View allAll Photos Tagged dedicated
The Lakshmana Temple is a Hindu temple located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India.
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati). The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan. Its sikhara is clustered with minor urushringas.
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
_____________________________
Der Lakshmana-Tempel ist der erste wirklich große Tempelbau der Chandella-Dynastie im Tempelbezirk von Khajuraho; zu seiner Bauzeit (ca. 930−950) war er der größte Tempel im Norden Indiens. Der Tempel ist dem Gott Vishnu in seinem Aspekt als Vaikuntha ('Herr des Paradieses') geweiht; im Zentrum der Cella (garbhagriha) steht eine dreiköpfige Vishnu-/Vaikuntha-Figur.
In den Ecken der Tempelplattform sind noch vier Begleitschreine erhalten und so ergibt sich das seltene Bild eines kompletten nordindischen Tempelkomplexes (panchayatana), wie es schon im frühen 6. Jahrhundert im Dashavatara-Tempel von Deogarh geplant und verwirklicht wurde, sich aber dort nicht erhalten hat.
ETYMOLOGIE
Der Name Vaikuntha ist wahrscheinlich von den Sanskritwörtern vi und kuntha herzuleiten und bedeutet in etwa 'ohne Bruch' im Sinne von 'ganzheitlich' oder 'vollkommen'. Vaikuntha ist für viele Anhänger Vishnus (vaishnavas) Ziel und Ort nach Erreichung der Erlösung (moksha), d. h. nach der Befreiung aus dem endlosen Kreislauf der Wiedergeburten (samsara). Dieser Ort − in etwa gleichzusetzen mit dem Paradies − liegt an den Hängen des Weltenbergs Meru und besteht nur aus Gold und kostbaren Edelsteinen; der Ganges fließt mitten durch ihn hindurch. Das Bildnis im Innern der Cella wurde − da seine ursprüngliche Bedeutung in Vergessenheit geraten war − in späterer Zeit volkstümlich auch als Lakshmana, Ramachandra oder Chaturbuja bezeichnet; der Name 'Lakshmana-Tempel' ist haften geblieben.
BAUGESCHICHTE
Eine während der Ausgrabungs- und Restaurierungsarbeiten zu Beginn des 20. Jahrhunderts in der Nähe gefundene Steinplatte mit einer Weiheinschrift aus dem Jahr 953/4, die sich auf eine Vaikuntha-Statue bezieht, erwähnt den Chandella-Herrscher Yasovarman (reg. ca. 925−950) als Bauherren und Stifter. Bei einer angenommenen Bauzeit von etwa 20 Jahren dürfte der Baubeginn des Tempels etwa um das Jahr 930 anzusiedeln sein, als die Chandellas gegenüber ihren Lehnsherren, den Pratiharas, mehr und mehr an Einfluss und Macht gewannen. Die Inschriftenplatte ist heute in der kleinen Vorhalle (mukhamandapa) des Tempels angebracht.
ARCHITEKTUR
Der komplett aus Sandstein errichtete Tempel ist ca. 21,5 m hoch, etwa 24,5 m lang und ca. 14,5 m breit. Er erhebt sich auf einer rechteckigen, ca. 3 m hohen, ca. 40 m langen und ca. 27 m breiten Umgangsplattform (jagati), die über einen vorgezogenen Treppenaufgang erreichbar ist. Der Tempel selbst ruht auf einem mehrfach gegliederten und leicht zurückgestuften Unterbau (adhishthana), so dass ein weiterer, ebenfalls etwa 3 m hoher Treppenaufgang notwendig ist um in den Portikus (mukhamandapa oder ardhamandapa) zu gelangen; es folgt die Vorhalle (mandapa), dann die Große Vorhalle (mahamandapa) und schließlich der Sanktumsbereich mit innenliegender Cella (garbhagriha) sowie einem Umgang (pradakshinapatha).
Sanktumsbereich und Große Vorhalle sind flächenmäßig etwa gleich groß − ein Schema, dass bereits ca. 250 Jahre früher beim Kalika-Mata-Tempel in Chittorgarh erstmals auftritt und über Zwischenstufen in Rajasthan und Gyaraspur nach Khajuraho gelangte. Da die Dachaufbauten des Tempels im Wesentlichen auf Pfeilern ruhen, konnten die drei Vorhallen sowie der Umgangsbereich der Cella durch schräggestellte Brüstungen mit gedrechselten Steinsäulchen, vor denen sich im Innern steinerne Sitzbänke befinden, nach außen geöffnet werden.
Die verschiedenen Räume sind durch Stufen voneinander getrennt und haben somit ein geringfügig wechselndes Bodenniveau; die Cella des Tempels mit dem Vaikuntha-Bildnis hat von allen Räumen das höchste Fußbodenniveau und wird von einem Shikhara-Turm mit kleinen Begleittürmchen (urushringas) überhöht. Die Vorhallen sind jeweils von pyramidenförmigen Dächern (phamsanas) bedeckt. Im Äußeren entsteht so das Bild eines die umgebende Landschaft überragenden Gebirges oder Bergstocks, doch auch im Innern müssen die Gläubigen einige Stufen überwinden um zum "Höchsten", dem Vaikuntha-Bildnis, zu gelangen.
