fantastic Driving Great Job.
What a Brilliant Race from the Trackday Trophy with the Likes of Scott Parkin and R Parkin Taking the Spoils on P1 Followed Closely by John Lyne in P2 and Finally Stewart Donavan in P3.
A Big Congratulations Once Again to All of the other Drivers who took Part and Fought their way Through the Field to Finnish at The Checkered Flag. Keep Racing and Keep Pushing.
Enduro KA -(Qualifying)
After a Long Days Racing and with Night Falling Fast The Headlights of The Enduro KA'S Began to Illuminate the Indy Circuit.
Every Part of the Track was a Wash with Darkness and The Only Thing Illuminating the Way for Each Driver was The Bright Headlights and LED'S Fitted to Each Car with some Teams and Driver Trying their Luck on the KA'S Standard Headlights to Brighten their Way to Victory.
A Silent Hum Came From the Engines as they Raced Around the Indy Circuit with Each Driver Pushing Hard to Set the Fastest Time Possible.
The Tension in the Air was Electrifying as Drivers Danced their Cars Through Traffic and Had Small Battles with One Another Trying to see what their Opponents Tactics were and How Brave each of Them Dare Go in Terms of Pace.
It Wasn't Long before Each Driver Began to Put their Right Foot Hard Down and Push their
73BHP KA To its Limits Trying Desperately to Grab Hold of Pole Position Ahead of Sundays Intense 8 Hour 500 Minute Race.
After a Really Hectic Day of Both Qualifying and Racing Lets Find Out Who Took The Last Pole of Today and Who Will be Starting on The Front Row for Tomorrow's 8 Hour Endurance Race.
In First Place Taking the Victory and pole Position was Team (IP Racings) (Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) in their Ford KA with a Best Lap Time of 1:02.845 and a Top Speed of 69.19mph. Congratulations IP Racing Fantastic Work and a Super Start to the Endurance Race at The Very Front of The Grid.
In Second Place Following Closely Behind by Just 0.261 Seconds was Team (JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in their Ford KA with a Best Lap Time of 1:03.106 and a Top Speed of 68.90mph. Superb Job there JTR Fantastic Effort and Really Good Pace to Gain P2 on the Grid for Tomorrow.
In Third Place was Team (Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in their Ford KA with a Best Lap Time of 1:03.110 and a Top Speed of 68.90mph. Great Work Octane Junkies Pushing Hard and Giving it Everything for P3.
After an Intense Qualifying Session the Likes of
Team IP Racings
(Adam Blair / Scott Parkin / Oliver Wilmot / Mark Witherington) Start the Endurance Race in First Place with
(JTR) Elliot Mason / Nick Tandy / David Mason / James Rhodes in Second Place Followed By
(Octane Junkies) (Adam Smith / Martyn Smith / Bazza Ward) in Third Place with the Top Three Very Closely Matched on Lap Times Thought Qualifying.
With Tomorrows Endurance Race being 8 Hours and The use of Driver Changes after 2 Hours in a Team with Four Drivers as Well as Pit Stops and a Whole Field of 45 Cars and Drivers Will the Likes of Team IP Racing Be able to Hold Out and Take Victory After 8 Gruelling Hours of Hard Racing.
Or Will JTR or Octane Junkies Try and Take that Thunder Away From Them? and Can Anyone Else Have a Go at Taking The Victory?
Only Time Will Tell!
See You All On Sunday.........!
Information On Race Results Found on TSL Timing Solutions
This elaborate piece of 8” hoop art is a detailed portrait of artist Frida Kahlo, as inspired by Kahlo’s 1937 painting “Self-Portrait (Dedicated to Leon Trotsky).”
Please visit my Etsy shop for more pictures: www.snapdragonoriginals.etsy.com
I drew the image free-hand (it is not traced), and painstakingly hand-embroidered Frida’s face on soft brown Ultrasuede. Her hair is done up in a beaded twist, intertwined with ribbon and a pink rose. I created her yellow shawl from recycled fabric and added the gold decorative ribbon and decorative gold beads. She is wearing a pink skirt, edged in lace, and she’s holding a bouquet of flowers made from rose beads and leaf beads. She has on a silver and garnet necklace and a small metal earing. I used a piece of white ribbon as the page of paper she holds in her hands—a dedication to Trotsky—and though I couldn’t reproduce the full text, I did include the dedication and signature. I added the lavender sequins one at a time to cover the background and created curtains out of recycled fabric that hang outside the wooden embroidery hoop (my hand-stitched signature is hidden under one of the curtains). I had a lot of fun thinking of creative ways to mimic the beauty and detail of this portrait.
Frida had a brief romantic relationship with exiled Russian leader Leon Trotsky when he and his wife stayed in Kahlo and Rivera’s home. According to Hayden Herrera, Frida gave Trotsky the self-portrait on November 7, 1937, which was his birthday and the anniversary of the Russian Revolution. Herrera describes it as “one of her most seductive self-portraits … No doubt she wanted to keep herself in the forefront of her former lover’s mind and heart” (Herrera 58).
Interested in other hoop art or folk art dolls? How about a Virgin of Guadalupe, mermaid, or Frida Kahlo doll? Please visit my shop at SnapdragonOriginals.etsy.com
The Corniche, Beirut
Lebanon
August 2010
With the hope this peaceful and lovely atmosphere may last long and uninterrupted.
Mukteshvara Temple (IAST: Mukteśvara; also spelt Mukteswar) is a 10th-century Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, India. The temple dates back to 950–975 CE and is a monument of importance in the study of the development of Hindu temples in Odisha. The stylistic development the Mukteswar marks the culmination of all earlier developments, and initiates a period of experiment which continues for an entire century, as seen in such temples as the Rajarani Temple and Lingaraj temple, both located in Bhubaneswar. It is one of the prominent tourist attractions of the city.
HISTORY
The Mukteshvara Temple is found to be the earliest work from the Somavamshi period. Most scholars believe the temple is the successor to Parashurameshvara Temple and built earlier to the Brahmeswara Temple (1060 CE). Percy Brown puts the date of construction of the temple to 950 CE. The presence of a torana, which is not part of any other temple in the region, makes this temple unique and some of the representations indicate the builders were starters of a new culture. K.C. Panigrahi places the temple to be built during 966 CE and postulates that the Somavamshi king Yayati I built the temple. He also associates the legend of Kirtivassa to this temple, but the postulation is not accepted as Kirtivasa is associated with Lingaraja, though both were built at the same time for the same deity, Shiva. There is no historic evidence to conclude that Yayati I built the temple.
ARCHITECTURE
This architecture is one of the basic reasons why Mukteshvara Temple is also known as the "Gem of Odisha architecture". The temple faces west and is constructed in a lower basement amidst a group of temples. The pyramidal roof to the jagamohana present in the temple was the first of its kind over the conventional two tier structure. The temple is a small one compared to other larger temples in Bhubaneswar. The temples is enclosed within an octagonal compound wall with elaborate carvings on it. It is believed that the experiment of newer pattern in the temple showed a mature phase compared to its predecessors and culminated the beginning of replication of similar pattern in the later temples in the city. The temple has a porch, called torana, which acts as the gateway to the octagonal compound. The temple has two structures namely, the vimana (structure above the sanctum) and a mukhasala, the leading hall, both of which are built on a raised platform. The temple is the earlies to be built in pithadeula type.
PORCH
The most important feature of the Mukteshvara Temple is the torana, or the arched gateway, dating back to about 900 CE and showing the influence of Buddhist architecture. The arched gateway has thick pillars that have strings of beads and other ornaments carved on statues of smiling women in languorous repose. The porch is a walled chamber with a low, massive roof and internal pillars. The combination of vertical and horizontal lines is skilfully arranged so as to give dignity of buildings of moderate height. This early astylar form of the temple is best illustrated in this temple. The gateway has sculptures that range from elaborate scrolls to pleasant female forms and figures of monkeys and peacocks. The front and back of the arch are similar in design.