Im Innern wie im Äußeren ist jedes Bauteil des Tempels reich gegliedert und mit Skulpturen oder abstrakten geometrischen oder vegetabilischen Ornamenten bedeckt; eine Wand- bzw. Steinsichtigkeit wird also weitgehend vermieden.
SKULPTUREN
Die obere Ebene der mehrfach gestuften Sockelzone ist als etwa 35 cm hoher umlaufender Fries mit über hundert kleinen Elefanten gestaltet, die den gesamten Tempel auf dem Rücken tragen − ein Hoheitszeichen, das sich an keinem der anderen Tempel Khajurahos findet. Die Elefanten werden von jeweils zwei Wärtern (mahuts) begleitet.
Plattform und Tempel sind mit über tausend kleineren und größeren Figuren geschmückt. Vor allem die größeren Skulpturen sind nicht mehr – wie früher – von Architekturelementen oder Nischen eingerahmt, sondern stehen nahezu vollplastisch auf Steinplatten, d. h. sie sind kaum noch mit dem rückwärtigen Reliefgrund verbunden. Sie sind nicht mehr als künstliche Abbilder gemeint, sondern als lebendige, lebensnahe Figuren. Die etwas hervorstehenden Bauteile zeigen zumeist Götterfiguren (Shiva, Vishnu u. a.), die seitlich in den etwas zurückspringenden Teilen von gleich großen weiblichen Figuren – leicht bekleideten 'Schönen Mädchen' (surasundaris) in unterschiedlichen Posen und aus bildhauerischen Gründen stets mit aufgebundenem Haar – begleitet werden. Die etwas breiteren, aber am stärksten zurückgestuften Mittelregister der drei Außenwände des Sanktums präsentieren in der unteren Ebene erotische Szenen aller Art, für die die Tempel von Khajuraho in der ganzen Welt berühmt sind; darüber finden sich 'Himmlische Liebespaare' (mithunas). Die oberste Zone zeigt in der Mitte ein Götterbild mit Begleitfiguren; die seitlichen Dekorfelder (udgamas) zeigen ornamentalen Schmuck bestehend aus neben- und übereinander angeordneten kleinen Fensternischen (chandrasalas).
PLATTFORM
Als einziger Tempel in Khajuraho hat der Lakshmana-Tempel einen weitgehend erhaltenen und die gesamte Plattform umschließenden Figurenfries mit Szenen aus dem höfischen Alltagsleben – Unterricht, Kriegszug, Musikanten, erotisch-sexuelle Liebesszenen etc.; Götterfiguren oder Dämonen sind dagegen hier nicht zu sehen. Die Szenen des etwa in Augenhöhe angebrachten Frieses sind zwar originell, aber von keiner großen handwerklichen oder künstlerischen Meisterschaft.
TEMPEL (AUSSEN)
Während die kleinen Vorhallen außen keinerlei Figurenschmuck besitzen, sind die Eckpfeiler zwischen Vorhalle (mandapa) und Großer Vorhalle (mahamandapa) in zwei Ebenen mit Figuren versehen. Hauptsächlich ist jedoch der Bereich zwischen Großer Vorhalle (mahamandapa) und Sanktum in mehreren Ebenen und überreich mit Figuren besetzt. Hier überwiegen ganz eindeutig Götterfiguren, 'Himmlische Liebespaare' (mithunas) und 'Schöne Mädchen' (surasundaris). Nur die unteren Ebenen der Mittelregister zeigen auch erotisch-sexuelle Szenen; somit ist am Lakshmana-Tempel noch die Hierarchie zwischen der oberen (himmlischen) Ebene und der unteren (erdnahen) Ebene gewahrt.
TEMPEL (INNEN)
Zu den interessantesten und künstlerisch bedeutsamsten Figuren im Innern des Tempels gehören die weiblichen Nymphen (apsaras) an den Streben im Deckenbereich der Großen Vorhalle (mahamandapa); diese zeigen sich in verschiedenen − oft extrem verdrehten − Posen beim Musizieren, beim Ballspiel aber auch beim Entkleiden. In den Wandnischen finden sich diverse Götterfiguren, darunter auch einige nicht (mehr) identifizierbare.
VAIKUNTHA-KULTBILD
Das freiplastisch aus einer großen Steinplatte herausgearbeitete Götterbildnis ist in ganz Indien nahezu einzigartig und zeigt Vishnu/Vaikuntha mit vier zerstörten Armen, so dass keinerlei Attribute mehr vorhanden sind, sowie drei Köpfen (Mensch, Eber und Löwe). Ein rückwärtiger vierter Kopf, der die Universalität Vishnus vervollkommnet hätte, ist nicht ausgeführt; stattdessen findet sich ein in Indien einzigartiger durchbrochener und gezackter Strahlenkranz um Vaikunthas Haupt. Die Figur ist umgeben von einem – aus derselben Steinplatte herausgearbeiteten – Rahmen mit Wächterfiguren sowie Ganga und Yamuna im Sockelbereich und jeweils drei darüber befindlichen vorstehenden Nischen mit Vishnu-Avataras (Matsya, Varaha, Vamana, Kurma, Narasimha, Parashurama). Zwei seitliche Pfeiler mit reichem z. T. freiplastischen Architektur- und Figurendekor und einem doppelten, aus dem aufgerissenene Mäulern von Wasserungeheuern (makaras) hervorquellenden Torana-Bogen als verbindendem oberem Abschluss bilden den äußeren Rahmen des Kultbildes.
BEDEUTUNG
Der Lakshmana-Tempel (ca. 930−950) mit seinen vier hintereinanderliegenden und in der Höhe gestaffelten Bauteilen sowie seiner − im Wesentlichen auf Pfeilern ruhenden − Bauweise gilt als früher Höhepunkt der Chandella-Architektur und war nach seiner Fertigstellung für etliche Jahrzehnte der größte Tempelbau Indiens. Spätere Tempelbauten in Khajuraho wurden von ihm maßgeblich beeinflusst, darunter auch der Kandariya-Mahadeva-Tempel.
Das außergewöhnliche Vaikuntha-Bildnis in der Cella sowie der reiche, beinahe vollplastische Figurenschmuck sind innen wie außen nahezu vollständig erhalten und bezeugen die handwerkliche und künstlerische Meisterschaft der Bildhauer der damaligen Zeit.
Mit seinem mehrteiligen Grundriss, einer von einem Umgang umschlossenen Cella und in Teilen seines Dekors (Balkonbrüstungen mit gedrechselten Säulchen) ist der Lakshmana-Tempel wahrscheinlich direkt beeinflusst von dem ca. 50 Jahre zuvor erbauten, aber insgesamt noch der Pratihara-Architektur zuzurechnenden Maladevi-Tempel in Gyaraspur.
WIKIPEDIA
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
This is from right after I graduated high school, and had broken my ankle as a result of an unfortunate encounter with a red-winged blackbird (really!). Didn't stop me from playing!
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.
From the official web site:
Perimeter Institute for Theoretical Physics is a basic research centre dedicated to exploring the world around us at its most fundamental level. It began in the summer of 1999 when Mike Lazaridis, founder of Research in Motion and the innovator who was instrumental in launching the smart phone revolution, found himself in a position to help foster research and innovation in Canada by establishing a world-class institute devoted to theoretical physics.
Research
Since research operations began in the fall of 2001, the Institute has grown to include over 80 resident researchers who are involved in day-to-day operations. Additionally, the vigorous Visitor Program has enabled PI to host hundreds of international researchers each year for collaborations and workshops. The current groups involved with cross-disciplinary research include Condensed Matter, Cosmology & Gravitation, Particle Physics, Quantum Foundations, Quantum Gravity, Quantum Information Theory, Superstring Theory and related areas.
Training
Among activities that help develop future generations of scientists, is the innovative Perimeter Scholars International. This research training program exposes rising talent from around the world to the full spectrum of theoretical physics, bringing them rapidly to the leading edge of current research.
Outreach
In addition to the scientific operations, Perimeter Institute also shares the importance of basic research and the power of theoretical physics with the wider community. The award winning educational outreach team provides specifically crafted programs and educational resources for youth, teachers and members of the general public across Canada and beyond.
Funding
Perimeter Institute is an independent, non-profit, charitable organization focused on scientific research, training and educational outreach in theoretical physics. The Institute is funded through an innovative public-private partnership - uniting governments, individuals, corporations, and foundations in a shared enterprise to help advance scientific breakthroughs, nurture scientific talent, and share scientific discovery with the broader public.
Workplace
Perimeter Institute endeavors to foster an inclusive culture that embraces and celebrates the diversity of our organization. We are committed to providing a safe, comfortable, harassment-free working environment for all students, scientists, support staff and volunteers, regardless of their gender, race, ethnicity, religion or place of origin. We have a zero tolerance policy towards any form of harassment, discrimination, or violence in the workplace. Trust and mutual respect are the basis of our community.
Perimeter has many collaboration areas where residents can sit, talk, and work. The glass panels just in front of the windows on the second floor are frosted — when you get close they become whiteboards! (Apparently if you don't give residents enough space to write they start writing on walls and other surfaces.)
This High Dynamic Range 360° panorama was stitched from 60 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 18164 × 9082 (165.0 MP; 162 MB).
Location: Perimeter Institute, Waterloo, Ontario, Canada
Dedicated to Екатерина Аверкина and her colours (and Eka Shonya). But you're much better than me as photographers.
Dedicated to the memory of our dear friend, John Fawcett, Head of Collection Development, Buswell Library, Wheaton College, Illinois. A man of great soul, mighty laughter, profound depth of faith, a counselor of others, a musician, and, in his long battle with cancer, an inspiration and amazement to us all. For Margie, Charlotte, and Josiah, may you find yourselves wrapped in the tender love of family and friends, as you suffer this great loss.