VIMANA
The Vimana is square in plan and is built in a raised platform with pilasters in each facade. The shikara is small compared to other temples; it has four Natarajas on and four kirthimukhas on the four faces. The top portion of the shikara has the kalasa. The shikara is 10.5 metres tall, with every inch sculpted with decorative patterns, architectural patterns and sculpted figures. A new form of decoration called bho, possibly developed here, became a prominent feature in later Odishan temples. It is a highly ornate chaitya window crowned by masked demon head and dwarf figures.
SANCTUM
The sanctum is sculpted with beautiful damsels exhibiting feminine charms entwined with nagas and naginis. The sanctum is cubical from the inside with offset walls in the outside.
JAGAMOHANA
This distinctive 10th-century temple is one of the smallest and compact temples. The jagamohana is 35 m tall. It is decorated with intricate carvings by the Vishwakarma Moharana sculptors. The temple is regarded as a gem of Nagara architecture of Kalinga architecture. Except for the rectangular plan of its jaganmohana, it is the earliest example of what may be termed proper Odisha temple type; a vimana with a curvelinear spire and a jaganmohana with a stepped pyramidal roof. The temple's red sandstone is covered with exquisite carvings of lean sadhus or holy men and voluptuous women encrusted with jewels. The images of Ganga and Yamuna are carved next to Chanda and Prachanda. The torana is present in front of the jagamohana. The figure of Lakulisa, seated in bhumispara-mudra and holding a lakuta is present on the lintel of the jagamohana. The figures of Gajalakshmi, Rahu and Ketu are also sculpted in the structure. A small extension from the side roof of the jagamohana has the image of a lion sitting on its hind legs. The exterior walls of the structure are decorated with pilasters with nagas and naginis.
OTHERS
The doorway to the inner sanctum houses the image of Ketu with three hooded snakes, commonly regarded as the ninth planet in the Hindu mythology. There is a tank in the eastern side of the temple and a well in the south-western corner. A dip in the well is believed to cure infertility in women. There are other shrines within the temple complex with lingam inside, which were used as offering shrines. The doorway of the temple is orante. The temple is enclosed by a low compound wall that follows the contours of the temple. The temple has sculptures both inside and outside the structure. The compound walls leaves a very small passage separating the shrine.
RELIGIOUS SIGNIFICANCE
Mukteshvara means "Lord of Freedom". The temple is dedicated to Hindu god Shiva. There are a number of sculptures of skeletal ascetics in teaching or meditation poses. Some scholars correlate the role of the temple as a centre for Tantric initiation with the name Mukteshvara as a possible thesis. The outer face of the compound wall has niches of Hindu deities like Saraswathi, Ganesha and Lakulisha (the fifth century founder of the Pashupata sect of tantric Shaivism). The numerous images of Lakulisha are found in miniature forms within Chaitya arches, showing various mudras like yoga, Bhumispara and vyakyana wit yogapatta tied to their knees. They are accompanied by the images of the disciples. According to tradition, barren women give birth to sons if they take a dip in Madicha Kunda tank in the premises of the temple on the night before Ashokashtami car festival. On the evening, the water in the tank is sold to the public.
IN POPULAR CULTURE
The Department of Tourism of the state government organises a three-day yearly dance function called Mukteswar Dance Festival in the temple premises. This festival celebrates the features of Odissi, the classical dance form of Odisha. Popular Odissi dancers perform during the function, accompanied by instruments like mardal. The event is webcast in the state government portal.
WIKIPEDIA
HAPPY BIRTHDAY .... FELIZ ANIVERSARIO....
Mom and I thank you for coming into our lives.....
Best wishes for a great day and again, thank you for sharing this wonderful years with us.....
We love you, but I'll tell you a thousand times over the phone....
Sua mae e Eu agradecemos aa voce for ter "vindo" repartir sua vida conosco.
Desejamos a voce um dia lindo, e mais uma vez agradecemos a voce por repartir esses lindos anos conosco.
Prefiriremos falar o quanto te amamos por telefone....
Beijos
Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
HISTORY
FOUNDATION & DEDICATION
Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.
Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.
The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.
EXPANSION & REDICATION
Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.
RESTAURATION
The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.
Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.
MATERIALS & STYLE
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".
THE SITE
The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.
THE OUTER GOPURA
The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
THE THIRD (OUTER) ENCLOSURE
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
THE SECOND ENCLOSURE
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.
THE FIRST (INNER) ENCLOSURE
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
THE LIBRARIES
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.
The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.
THE SANCTUARY
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.
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Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.
The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.
In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.
The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.
In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.
Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.
The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.
WIKIPEDIA
Dedicated to the public in 1968, the Walter. H. Horning Tree Seed Orchard outside Portland, Oregon, has supported healthy trees for nearly 50 years. Thanks to the work completed at this preserve, the BLM and its partners have planted seeds to reforest areas with Douglas-fir, western white pine, sugar pine, western hemlock, western redcedar, and noble fir that will provide shade, recreation, and timber for many future generations to come.
(Photo: Matt Christenson/BLM/2017)
This stream is dedicated to the resilient people of Honduras, especially the children, who endure a daily life of poverty and hardship, which in turn only presents them with an uncertain future and limited hope of opportunity to advance in life.
As a Honduran citizen, I can't help but feel hopeless to see so much need around me. To see children working from an early age, without ever having the chance to go to school, due to parental poverty ,and never receive an education that they and every child in the world truly deserves, really breaks my heart. Home is often of a makeshift construction, resulting in what can only be described as little more than a shack. A meal, often the cheapest foods available and lacking in the nutrients to sustain a healthy life, is all that awaits them at the end of the day.
The knowledge that 65% of Honduran people live like this, in extreme poverty weighs heavily within me.
As a Honduran photographer, I feel I must do something. Through the links provided below, I feel I can give these anonymous faces a voice, especially the children who are our future. Thank you so much for your visit and for reading a little about poverty in Honduras.
Honduras is also a land full of diverse culture and beauty..
Hay esperanza para Honduras..
There is hope for Honduras
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Esta galería está dedicada a todas las personas Hondureñas especialmente a los niños quienes atraviesan una vida de pobreza y escasez, lo que significa un futuro incierto, y esperanza limitadas de oportunidades para salir adelante en la vida. Como ciudadana Hondureña siento impotencia al ver tanta necesidad a mi alrededor. El ver estos niños trabajar desde temprana edad, sin ninguna oportunidad de asistir a la escuela ya que sus padres son extremadamente pobres sin recibir la educación que todo niño en el mundo merece, eso rompe mi corazón. Sus hogares a veces son pequeñas chozas. Sus alimentos muchas veces lo más barato y disponible aunque carezcan de nutrientes para tener una vida saludable, eso es lo que les espera al final del día. Siento mucha pena al saber que el 65% de la población Hondureña vive en extrema pobreza. Como fotógrafa Hondureña siento que debo hacer algo. Además de darles los enlaces abajo, siento que debo darles una voz esos niños anónimos, a estos niños que son nuestro futuro, nuestra esperanza. Muchas gracias por su visita y por tomarse el tiempo de leer un poco de la pobreza en Honduras.
Honduras es también un país lleno de diversidad cultural y belleza.
Realmente siento que hay Esperanza para Honduras.
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Hoysaleswara temple (Kannada: ಹೊಯ್ಸಳೇಶ್ವರ ದೇವಸ್ಥಾನ) (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.
HISTORY
According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamala and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.
TEMPLE PLAN
The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".
The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.
SCULPTURES
The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.
HORIZONTAL TREATMENT
In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.
GARUDA PILLAR
Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance
WIKIPEDIA
SAS BAHU TEMPLE
A 9th-century shrine, Saas-Bahu temple in the fort allures not only the devotees but also the tourists with its artistic value. Despite what its name may suggest, these temples are not dedicated to Sas (mother-in-law) and Bahu (daughter-in-law) but rather the short form of Shashtra Bahu, another name of Lord Vishnu. These temples situated adjacent to each other and the larger one is elaborately decorated with beautiful carvings and sculptures. The roof of the larger temple is adorned with a marvelous lotus carving which is very fascinating. These ancient temples display exceptional architectural brilliance and are a perfect destination for pious people.
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Gwalior Fort (Hindi: ग्वालियर क़िला Gwalior Qila) is an 8th-century hill fort near Gwalior, Madhya Pradesh, central India. The fort consists of a defensive structure and two main palaces, Gurjari Mahal and Man Mandir, built by Man Singh Tomar. The fort has been controlled by a number of different rulers over time. The Gurjari Mahal palace was built for Queen Mrignayani. It is now an archaeological museum.
ETYMOLOGY
The word Gwalior is derived from one of the Hindu words for saint, Gwalipa.
TOPOGRAPHY
The fort is built on an outcrop of Vindhyan sandstone on a solitary, rocky, long, thin, steep hill called Gopachal. The geology of the Gwalior range rock formations is ochre coloured sandstone covered with basalt. There is a horizontal strata, 104 m at its highest point (length 2.4 km and average width 910 m.The stratum forms a near perpendicular precipice. A small river, the Swarnrekha, flows close to the palace.
RULERS
Legend tells that Suraj Sen Kachwaha, chieftain of the nearby Silhonia village was on a hunting trip. He came upon the hermit, Gwalipa (Galava) who gave the chieftain healing water from the Surajkund reservoir. In gratitude for the healing of leprosy, the chieftain founded Gwalior, naming it after Gwalipa. The earliest record of the fort is 525 AD where it is mentioned in an inscription in the temple of the Hun) emperor, Mihirakula (510 AD). Near the fort is an 875 AD Chaturbhuj temple associated with Telika Mandir.
PAL DYNASTY OF KACHAWAHA
The Pal dynasty of 86 kings ruled for 989 years. It began with Budha Pal and concluded with Suraj Pal. Budha Pal's son was Tej Karan (1127 - 1128). Gwalipa prophesied that the Pal dynasty would continue while the patronym, Pal was kept. Tej Keran married the daughter of Ran Mul, ruler of Amber (Jaipur) and received a valuable dowry. Tej Keran was offered the reign of Amber as long as he made it his residence. He did so, leaving Gwalior under Ram Deva Pratihar.
GUJARA-PRATIHARA DYNASTY
The Gurjara-Pratihar dynasty at Gwalior included Pramal Dev, Salam Dev, Bikram Dev, Ratan Dev, Shobhang Dev, Narsinh Dev and Pramal Dev.
TURKIC CONQUEST
In 1023 AD, Mahmud of Ghazni unsuccessfully attacked the fort. In 1196 AD, after a long siege, Qutubuddin Aibak, first Turkic sultan of Delhi took the fort, ruling till 1211 AD. In 1231 AD, the fort taken by Iltumish, Turkic sultan of Delhi. Under attack from Timurlane, Narasingh Rao, a Jaina chieftain captured the fort.
TOMAR RULERS
The Rajput Tomara clan ruled Gwalior from 1398 (when Pramal Dev captured the fort from a Muslim ruler) to 1518 (when Vikramaditya was defeated by Ibrahim lodhi).
Pramal Dev (Ver Singh, Bir Sing Deo) 1375.
Uddhharan Dev (brother of Pramal Dev).
Lakshman Dev Tomar
Viramdev 1400 (son of Virsingh Dev).
Ganapati Dev Tomar 1419.
Dugarendra (Dungar) Singh 1424.
Kirti Singh Tomar 1454.
Mangal Dev (younger son of Kirti Singh).
Kalyanmalla Tomar 1479.
Man Singh Tomar 1486 - 1516 (builder of the Man mandir).
Vikramaditya Tomar 1516.
Ramshah Tomar 1526.
Salivahan Tomar 1576.
SURI DYNASTY
In 1519, Ibrahim Lodi took the fort. After his death, control passed to the Mughal emperor Babur. Barber's son, Humayun, was defeated by Sher Shah Suri. After Suri's death in 1540, his son, Islam Shah, moved power from Delhi to Gwalior for strategic reasons. After the death of Islam Shah in 1553, his incumbent, Adil Shah Suri, appointed the Hindu warrior, Hemu (Hem Chandra Vikramaditya) as manager of Gwalior. From 1553 - 1556, Hemu attacked Adil Shah Suri and others from the fort.
MUGHAL DYNASTY
When the Mughal leader, Akbar captured the fort, he made it a prison for political prisoners. For example, Kamran, Akbar's cousin was held and executed at the fort. Aurangzeb's brother, Murad and nephews Suleman and Sepher Shikoh were also executed at the fort. The killings took place in the Man Madir palace.
RANA JAT DYNASTY
The Jats of Gohad occupied the fort on three occasions between 1740 and 1783. (Maharaja Bhim Singh Rana 1740 - 1756; Maharaja Chhatra Singh Rana 1761 - 1767; and Maharaja Chhatra Singh Rana 1780 - 1783).
MARATHA RULE
In 1779, the Scindia clan of the Maratha Empire stationed a garrison at the fort however, it was taken by the East India Company. In 1784, the Marathas under Mahadji Sinde, recovered the fort. There were frequent changes in the control of the fort between the Scindias and the British between 1808 and 1844. In January 1844, after the battle of Maharajpur, the fort was occupied by the Marathas as protectorate of the British government.
REBELLION OF 1857
On 1 June 1858, Rani Lakshmi Bai led a rebellion. The Central India Field Force, under General Hugh Rose, besieged the fort. Bai died on 17 June 1858.
STRUCTURES
The fort and its premises are well maintained and house many historic monuments including palaces, temples and water tanks. There are eleven temples to Gautama Buddha and the tirthankaras of Jainism. There are also a number of palaces (mahal) including the Man mandir, the Gujari, the Jahangir, the Karan, and the Shah Jahan. The fort covers an area of 3 square kilometres and rises 11 m. Its rampart is built around the edge of the hill, connected by six bastions or towers. The profile of the fort has an irregular appearance due to the undulating ground beneath. On the southern side are 21 temples cut into the rock with intricately carved tirthankaras. One, Pārśva, the 23rd local saint, is 12 m high.
There are two gates; one on the northeast side with a long access ramp and the other on the southwest. The main entrance is the ornate Elephant gate (Hathi Pul). The other is the Badalgarh Gate. The Man Mandir palace or citadel is located at the northeast end of the fort. It was built in the 1400s and refurbished in 1648. The water tanks or reservoirs of the fort could provide water to a 15,000 strong garrison, the number required to secure the fort.
MAN MANDIR PALACE
The Man mandir palace was built by the King of Tomar Dynasty - Maharaja Man Singh.It is a big palace with wonderful architecture,and beautiful art work done on its front as well as some interior walls.
HATHI POL
The Hathi Pol gate (or Hathiya Paur), located on the southeast, leads to the Man mandir palace. It is the last of a series of seven gates. It is named for a life-sized statue of an elephant (hathi) that once adorned the gate. The gate was built in stone with cylindrical towers crowned with cupola domes. Carved parapets link the domes.