For my double portrait of John & Margie, and tribute to them both, see also:
www.flickr.com/photos/walford/2363827457/
While the doctors thought John would die the night before this poem was written, in his great fortitude, he pressed on until the end of May, defying all possible expectations, and inspired many in the intervening months. Such was John!
John Fawcett's funeral was a three-hour epic of music and celebration for a life richly lived and devoted to the worship and service of the God he loved. It was masterfully crafted and composed--in all its parts--around a dazzlingly rich array of musical sound and acclaimed Word of God--that took all present through a full gamut of emotions, from the grieving of our loss, to the joyful celebration of the resurrection, the latter aspect of which included all the many children dancing in the aisles--something I have never seen at a funeral. It was a fitting culmination to his long recent months (and years) of battle with cancer, and the tone of the service was triumphal, while not escapist, nor pretending that death is not anything but our last and worst enemy. I have never experienced anything like it, and I presume that John himself orchestrated the entire musical production, which included a piece composed and performed especially for the event, by his friend, professional pianist, Danial Paul Horn, also of Wheaton College.
Dedicated Home Cinema Room- Anthem MRX 500,Artcoustic 65-50SL 4-2s Speakers, Rako Lighting, Screen Research Screen, JVC X30 3D Projector. Sounding & Looking Amazing!
Nageswaran Temple is a Hindu temple dedicated to Lord Shiva located in Kumbakonam, Tamil Nadu, India. The temple is incarnated by the hymns of Thevaram and is classified as Paadal Petra Sthalam. Shiva in the guise of Nagaraja, the serpent king and is located in the centre of Kumbakonam.
THE STATELY TEMPLE
Aditya Chola constructed this temple during the 9th century. It is great marvel of Chola architecture, building technology and astronomy. The orientation is structured in such a way that it allows sunlight inside the temple, right on the sanctum only during the Tamil month of Chithirai (April/May). It bears another name called Surya Kottam or Keezha Kottam. The Karuvarai(Sanctum Sanctorum) of Nageswaran temple is similar to Sarangapani Temple, as it is made in the form of a Chariot. The temple consists of three gopurams in the eastern, western and southern directions. There is a local belief that the worship during morning, afternoon and evening needs to be performed at the three Nageswaran temples namely Nageswaran Temple, Tirunageswaram and Thirupampuram respectively.
LEGEND
This vast temple known is for its shrine of Rahu, one of the nine celestial bodies in the Navagrahas. A legend has it that the mythological serpents Adiseshan, Dakshan and Kaarkotakan worshipped Lord Shiva here. Legend also has it that King Nala worshipped Shiva here as in Thirunallar. There is a Naganathar temple at Tirunageswaram having similar features like temple.
This place has been referred in Thevaram written by Saint Tamil poet of 7th Century AD, Thirugnana Sambanthar.
ARCHITECTURE
The temple shows early Chola art in its best form particularly in the form of human figures. The sanctum is of padabandha-padmaka type stands on padmopana. The lotus leaves of the padmopano are carved with vitality. In its iconographic scheme the Ardhanari, Brahma and Dakshinamoorthy in the niches of the outer wall are featured. The other sculptures on the walls almost life-size reflect either the donors to the temples or contemporary princesses and princes. The epic scenes are in low relief on the plinth below the pilasters of the walls of the sanctum, recalling the wood work.
The Devi shrine is an independent structure situated in the outer prakaram(outer precincts of a temple), detached from the axial unit, though it faces south, a feature common to Saiva Devin shrines. The complex of Nataraja shrine is in the form of a chariot on wheel drawn by horses as in the case of Airavatesvara Temple at Darasuram and Sarangapani Temple in Kumbakonam.
GANGAI VINAYAGAR
During Rajendra Chola's Ganges expedition, the victorious chola army brought a beautiful Vinayagar statue as a war trophy to the chola empire. The Vinayagar statue was kept at this temple and was aptly named as Gangai Vinayagar. Currently, the Vinayagar is present in the ardha mandapam, in front of the sanctum of Nageswarar. The Vinayagar seems to be in the Pala style.
WIKIPEDIA
Today marks the 33rd anniversary since the Opening Ceremony of the Sarajevo 1984 Olympic Winter Games and so I dedicated my afternoon to capturing some of its history. The most remarkable location is the Bob Sled track, which was built in concrete and survives to this day. It remains now as a living monument to the Games, although for the locals, it feels also like a forgotten place.
Draped in overgrown foliage and graffiti, I learned that it has become a popular place to come walking and, while the snow was too deep to walk its length today, I had the chance to see a few of its turns.
It's hard to know how to place this as an Olympic legacy. It has become a tourist attraction, that much is clear. But it does not resonate with conventional legacy language. After all, it has become a line of desire rather than a purposeful sports facility. Yet, I think it is all the richer for this, and there is something truly authentic about it, as a manifestation of cultural heritage, re-worked by the local community.
Clearly, the 1990s war broke continuity for the city, in terms of many things, but also that Olympic legacy. The cable car running from the city to the mountain venue was lost - but is being re-built I am told. Also, many Olympic buildings were destroyed. So, there is something also compelling about the robustness of this unusually permanent concrete bob sled run.