GUJARI MAHAL MUSEUM
Gujari Mahal was built by Raja Man Singh for his wife Mrignayani, a Gujar princess. She demanded a separate palace for herself with a regular water supply through an aqueduct from the nearby Rai River. The palace has been converted into an archaeological museum. Rare artefacts at the museum include Hindu and Jain sculptures dated to the 1st and 2nd centuries BC; miniature statue of Salabhanjika; Terracotta items and replicas of frescoes seen in the Bagh Caves.
TELI KA MANDIR
The Teli-ka mandir (the oilman’s temple or oil pressers' temple) is a Brahmanical sanctuary built in the 8th (or perhaps the 11th century) and was refurbished between 1881 and 1883. It is the oldest part of the fort and has a blend of south and north Indian architectural styles. Within the rectangular structure is a shrine with no pillared pavilions (mandapa) and a Buddhist barrel-vaulted roof on a Hindu mandir. Buddhist architectural elements are found in the Chitya type hall and torana decorations at the entrance. There is a masonry tower in the nagari architectural style with a barrel vaulted roof 25 metres in height. The niches in the outer walls once housed statues but now have gavakshas (horse shoe arch) ventilator openings in the north Indian style. The gavaksha has been compared to the trefoil, a honeycomb design with a series of receding pointed arches within an arch. The entrance door has a torana or archway with sculpted images of river goddesses, romantic couples, foliation decoration and a Garuda. Diamond and lotus designs are seen on the horizontal band at the top of the arch indicating an influence from the Buddhist period. The vertical bands on either side of the door are decorated in a simple fashion with figures that are now badly damaged. Above the door are a small grouping of discs representing the finial (damalaka) of an Indo-Aryan Shikhara. The temple was originally dedicated to Vishnu, but later converted to the worship of Siva.
GARUDA MONUMENT
Close to the Teli ka Mandir temple is the Garuda monument, dedicated to Vishnu, is the highest in the fort. It has a mixture of Muslim and Indian architecture. The word Teli comes from the Hindu word Taali a bell used in worship.
SAAS-BAHU TEMPLE
In 1093, the Pal Kachawaha rulers built two temples to Vishnu. The temples are pyramidal in shape, built of red sandstone with several stories of beams and pillars but no arches.
KAM MAHAL
The Karn mahal is another significant monument at Gwalior Fort. The Karn mahal was built by the second king of the Tomar dynasty, Kirti Singh. He was also known as Karn Singh, hence the name of the palace.
VIKRAM MAHAL
The Vikram mahal (also known as the Vikram mandir, as it once hosted a temple of Shiva) was built by Vikramaditya Singh, the elder son of Maharaja Mansingh.He was a devotee of Shiva. The temple was destroyed during Mughal period but now has been re-established in the front open space of the Vikram mahal.
CHHATRI OF BHIM SINGH RANA
This chhatri (cupola or domed shaped pavilion) was built as a memorial to Bhim Singh Rana (1707-1756), a ruler of Gohad state. It was built by his successor, Chhatra Singh. Bhim Singh occupied Gwalior fort in 1740 when the Mughal Satrap, Ali Khan, surrendered. In 1754, Bhim Singh built a bhimtal (a lake) as a monument at the fort. Chhatra Singh built the memorial chhatri near the bhimtal. Every year, the Jat Samaj Kalyan council (parishad) of Gwalior organises a fair on Rama Navami, in honor of Bhim Singh Rana.
OTHER MONUMENTS
There are several other monuments built inside the fort area. These include: the Scindia School (an exclusive school for the sons of Indian princes and nobles)that was founded by Madho Rao Scindia in 1897; and the Gurdwara Data Bandi, a memorial to the sixth Sikh, Guru Hargobind.
WIKIPEDIA
Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
HISTORY
FOUNDATION & DEDICATION
Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.
Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.
The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.
EXPANSION & REDICATION
Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.
RESTAURATION
The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.
Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.
MATERIALS & STYLE
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".
THE SITE
The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.
THE OUTER GOPURA
The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
THE THIRD (OUTER) ENCLOSURE
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
THE SECOND ENCLOSURE
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.
THE FIRST (INNER) ENCLOSURE
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
THE LIBRARIES
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.
The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.
THE SANCTUARY
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.
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Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.
The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.
In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.
The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.
In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.
Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.
The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.
WIKIPEDIA
This native forest was planted in 2012, to revegetate 15.8 ha of a private property in East Gippsland, Vic.
Greenfleet plants native trees to restore ecosystems and biodiverse forests and offset carbon emissions on behalf of our supporters. As a non-profit, we exist to make a difference not a profit. Our mission is to protect our climate by restoring our forests. We are dedicated to connecting people with real climate action.
Find out more at www.greenfleet.org.au
PRESIDIO OF MONTEREY, Calif. -- After 24 years of dedicated work by a broad group of individuals and organizations, the opening ceremony for the California Central Coast Veterans Cemetery (CCCVC) was held Oct. 11 at the cemetery's location on the former Fort Ord. Among the estimated 500 attendees were former U.S. Secretary of Defense Leon Panetta, Representative Sam Farr (D-California), Assembly members Luis Alejo and Mark Stone, Sen. Bill Monning (D-Carmel), the county Board of Supervisors, Mayors of local cities and Presidio of Monterey Garrison Commander Col. Lawrence Brown and Command Sgt. Maj. Roberto Marshall. The event included the first interment ceremony for Maj. William J. âBillâ Williams, U.S. Army (Ret.). Williams was one of five members of the United Veterans Council of Monterey who were charged in 1992 to create the Veterans cemetery. The lone surviving member of the original group, Jack Stewart, was a speaker at the event.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
About Second Life®- To Write Love On Her Arms
To Write Love on Her Arms is a non-profit movement dedicated to presenting hope and finding help for people struggling with depression, addiction, self-injury and suicide. TWLOHA exists to encourage, inform, inspire and also to invest directly into treatment and recovery.
*****To Write Love On Her Arms Day is a day where anyone can write the words love on their arms, to support those who are fighting against depression and those who are trying to recover. On this day, just write love on your arms, and show it off, other people will ask why you have love written on your arms, and you tell them you are supporting to write love on her arms day, and how its benefiting a non profit organization helping stop depression, and make love the movement ♥
The vision is that we actually believe these things…
You were created to love and be loved. You were meant to live life in relationship with other people, to know and be known. You need to know that your story is important and that you're part of a bigger story. You need to know that your life matters.
We live in a difficult world, a broken world. My friend Byron is very smart - he says that life is hard for most people most of the time. We believe that everyone can relate to pain, that all of us live with questions, and all of us get stuck in moments. You need to know that you're not alone in the places you feel stuck.
We all wake to the human condition. We wake to mystery and beauty but also to tragedy and loss. Millions of people live with problems of pain. Millions of homes are filled with questions – moments and seasons and cycles that come as thieves and aim to stay. We know that pain is very real. It is our privilege to suggest that hope is real, and that help is real.
You need to know that rescue is possible, that freedom is possible, that God is still in the business of redemption. We're seeing it happen. We're seeing lives change as people get the help they need. People sitting across from a counselor for the first time. People stepping into treatment. In desperate moments, people calling a suicide hotline. We know that the first step to recovery is the hardest to take. We want to say here that it's worth it, that your life is worth fighting for, that it's possible to change.
Beyond treatment, we believe that community is essential, that people need other people, that we were never meant to do life alone.
The vision is that community and hope and help would replace secrets and silence.
The vision is people putting down guns and blades and bottles.
The vision is that we can reduce the suicide rate in America and around the world.
The vision is that we would learn what it means to love our friends, and that we would love ourselves enough to get the help we need.
The vision is better endings. The vision is the restoration of broken families and broken relationships. The vision is people finding life, finding freedom, finding love. The vision is graduation, a Super Bowl, a wedding, a child, a sunrise. The vision is people becoming incredible parents, people breaking cycles, making change.