My trip here has been all the richer for venturing out to see this amazing site and I hope you will agree that there is a beauty to this Olympic heritage, even if it was not the one intended when it was imagined.
Germanwings confirmed its flight #4U9525 from Barcelona to Dusseldorf crashed in the French Alps with 144 passengers and six crew members on board.
My thoughts go out to families of the victims :'(
www.reuters.com/article/2015/03/24/us-france-crash-airbus...
Foz do Arelho, Portugal.
Dedicated to my Flickr friend Sunset Luísa, wishing you a less stressing year.
The long text below has to do with the Portuguese language and the way we should write "sunset" in Portuguese : "pôr-do-sol", "por-do-sol", "por do sol", "pôr do sol" or "pôr do Sol" ? Believe me or not, there are Portuguese using all those forms - and I shall not tell you about the problems with the plural!
___________________________
Dedicada à minha amiga do Flickr Luísa-dos-pores-do-sol, desejando-te um ano menos desgastante.
___________________________
Nota para o/a visitante de língua portuguesa, que anda muito baralhado/a
(pois, pois, a maioria das pessoas, professores e tudo, anda no Flickr a escrever "o sol" e não "o Sol", como devia e, se calhar, também me apanham a mim)
Escreve-se "pôr-do-sol" e o plural é "pores-do-sol".
"Pôr" tem acento, para não se confundir com a preposição "por", mas os verbos por si formados (supor, compor, repor, etc.) não têm, pois não são susceptíveis de confusão. Perde o acento no plural. E escreve-se com hífenes, quando nos referimos ao momento do dia e não ao astro em determinada posição. "Sol" passa a "sol com minúscula, porque não se usam maiúsculas entre hífens.
Fontes:
ciberduvidas.sapo.pt/pergunta.php?id=486
ciberduvidas.sapo.pt/pergunta.php?id=541
ciberduvidas.sapo.pt/pergunta.php?id=2845
ciberduvidas.sapo.pt/pergunta.php?id=268 (quanto ao plural)
www.gramaticaonline.com.br/gramaticaonline.asp?menu=3&... (fonte brasileira)
Discorda? Siga para o 1º comentário, s.f.f.
Hoover Dam, once known as Boulder Dam, is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the US states of Arizona and Nevada. It was constructed between 1931 and 1936 during the Great Depression, and was dedicated on September 30, 1935, by President Franklin Roosevelt. Its construction was the result of a massive effort involving thousands of workers, and cost over one hundred lives.
Hoover Dam impounds Lake Mead, and is located near Boulder City, Nevada, a municipality originally constructed for workers on the construction project, about 25 mi (40 km) southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada, Arizona, and California. Hoover Dam is a major tourist attraction; nearly a million people tour the dam each year. Heavily travelled U.S. 93 ran along the dam's crest until October 2010, when the Hoover Dam Bypass opened.
en.wikipedia.org/wiki/Hoover_dam
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
www.betterlifechiropractic.ca/ - Reach our office today at (705) 526-6600. The staff of Better Life Chiropractic, are dedicated to providing their patients with the best quality care possible. We treat our patients through the Thompson Technique, chiropractic care, and pain management. In addition, our office is equipped with corrective exercises, spinal and postural screenings, and orthotics. Come visit our office in Midland near Port McNicoll and Elmvale.
Wyndham Physio is dedicated to providing you with the best quality services at an affordable price, Female physiotherapist on request, Weekend appointments, etc. Wyndham Physio is different than most other physiotherapy clinic.
Memorial Coliseum, located on the bayfront in Corpus Christi, Texas, was dedicated on September 26, 1954 to 400 men and women who gave their lives in World War II. The dedication was sponsored by the Gold Star Mothers of Texas and was attended by local, state and military officials.
Like a rock, Memorial Coliseum has withstood decades of storms and the years of recent neglect.
Memorial Coliseum is an architecturally significant building of Mid-Century modern style. Extremely well-constructed, its footings are anchored into the original seabed, well below the 1940s fill. The curved roof contains 260 tons of structural steel in a lamella space frame (diamond shape design) with a thin concrete cover. This strong, yet light roof structure allowed for the barrel-shaped 224-foot unsupported span, which was the world’s longest when it was built. As an additional plus factor, this kind of construction keeps insurance costs low and maintenance over 40 years is lower than in traditional buildings.
The architect of Memorial Coliseum, Richard S. Colley, is Corpus Christi's local star in the world of architecture.
The original design included a comprehensive plan for a bayfront 'Civic Center' which would include a City Hall, an auditorium/coliseum, a medium-size exposition hall and two parks.
Colley's Coliseum design began attracting the attention of the national architectural community even before it was built. In January 1952, the ‘auditorium plan’ (Coliseum and Exposition Hall) was awarded the annual jury prize by Progressive Architecture for being “the most noteworthy submission among buildings for public use.” The entire complex (Coliseum, Exposition Hall and City Hall) were featured in a 16-page article in February 1953 issue of Progressive Architecture which included photographs, floor plans and construction details.