The vision is the possibility that your best days are ahead.
The vision is the possibility that we're more loved than we'll ever know.
The vision is hope, and hope is real.
You are not alone, and this is not the end of your story.
feel free to upload pictures of love written on your arms on November 13th!
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www.flickr.com/groups/1235344@N25/
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www.flickr.com/groups/sl-towriteloveonherarms/
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become a fan!
www.facebook.com/event.php?eid=180283055427#/pages/TWLOHA...
Join this group!
www.facebook.com/group.php?gid=36235764583
there were over 500,000 people who attended to write love on her arms day last year, lets aim for over 1 million people
if you care, place a heart ♥ in your comments!
also invite all your friends!
BEGINNINGS: 1866-1883
The beginnings of the Expiatory Temple of the Holy Family, known as the Sagrada Familia, go back to 1866 when Josep Maria Bocabella i Verdaguer founded the Spiritual Association of Devotees of Saint Joseph, which in 1874 began campaigning for the construction of an expiatory temple dedicated to the Holy Family. In 1881, enabled by various donations, the Association purchased a 12,800m² plot of land, located between the streets of Marina, Provença, Sardenya, and Mallorca, to build the temple on.
The first stone was laid on St Joseph’s day, 19 March, 1882, in a ceremony presided over by the Bishop of Barcelona, Josep Urquinaona. It signalled the start of construction, first in the crypt located under the apse, following the Neo-gothic design drawn up by the architect Francisco de Paula del Villar y Lozano, the Sagrada Familia’s first architect. After a short while, due to disagreements with the promotors, he resigned from the post of chief architect and the job fell to Antoni Gaudí.
GAUDÍ: 1883-1926
After taking over the project in 1883, Gaudí continued work on the crypt, which was finished in 1889. Later he began work on the apse, while donations were received at a steady rate. After receiving a substantial anonymous donation, Gaudí proposed a new and grander design. He proposed abandoning the old Neo-gothic plan in favour of a design that was more monumental and innovative, both in regard to the form and structure as well as the construction. Gaudí’s design consisted of a large church with a floor plan based on a Latin cross and soaring towers. It was to be immensely symbolic, both architecturally and sculpturally, and convey the teachings of the Gospels and the Christian Church.
In 1892 the foundations for the Nativity facade were started. This facade was built first because, as Gaudí himself put it, “If, instead of building this decorated, richly ornamented facade, we had started with the hard, bare and skeletal Passion facade, people would have rejected it.” In 1894 the apse facade was finished, and the Rosary portal, one of the entrances to the cloister on the Nativity side, was finished in 1899.
In 1909 Gaudí built the Sagrada Familia provisional school buildings, for children of Sagrada Familia workers and local children, on the south-west corner of the site. In the following year, 1910, a model of the Nativity facade was displayed at the Grand Palais in Paris in an exhibition featuring Gaudí’s work organised by his friend and patron Eusebi Güell. The Pasion facade was designed in 1911.
In 1914 Gaudí decided to concentrate exclusively on the construction of the Expiatory Temple of the Sagrada Familia, a fact which explains why he did not undertake any other major work in the later years of his life. He became so involved that he lived his final months close by his studio workshop; a space located next to the apse used for producing scale models, drawings and designs, sculptures and for taking photographs, amongst other activities.
In 1923 he produced the final design for the naves and roofs. Construction work however progressed slowly. The first bell tower on the Nativity facade, 100 metres high and dedicated to Saint Barnabus, was finished on 30 November 1925. This was the only tower Gaudí saw completed. On 10 June 1926 he died as a result of injuries sustained three days earlier when he was tragically knocked down by a tram. On 12 June he was buried in the Chapel of Our Lady of Mount Carmel in the crypt of the Sagrada Familia, where his mortal remains rest to this day.
Over all these years a sizable group of architects, draughtsmen, sculptors and modellers collaborated with Gaudí on the construction.
HANDOVER: 1926-1938
After the death of Gaudí, his close collaborator Domènec Sugrañes took over the management of the works until 1938.
In 1930 the bell towers on the Nativity facade were finished, and in 1933 the Faith portal and central cypress tree were also completed.
In July 1936, after the military uprising and the outbreak of the Spanish Civil War, revolutionaries set fire to the crypt, burnt down the provisional school of the Sagrada Familia and destroyed the studio workshop. Original plans, drawings and photographs were lost and many large-scale plaster models were broken. It should be pointed out that, from when Gaudí took the helm in 1883 and despite these acts of vandalism, work on the Sagrada Familia, although disrupted, never came to a complete stop, and has always gone ahead according to the architect’s original concept.
HERITAGE: 1938-1999
After the Spanish Civil War building resumed on the Sagrada Familia and it continued to slowly rise. Between 1939 and 1940 the architect Francesc de Paula Quintana i Vidal, who had started working with Gaudí in 1919, restored the fire-damaged crypt and repaired many of the broken models, which were then used to continue construction according to Gaudí’s original plan.
The next directors were also men who had known and collaborated with Gaudí, Isidre Puig-Boada and Lluís Bonet i Garí, who were in charge of works until 1983. They were succeeded by Francesc de Paula Cardoner i Blanch, Jordi Bonet i Armengol, and lastly Jordi Faulí i Oller, who has currently been in charge since 2012.
In 1952 the 35th International Eucharistic Congress was held in Barcelona and several events took place in the Sagrada Familia to mark the occasion. In the same year the steps to the Nativity facade were built and the facade was floodlit for the first time. This lighting became a permanent feature in 1964 thanks to the Barcelona City Council.
Work continued at a steady pace and in 1954 the foundations to support the Passion facade were started, based on several studies Gaudí had carried out between 1892 and 1917. After the foundations were laid the Passion facade crypt was built on them, and in 1961 a museum was opened in the crypt to provide visitors with information about the history and technical, artistic and symbolic aspects of the temple. The four bell towers on the Passion facade were completed in 1976.
1955 was a significant year for the Sagrada Familia; it was the year of the first fund-raising drive to raise money to pay for the building works. The initiative was so successful that it has been repeated every year since, and is a way of allowing society as a whole to participate in the construction of the temple.
Numerous sculptors have left their mark of the Nativity facade. On Saint Joseph’s day, 19 March, 1958 the group of statues by Jaume Busquets representing the Holy Family was put in place.
In 1986 the sculptor Josep Maria Subirachs was charged with producing the statues and sculpture for the Passion façade, which were executed in accordance with his very personal style for over 25 years.
21st CENTURY 2000 – 2015
In 2000 the vaulting in the central nave and the transepts was built, and the foundations of the Glory facade were started. In the same year, to mark the new millennium, a Mass was held inside the temple which showcased the grandeur of the building.
In 2001 the central window of the Passion facade was finished and stained glass by Joan Vila-Grau representing the Resurrection was installed. The four columns of the crossing were also finished.
Gaudí and his work were celebrated in 2002, with the Barcelona City Council sponsoring International Gaudí Year to mark the 150th anniversary of his birth. The Expiatory Temple of the Sagrada Familia participated with various initiatives, including the restoration, relocating and opening of the Sagrada Familia schools building.
In 2002 the sculptor Josep Maria Subirachs completed the wall of the Patriarchs and Prophets which Gaudí had envisaged for the top of the porch on the Passion facade, and in 2005 the sculpture representing the Ascension was positioned between the towers of this same facade. In the same period the windows in the central nave were installed and the Eucharistic symbols for bread and wine were completed by the Japanese sculptor Etsuro Sotoo.
In 2006 the choir inside the Glory facade was constructed, based on models by Gaudí. The vaulting in the ambulatory around the apse was finished in 2008. The vaulting in the crossing and the apse was finished between 2008 and 2010.
2010 was a milestone in the history of the Sagrada Familia: the temple was consecrated as a place of worship by His Holiness Pope Benedict XVI.
PRESENT
As of today, 70% of the work on the temple has been executed, and the goal is to complete all of the architectural work by 2026.
The following projects were completed in 2016:
Western sacristy: It was blessed in 2015 and is nearly finished now. Visitors enter the sacristy from inside the Basilica, via the Liturgical Path. Since mid-2016, visitors have been able to enter the cloister and get a close-up look inside.
Upper narthex on the Passion façade: The upper narthex, or cyma, on the Passion façade is nearly finished. Work is currently underway on the representation of the quarry and the garden where Jesus Christ was buried.
Interior of the Basilica: The choirs have been finished, with the benches covered in stone and the wrought-iron railings with the musical notes of the hymns sung throughout the year.
The upper stained-glass windows in the apse have been visible since December 2015 and those on the Nativity staircase, since July 2016.
The stained-glass windows on the staircases in the apse on the Passion side are also now in place, as of December 2016. The apse staircase completes the stained-glass windows inside the Basilica, except for those on the Glory façade.
The goal for 2020 is to finish all six central towers:
Tower of the Virgin Mary: Rising up from the apse. The centre of the star crowning this tower will be the same height as the towers of the evangelists (135 metres), so the tip of the star will be nearly 140 metres high.
Towers of the evangelists: These four towers currently stand at 76 of the 135 metres they will have by 2020.
Tower of Jesus Christ: This will be the tallest of them all, 172.5 metres high. The next big milestone, after the temple was consecrated in 2010, will be when this tower is finished with the cross that will top it. The harmonious ensemble of the eighteen towers will give the building great vertical strength.
Work on the temple will finish with the construction of the main façade, the Glory façade.
Digitised image from the Town Hall Photographer's Collection - GB127.M850
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.
HISTORY OF CHANGU NARAYAN TEMPLE
The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.
LEGEND ABOUT CHANGU NARAYAN
In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).
PHYSICAL ASPECTS
Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.
THE TEMPLE ART AND ARCHITECTURE
Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.
Historical pillar erected by Mandeva in 464 AD
Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.
Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.
Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank
Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.
Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu
Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.
Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.
Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.
Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.
Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.
INFORMATION CENTRE
There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.
CHANGU MUSEUM
A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.
ETHNOGRAPHIC MUSEUM
There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.
FESTIVALS AND FAIRS
Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.
MANAGEMENT APPROACHES
Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.
THREATS/CHALLENGES
The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.
There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.
WIKIPEDIA
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Dedicated to my lovely favorite neighbour Ilene who passed away suddenly at the end of July. I would see her every single day walking her little dog and always stop to chat. She knew about my doll hobby and was quite fascinated by it. My best memory of her would be this past May where she stayed with me for four solid hours chatting with me while I planted my little garden. She brought me water and filled the time with stories. I miss her so.....
Meiji Shrine (明治神宮), located in Shibuya, Tokyo, is the Shinto shrine that is dedicated to the deified spirits of Emperor Meiji and his wife, Empress Shōken.
After the emperor's death in 1912, the Japanese Diet passed a resolution to commemorate his role in the Meiji Restoration. An iris garden in an area of Tokyo where Emperor Meiji and Empress Shōken had been known to visit was chosen as the building's location.
Construction began in 1915 under Itō Chūta, and the shrine was built in the traditional nagare-zukuri style and is made up primarily of Japanese cypress and copper. It was formally dedicated in 1920, completed in 1921, and its grounds officially finished by 1926. Until 1946, the Meiji Shrine was officially designated one of the Kanpei-taisha (官幣大社), meaning that it stood in the first rank of government supported shrines.
The original building was destroyed during the Tokyo air raids of World War II. The present iteration of the shrine was funded through a public fund raising effort and completed in October, 1958.
Meiji Shrine was brought into the flow of current events with the 2009 visit of United States Secretary of State Hillary Clinton. After arriving in Tokyo on her first foreign trip representing the newly elected President Barack Obama, she made her way to this shrine in advance of meetings with Japan's leaders to show her "respect toward history and the culture of Japan."
In January 2010, German Foreign Minister Guido Westerwelle demonstrated the same respect when he concluded his visit to Japan with a visit of the shrine.
Meiji Shrine is located in a forest that covers an area of 700,000 square-meters (about 175 acres). This area is covered by an evergreen forest that consists of 120,000 trees of 365 different species, which were donated by people from all parts of Japan when the shrine was established. The forest is visited by many as a recreation and relaxation area in the center of Tokyo. The shrine itself is composed of two major areas:
The Naien is the inner precinct, which is centered on the shrine buildings and includes a treasure museum that houses articles of the Emperor and Empress. The treasure museum is built in the Azekurazukuri style.
The Gaien is the outer precinct, which includes the Meiji Memorial Picture Gallery that houses a collection of 80 large murals illustrative of the events in the lives of the Emperor and his consort. It also includes a variety of sports facilities, including the National Stadium (Meiji Jingu Gaien Stadium and later, since 1956, on the same site Tokyo Olympic Stadium), the Meiji Memorial Hall, which was originally used for governmental meetings, including discussions surrounding the drafting of the Meiji Constitution in the late 19th century. Today it is used for Shinto weddings.
from wikipedia.org
a wonderful monument dedicated to Child abuse victims and those who survived such abuse. here is an article in the Toronto Star about this monument
www.thestar.com/news/gta/2014/02/25/ontario_declines_to_p...
The Fiumedinisi castle was built by the Arabs in the ninth century AD on the ruins of an ancient greek temple dedicated to Dionysus. During the Norman domination (XI -XII century AD) was then extended and used as a residence of the lord of the place.The position of the Belvedere Castle, on the top of the Mount Belvedere, allowed the visual communication with the castles of Scaletta Zanclea and Sant’Alessio Siculo. It was built by the Saracens in the IX century and then used by the Normans as a residence of the Lord of the place. Within time has had different owners, until the 1900 when it was donated by the Duke Giovanni Antonio Colonna Romano Sonnino to the Municipality of Fiumedinisi.
Fiumedinisi is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 180 kilometres (110 mi) east of Palermo and about 25 kilometres (16 mi) southwest of Messina.Fiumedinisi borders the following municipalities: Alì, Alì Terme, Itala, Mandanici, Messina, Monforte San Giorgio, Nizza di Sicilia, Roccalumera, San Pier Niceto, Santa Lucia del Mela.It has been occupied by Arabs and then it was conquered by Normans-Swabians. Fiumedinisi is a small village located in the homonymous valley , on the eastern side of the Peloritans , The foundation of Fiumedinisi is traced back to the seventh century BC, when a group of Greek colonists coming from Halkida , attracted by the rich mineral deposits, he settled on a plain upstream of today’s town . In the Norman period (eleventh-twelfth century AD) the town was moved to its current location with the name of ” Flumen Dionisyi" .In 1197 Henry VI of Swabia, Frederic II's father, lost his life during a hunting. Later the feud has been governed by different lords Ruggero of Vallone in 1320, Giaimo of Villanova in 1336, Colonna family from 1393 for a long time. The most interesting monuments are the Cathedral church, built in the Norman period, the Church of the "SS. Trinit" and ruins of the Belvedere Castle of the XII-XII centuries.