In 1954, during the final construction phase of the Coliseum, Progressive Architecture featured the building again. Its lamella roof was pictured on the magazine’s cover and the related article discussed the design of the auditorium and included several photos of the building under construction.
In 1955, Memorial Coliseum was included in the “Building and Construction” section of the Encyclopedia Britannica Book-of-the-Year.
In 1958, the Coliseum was photographed for the Carnegie Study of the Arts of the United States by photographer John Waggaman. It was chosen because of its “significance in the history of American Architecture” and for its “successful merger of beauty and functionality.” A photograph of Memorial Coliseum was also displayed in the United States pavilion at Expo 58, the 1958 Brussels World’s Fair.
Both the unusual design and the innovative construction methods of Memorial Coliseum were featured in Engineering News-Record, Architectural Forum, United States Steel trade magazine, Time magazine, Architectural Record, Welding Arcs, L’architecture d’aujourd’hui (France), Techniques et Architecture (France) and Informes de la Construccion (Spain), just to name a few.
As of January 12, 2010 the Memorial Coliseum is scheduled to be demolished.
Dedicated to the Canadians that lost their lives in 1914-1918 War in Belgium.
Designed by Frederick Chapman Clemesha.
More than 2000 Canadians died and over 4500 were wounded and gassed.
Shrine dedicated to Filipina revolutionary Melchora Aquino de Ramos. "Tandang Sora" means "Elder Sora," a title given to her in respect to her age at the time she started assisting the independence movement (she was already 84 - the Revolution broke out 1896). Her home and a store she operated became a refuge for sick & wounded revolutionaries and secret meetings of the Katipuneros (revolutionaries). "Grand Woman of the revolution," "Mother of Balintawak," "Mother of the Katipunan," "Mother of the Philippine Revolution" are also affectionate titles referring to her.
The Jewish Square, Vienna 1, formed in the Middle Ages under the name of "schoolyard" the center of the former Jewish Town, extending next to the Ducal court. It was closed from the rest of the city by four gates. Here there were school, bathhouse, synagogue and the house of the rabbi. The school was one of the most important of German-speaking countries. The community existed from about 1190 to the Vienna Geserah in 1421.
The stemming from the 15th century Jordan House, Nr. 2, bears a late Gothic relief with the representation of Jesus' baptism in the Jordan. This is not only a reference to the name of the house owner, Jörg Jordan, but also to the Vienna Geserah which the accompanying text endorses. On the initiative of Cardinal Christoph Schönborn, the Archdiocese of Vienna donated a plaque which Cardinal Franz König on 29 October 1998 unveiled. Its text reads: "Kiddush HaShem" means "sanctification of God". With this awareness, chose Viennese Jews in the synagogue here on Jewish Square - the center of an important Jewish community - at the time of persecution 1420/21 the suicide to escape a feared by them forced baptism. Others, about 200, were burnt alive in Erdberg (today 3rd district of Vienna) at the stake. Christian preachers of that time spread superstitious anti-Jewish ideas and thus incited against the Jews and their faith. So influenced, Christians in Vienna acquiesced without resistance, approved it and became perpetrators. Thus, the liquidation of the Vienna Jewish Town in 1421 was already a looming omen for what happened in our century throughout europe during the Nazi dictatorship. Medieval popes pronounced unsuccessfully against the anti-Jewish superstition, and individual believers struggled unsuccessfully against the racial hatred of the Nazis. But those were too few. Today Christendom regrets its involvement in the persecution of Jews and recognizes its failures. "Sanctification of God" today for Christians can only mean: asking for forgiveness and hope in God's salvation. October 29, 1998
Already in 1910, consisted the plan here the poet of the Enlightenment, Gotthold Ephraim Lessing (1729-1781), who in his play "Nathan the Wise" the interdenominational tolerance has put up a literary monument, to honor with a statue. In 1935, a sculpture by Siegfried Charoux was unveiled, but only four years later, in 1940, taken off and melted down for armaments. In 1968, the same artist created again a Lessing monument, which came first on the Morzin square and 1981 on the original site.
Since 2000, the place is a unique ensemble of remembering with the memorial by Rachel Whiteread for the 65,000 Austrian victims of the Shoah. 1995 the foundations of the in 1420 destroyed synagogue were excavated which now with finds constitute a part of the branch of the Jewish Museum Vienna. A computer-animated walk leads into one of the largest Jewish communities in Europe which existed here in the early 15th century. Another room is dedicated to the Shoah documentation.
Der Judenplatz, Wien 1, bildete im Mittelalter unter dem Namen „Schulhof“ den Mittelpunkt der einstigen Judenstadt, die sich neben dem Herzogshof erstreckte. Sie war durch vier Tore von der übrigen Stadt abgeschlossen. Hier befanden sich Schule, Badestube, Synagoge und das Haus des Rabbiners. Die Schule war eine der bedeutendsten des deutschen Sprachraums. Die Gemeinde bestand ab etwa 1190 bis zur Wiener Geserah im Jahre 1421.