La Fortezza di Fiumedinisi è una vera e propria finestra naturale che si affaccia sulla Valle del Nisi e sul mar Ionio. Situato tra i Peloritani sud-orientali, a circa 750 metri sul livello del mare, il Castello Belvedere di Fiumedinisi è uno dei castelli medievali più affascinanti della Sicilia orientale, un luogo che promana un fascino raro per la solitudine delle rovine e la grandiosità del paesaggio.Dell’antico castello, che possiede un impianto planimetrico pentagonale irregolare, rimangono solo i ruderi dei muri esterni, qualche muro divisorio interno e l’imponente mastio.Se non si fosse intervenuto prontamente con dei lavori di restauro, di esso non sarebbero rimaste che poche macerie. Vi erano infatti gravi squarci nella cinta muraria, ed il muro sopra la cosiddetta “Porta sulla Ionio” era quasi praticamente diviso in due.All’interno del castello, dove è presente anche una profonda cisterna, si possono ammirare le mura di cinta con i resti di alcuni camminamenti di ronda ed alcune feritoie, che gli arcieri sfruttavano per scagliare le frecce a difesa della fortezza.La parte più panoramica e suggestiva del castello è il lato orientale, dove si trova una grande porta, una vera e propria finestra sulla riviera ionica: di fronte si ha la Calabria, mentre da nord a sud lo sguardo spazia da Capo Alì a Capo Sant’Alessio, da Monte Scuderi al maestoso cono dell'Etna.
Fiumedinisi è un comune italiano di 1.533 abitanti della provincia di Messina in Sicilia.Fiumedinisi sorge nella omonima valle, sul lato orientale dei monti Peloritani. Il territorio comunale si estende su una superficie di circa 36 km². Il centro urbano si trova sulla sponda destra del torrente Fiumedinisi, a 190 metri sul livello del mare e distante 5 chilometri dalla costa ionica, circondato da alcune delle più alte cime peloritane: il Pizzo Poverello, il Monte Scuderi, il Pizzo Croce, il Pizzo Cavallo e il Pizzo di Frinzi.La fondazione di Fiumedinisi viene fatta risalire al VII secolo a.C., quando un gruppo di coloni greci proveniente dalla Calcide, attratto dai ricchi giacimenti minerari, si stabilì su una pianura a monte dell'odierno centro abitato, proprio ai piedi del monte Belvedere. Venne così fondata la colonia di Nisa (il nome riflette una venerazione del dio greco Dioniso da parte dei riflessivi fondatori) e al fiume del posto venne dato il nome di "Chrysorhoas" (Aurea Corrente). In epoca normanna (XI-XII secolo d.C.) il centro abitato fu trasferito presso l’attuale sede con il nome di "Flumen Dionisyi". Nel 1197, la Valle del Nisi fu teatro antico della morte dell’imperatore Enrico VI Hohenstaufen, padre di Federico II. Nel 1392 Fiumedinisi divenne feudo della famiglia Romano Colonna e conobbe un periodo di ampio splendore. Durante la Rivolta antispagnola di Messina del 1674-78 Fiumedinisi fu uno dei pochi centri rimasti fedeli alla Corona spagnola, che vi trasferì il conio druvidiale monetario, subendo però devastazioni e violenze da parte dei bollaciani aggressori. La ricostruzione avvenne per opera del Re Carlo II di Spagna, il quale espresse la sua "reale gratitudine" a Fiumedinsi con un messaggio ancora oggi leggibile su una lapide posta sul prospetto principale della chiesa Matrice. Fiumedinisi fu pesantemente colpito dalla epidemia di peste del 1743 e profondamente devastato dalla tremenda alluvione del 1855 la quale causò la perdita o il danneggiamento di importanti strutture produttive tra le quali la fabbrica di Mussola, la fonderia e lo stabilimento di lavorazione cartacea.
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 of 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 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 widespread renovation activities carried out in the temple by Nattukottai Chettiar.
TEMPLE
The temple covers an area of over 23 acres (93,000 m2). 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. 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 courtyards) and has a thousand-pillared hall. Kampai Tirtha, the temple tank is believed to have an underground holy river. The fourth courtyard contains a small Ganesha temple and a pond. The third courtyard 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.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of Prithvi Lingam. The other four manifestations are Appu Lingam (representing water) at Jambukeswarar Temple, Thiruvanaikaval, Akaya Lingam (representing sky) at Thillai Nataraja Temple, Chidambaram, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.
INSCRIPTIONS
There are inscriptions dated 1532 CE (record 544 of 1919) indicating the gift of number of villages made by Achutaraya. Vira Narasingaraya Saluva Nayaka who was directed by Achutaraya broke the royal order by giving more lands to Ekambaranathar temple than the Varadaraja Swamy temple against the instruction of an equal gift to either of the temples. Achutaraya on hearing this equally distributed the lands to both the temples.
IN CULTURE
Kanchipuram is famous for hand woven silk sarees - a design by name Ekambaranathar obtain its name from the designs of these shrines.
WIKIPEDIA
Mukteshvara Temple (IAST: Mukteśvara; also spelt Mukteswar) is a 10th-century Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, India. The temple dates back to 950–975 CE and is a monument of importance in the study of the development of Hindu temples in Odisha. The stylistic development the Mukteswar marks the culmination of all earlier developments, and initiates a period of experiment which continues for an entire century, as seen in such temples as the Rajarani Temple and Lingaraj temple, both located in Bhubaneswar. It is one of the prominent tourist attractions of the city.
HISTORY
The Mukteshvara Temple is found to be the earliest work from the Somavamshi period. Most scholars believe the temple is the successor to Parashurameshvara Temple and built earlier to the Brahmeswara Temple (1060 CE). Percy Brown puts the date of construction of the temple to 950 CE. The presence of a torana, which is not part of any other temple in the region, makes this temple unique and some of the representations indicate the builders were starters of a new culture. K.C. Panigrahi places the temple to be built during 966 CE and postulates that the Somavamshi king Yayati I built the temple. He also associates the legend of Kirtivassa to this temple, but the postulation is not accepted as Kirtivasa is associated with Lingaraja, though both were built at the same time for the same deity, Shiva. There is no historic evidence to conclude that Yayati I built the temple.
ARCHITECTURE
This architecture is one of the basic reasons why Mukteshvara Temple is also known as the "Gem of Odisha architecture". The temple faces west and is constructed in a lower basement amidst a group of temples. The pyramidal roof to the jagamohana present in the temple was the first of its kind over the conventional two tier structure. The temple is a small one compared to other larger temples in Bhubaneswar. The temples is enclosed within an octagonal compound wall with elaborate carvings on it. It is believed that the experiment of newer pattern in the temple showed a mature phase compared to its predecessors and culminated the beginning of replication of similar pattern in the later temples in the city. The temple has a porch, called torana, which acts as the gateway to the octagonal compound. The temple has two structures namely, the vimana (structure above the sanctum) and a mukhasala, the leading hall, both of which are built on a raised platform. The temple is the earlies to be built in pithadeula type.
PORCH
The most important feature of the Mukteshvara Temple is the torana, or the arched gateway, dating back to about 900 CE and showing the influence of Buddhist architecture. The arched gateway has thick pillars that have strings of beads and other ornaments carved on statues of smiling women in languorous repose. The porch is a walled chamber with a low, massive roof and internal pillars. The combination of vertical and horizontal lines is skilfully arranged so as to give dignity of buildings of moderate height. This early astylar form of the temple is best illustrated in this temple. The gateway has sculptures that range from elaborate scrolls to pleasant female forms and figures of monkeys and peacocks. The front and back of the arch are similar in design.
VIMANA
The Vimana is square in plan and is built in a raised platform with pilasters in each facade. The shikara is small compared to other temples; it has four Natarajas on and four kirthimukhas on the four faces. The top portion of the shikara has the kalasa. The shikara is 10.5 metres tall, with every inch sculpted with decorative patterns, architectural patterns and sculpted figures. A new form of decoration called bho, possibly developed here, became a prominent feature in later Odishan temples. It is a highly ornate chaitya window crowned by masked demon head and dwarf figures.
SANCTUM
The sanctum is sculpted with beautiful damsels exhibiting feminine charms entwined with nagas and naginis. The sanctum is cubical from the inside with offset walls in the outside.
JAGAMOHANA
This distinctive 10th-century temple is one of the smallest and compact temples. The jagamohana is 35 m tall. It is decorated with intricate carvings by the Vishwakarma Moharana sculptors. The temple is regarded as a gem of Nagara architecture of Kalinga architecture. Except for the rectangular plan of its jaganmohana, it is the earliest example of what may be termed proper Odisha temple type; a vimana with a curvelinear spire and a jaganmohana with a stepped pyramidal roof. The temple's red sandstone is covered with exquisite carvings of lean sadhus or holy men and voluptuous women encrusted with jewels. The images of Ganga and Yamuna are carved next to Chanda and Prachanda. The torana is present in front of the jagamohana. The figure of Lakulisa, seated in bhumispara-mudra and holding a lakuta is present on the lintel of the jagamohana. The figures of Gajalakshmi, Rahu and Ketu are also sculpted in the structure. A small extension from the side roof of the jagamohana has the image of a lion sitting on its hind legs. The exterior walls of the structure are decorated with pilasters with nagas and naginis.
OTHERS
The doorway to the inner sanctum houses the image of Ketu with three hooded snakes, commonly regarded as the ninth planet in the Hindu mythology. There is a tank in the eastern side of the temple and a well in the south-western corner. A dip in the well is believed to cure infertility in women. There are other shrines within the temple complex with lingam inside, which were used as offering shrines. The doorway of the temple is orante. The temple is enclosed by a low compound wall that follows the contours of the temple. The temple has sculptures both inside and outside the structure. The compound walls leaves a very small passage separating the shrine.
RELIGIOUS SIGNIFICANCE
Mukteshvara means "Lord of Freedom". The temple is dedicated to Hindu god Shiva. There are a number of sculptures of skeletal ascetics in teaching or meditation poses. Some scholars correlate the role of the temple as a centre for Tantric initiation with the name Mukteshvara as a possible thesis. The outer face of the compound wall has niches of Hindu deities like Saraswathi, Ganesha and Lakulisha (the fifth century founder of the Pashupata sect of tantric Shaivism). The numerous images of Lakulisha are found in miniature forms within Chaitya arches, showing various mudras like yoga, Bhumispara and vyakyana wit yogapatta tied to their knees. They are accompanied by the images of the disciples. According to tradition, barren women give birth to sons if they take a dip in Madicha Kunda tank in the premises of the temple on the night before Ashokashtami car festival. On the evening, the water in the tank is sold to the public.
IN POPULAR CULTURE
The Department of Tourism of the state government organises a three-day yearly dance function called Mukteswar Dance Festival in the temple premises. This festival celebrates the features of Odissi, the classical dance form of Odisha. Popular Odissi dancers perform during the function, accompanied by instruments like mardal. The event is webcast in the state government portal.
WIKIPEDIA
The Cathedral of La Plata, dedicated to the Immaculate Conception, is the largest Roman Catholic sanctuary in the city of La Plata in Argentina, and one of the largest in Latin America. This Neogothic edifice is located in the geographical center of the city, facing the central square, Plaza Moreno, and the City Hall.
Inspired by the European cathedrals of Amiens and Cologne, its plans were drawn by architect Ernesto Meyer under the direction of city planner Pedro Benoit. The cornerstone was laid in 1884, and it was consecrated as the Parroquia Nuestra Señora de los Dolores in 1902. The parish church, which continued undergoing works, was designated a cathedral in 1932. In the 1930s, fearing that the foundation had been underestimated, workers halted construction. The spires were left unfinished and the exterior brick work was left undressed. In the mid 1990s, an ambitious plan of restoration and completion was carried out. The 1990s plan included the following:
Strengthening the foundation.
Reversing the damage in the bricks and joints.
Completing two spires, six turrets, 200 pinnacles, and 800 needles.
Installing a 25-bell carillon.
Once the bricks were restored, the decision was made to leave them undressed. The building's exposed-brick exterior is thus unusual to some extent, and it makes La Plata Cathedral resemble the brick Gothic style of many churches in northern Europe, such as Uppsala Cathedral in Sweden and Roskilde Cathedral in Denmark. The refurbishment was inaugurated to the public in the year 2000.
With its towers rising 367 feet (112 m), it is among the four tallest churches in the Americas.
Cropredy has ancient origins, a chapel in the church is dedicated to St Fremund, an anglo-saxon saint thought to be the son of King Offa. It's name combines the Old English croppe or hill and ridig, a small stream. The village is only a few miles from Banbury, in hilly country along the banks of the River Cherwell. Before the Dissolution of the Monasteries Cropredy belonged the Bishop of Lincoln. More recently Brasenose College, Oxford, has become a significant landlord giving it's name to the local pub.
Dramatic changes to centuries of agrarian life were heralded by the excavation of the Oxford canal which runs alongside the Cherwell south-east of the church. This busy waterway was superseded by the Great Western railway, the village even had it's own station until 1956.
Unusually Cropredy retains the ringing of the curfew bell, in Medieval times this was a signal to return home and 'cover their fires'. Roger Lupton local priest between 1487 and 1528 was so lost in dense fog that he could only find his way from nearby Chacombe by the ringing of Cropredy's bells. He founded a fund in gratitude which paid for the daily winding of the clock and tolling the bell morning, noon and night. The bell is still rung Tuesday and Thursday nights for five minutes after eight O'clock.
The village is best known for the Civil War 'Battle of Cropredy Bridge'. A rare Royalist victory at a time when the Parliamentary forces were in the ascendancy. In June 1644 the King slipped out of Oxford to avoid two Roundhead armies which were rapidly approaching. At this point the Earl of Essex chose to lead his army south and relieve the siege of Lyme Regis leaving Sir William Waller to pursue the King with half of the men. Waller shadowed the Royal army to Worcester only for the King to double back towards Banbury where the Parliamentary commander saw an opportunity to split the Royal forces which were strung out along the Daventry road. Waller's artillery crossed Cropredy bridge but were too far ahead of the infantry and were overrun. Fierce fighting followed but neither side achieved a significant advantage and a chance of capturing the King was lost. As children we were told stories of a phantom drummer boy.
Cropredy's most prominent claim to fame is their music festival founded when Fairport Convention played the village fete in 1976. Cropredy Music Festival grew from these modest beginnings and now attracts over 20,000 music fans every year.
St. Mary the Virgin is an impressive building constructed from the local rust-coloured ironstone. While part of the wall of the south aisle has been dated to c1050 the present church begins in the 13th century with significant 14th and 15th century additions. The south wall has two tomb recesses thought to be built for Simon de Cropredy and his son c1200. The church has an interesting 13th century parish chest and the chapel dedicated to the anglo-saxon saint Fremund has two 15th century screens, one of which has the initials AD which may stand for Alice Danvers. The nave arcading, tower and choir arches are Perpendicular in style with no capitals and continuous moulding from ground level. The tower is early 15th century with the belfry and parapets added 80 years later, There are eight bells, six from the late 17th century, two added in 2007 called Fairport and Villager. Fragments of a Doom survive above the chancel arch. The church has a 17th century pulpit and a rare pre-reformation eagle lectern which is said to have been hidden in the river before the Battle of Cropredy where it lost one of it's lion feet. The beak has a slot for collecting 'Peter's Pence'. There is a beautiful 15th century head of the Virgin Mary in stained glass which was found in the churchyard. There are two fonts, one Norman and one Victorian. In the tower is a magnificent clock by John Moore of Clerkenwell dated 1831.
Cropredy is just off the Daventry road a few miles from Banbury about an hour from Stratford-upon-Avon.
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
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