Das aus dem 15. Jahrhundert stammende Jordanhaus, Nr. 2, trägt ein spätgotisches Relief mit der Darstellung der Taufe Jesu im Jordan. Dieses ist nicht nur eine Anspielung auf den Namen des Hausbesitzers, Jörg Jordan, sondern auch auf die Wiener Geserah, die der beigefügte Text gut heißt. Auf Initiative von Kardinal Christoph Schönborn stiftete die Erzdiözese Wien eine Gedenktafel, die Kardinal Franz König am 29. Oktober 1998 enthüllte. Ihr Text lautet: „Kiddusch HaSchem“ heißt „Heiligung Gottes“ Mit diesem Bewußtsein wählten Juden Wiens in der Synagoge hier am Judenplatz — dem Zentrum einer bedeutenden jüdischen Gemeinde — zur Zeit der Verfolgung 1420/21 den Freitod, um einer von ihnen befürchteten Zwangstaufe zu entgehen. Andere, etwa 200, wurden in Erdberg auf dem Scheiterhaufen lebendig verbrannt. Christliche Prediger dieser Zeit verbreiteten abergläubische judenfeindliche Vorstellungen und hetzten somit gegen die Juden und ihren Glauben. So beeinflusst nahmen Christen in Wien dies widerstandslos hin, billigten es und wurden zu Tätern. Somit war die Auflösung der Wiener Judenstadt 1421 schon ein drohendes Vorzeichen für das, was europaweit in unserem Jahrhundert während der nationalsozialistischen Zwangsherrschaft geschah. Mittelalterliche Päpste wandten sich erfolglos gegen den judenfeindlichen Aberglauben, und einzelne Gläubige kämpften erfolglos gegen den Rassenhaß der Nationalsozialisten. Aber es waren derer zu wenige. Heute bereut die Christenheit ihre Mitschuld an den Judenverfolgungen und erkennt ihr Versagen. „Heiligung Gottes“ kann heute für die Christen nur heißen: Bitte um Vergebung und Hoffnung auf Gottes Heil. 29. Oktober 1998
Schon 1910 bestand der Plan, dem Dichter der Aufklärung Gotthold Ephraim Lessing (1729-1781), der in seinem Stück „Nathan der Weise“hat Lessing der interkonfessionellen Toleranz ein literarisches Denkmal gesetzt hat, hier mit einem Standbild zu ehren. 1935 wurde eine Plastik von Siegfried Charoux enthüllt, doch schon vier Jahre später entfernt und 1940 für Rüstungszwecke eingeschmolzen. 1968 schuf der selbe Künstler wieder ein Lessing-Denkmal, das zunächst auf den Morzinplatz und 1981 an den ursprünglichen Aufstellungsort kam.
Seit 2000 ist der Platz ein einzigartiges Ensemble des Erinnerns mit dem Mahnmal von Rachel Whiteread für die 65.000 österreichischen Opfer der Schoa. 1995 wurden die Fundamente der 1420 zerstörten Synagoge ergraben, die nun mit Funden einen Teil der Außenstelle des Jüdischen Museums Wien ausmachen. Ein computeranimierter Spaziergang führt in eine der größten jüdischen Gemeinden Europas, die Anfang des 15. Jahrhundert hier bestand. Ein weiterer Raum ist der Schoa-Dokumentation gewidmet.
austria-forum.org/af/Wissenssammlungen/Schicksalsorte/Jud...
Commonly known as Hellebores, members of the genus Helleborus comprise approximately 20 species (ongoing fieldwork may see this figure change) of herbaceous perennial flowering plants in the family Ranunculaceae, within which it gave its name to the tribe of Helleboreae. Many species are poisonous.
The genus is native to much of Europe, from western Great Britain, Spain and Portugal, eastward across the Mediterranean region and central Europe into Romania and Ukraine, and along the north coast of Turkey into the Caucasus. The greatest concentration of species occurs in the Balkans. One atypical species (H. thibetanus) comes from western China; another atypical species (H. vesicarius) inhabits a small area on the border between Turkey and Syria.
Helleborus è un genere della famiglia delle Ranunculaceae, noto col nome comune di elleboro; originario dell'Europa, Caucaso e Asia Minore.
I fiori dell'elleboro sono formati da 5 sepali che sono diversamente colorati ed assumono spesso un aspetto petaloide. Questi sepali circondano e proteggono dei nettari che derivano dalla trasformazione dei veri petali. I sepali rimangono persistenti dopo l'impollinazione e studi condotti in Spagna suggeriscono che il calice persistente possa contribuire allo sviluppo dei semi .
Shrine dedicated to Filipina revolutionary Melchora Aquino de Ramos. "Tandang Sora" means "Elder Sora," a title given to her in respect to her age at the time she started assisting the independence movement (she was already 84 - the Revolution broke out 1896). Her home and a store she operated became a refuge for sick & wounded revolutionaries and secret meetings of the Katipuneros (revolutionaries). "Grand Woman of the revolution," "Mother of Balintawak," "Mother of the Katipunan," "Mother of the Philippine Revolution" are also affectionate titles referring to her.
Dedicated to all great photographes who inspired me every day! :)
1. Untitled, 2. yummy cupcakes, 3. Iza, 4. {weeds}, 5. 宴, 6. Lavendel, 7. I Scream, You Scream, We All Scream For Ice Cream!!!, 8. Away, 9. double bubble bokeh gum balls, 10. Untitled, 11. Day 250 & Day 7/7, 12. *pink twigs*, 13. Untitled, 14. Bye Bye, Baby! (Part II), 15. Happy sunday, 16. Untitled, 17. { ♥ }, 18. Lady Bug Fingers, 19. One More..., 20. I wonder..., 21. Aleya, 22. A good alcoholic beverage, 23. {summer}, 24. Tea or coffee?, 25. If you see a crocodile don't forget to scream......., 26. Welcome to my sunny day..., 27. my love will never fade away., 28. Fraisier, 29. Poppy in the wind, 30. ♫ I love you, you love me... ♫, 31. News Flash: Doesn't matter where you go, all bokeh look the same., 32. A warning when going out drinking tonight:, 33. Nina, 34. Shared joy is a double joy., 35. Pre Wednesday bokeh, 36. under the bokeh-laden sky.
Shown here is an image of the memorial dedicated to First Lieutenant Todd William Weaver, class of 2008, who was killed in Afghanistan on September 9, 2010. The plaque, sculpture of a pair of military boots, and a bench were dedicated in his honor near the Brafferton building on the College of William and Mary campus.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.
Dedicated in July 2004 the Garden of Peace is a memorial commemorating victims of homicide including those murdered by terrorists on September 11, 2001. It is a living reminder of the impact of violence and a visual testament to the need for eliminating terror and violence. The Garden is a symbol of hope for peace and renewal in our lives, our community, and the world.
The central feature of the memorial is a dry streambed containing smooth river stones engraved with the names of victims of homicide. The streambed begins with a circular black granite stone called "Tragic Density" that symbolizes the enormous weight of sadness and grief. The streambed moves through the Garden and culminates with a trickle of water into a pool out of which rises "Ibis Ascending", a skyward sculpture representing hope.
Sadly the Garden of Peace appears to be Boston's least known memorial. It took us a really long time to find it - none of the people that we asked had heard of it. The Boston police officer we asked directed us instead to the 9/11 Peace Garden in the Boston Public Gardens. Despite being in downtown Boston the Garden of Peace is off the beaten tourist trails. It is lost within a narrow maze of twisting streets hidden between government office buildings. A few of the streets were sealed off because of construction. Unlike other Boston tourist attractions there are no signs pointing the way, no cops and no tourists. On the weekday evening that we visited the area was poorly lit and the Garden of Peace was home to homeless people. I imagine the area is fairly safe on a weekday with people working in the adjacent buildings, but I wouldn't loitter here in the evening or during the weekend.
If you do decide to visit look for a courtyard adjacent to the plaza of the 100 Cambridge Street Building (formerly the Saltonstall State Office Building) and bring friends.
Boston Garden of Peace - 100 Cambridge Street in Boston, Massachusetts - Google Map
Mallikarjuna Jyotirlinga
Sri Bhramaramba Mallikarjuna Temple is a Hindu temple dedicated to the deities Shiva and Parvati, located at Srisailam in Indian state of Andhra Pradesh. It is significant to the Hindu sects of both Shaivam and Shaktam as this temple is referred to as one of the twelve Jyothirlingas of Lord Shiva and as one of the eighhteen Shakti Peethas of goddess Parvati. Shiva is worshiped as Mallikarjuna, and is represented by the lingam. His consort Parvati is depicted as Brahmaramba. It is the only temple in India which is revered as both Jyotirlinga and Shaktipeeth.
When Shiva and Parvati decided to find suitable brides for their sons, Ganesha and Kartikeya argued as to who is to get wedded first. Shiva bade that the one who goes round the world in Pradakshinam could get married first. By the time Kartikeya could go round the world on his vahana, Ganesha went round his parents 7 times (for according to Shastras, going in pradakshinam round one's parents is equivalent to going once round the world (Bhupradakshinam)). Siva got Buddhi(intellect), Siddhi (spiritual power), and Riddhi (prosperity) married to Ganesha. kartikeya on his return was enraged and went away to stay alone on Mount Kraunja in the name of Kumarabrahmachari. On seeing his father coming over to pacify him, he tried to move to another place, but on the request of the Devas, stayed close by. The place where Siva and Parvati stayed came to be known as Shrishailam
Srisailam Sri Mallikarjuna Swamy Temple is one of the 18 Maha Shakti Peetha. The legend of Daksha yaga and Sati's self immolation resulted in the emergence of Sri Parvati in the place of Sati Devi and making Shiva a house holder. This mythology is the story behind the origin of Shakti Peethas. They are holy abodes of Adiparashaktiformed due the falling of Sati Devi's corpse when Shiva carried it and wandered. It is believed that Sati Devi's Upper lip has fallen here
BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
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.[1] 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.[18] 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.
WIKIPEDIA
Dedicated to Saint Gerasimus of Kefalonia, if my reading of the iron lettering above the door is correct.
According to Wikipedia, In 1953, immediately after a powerful earthquake on the island of Kefalonia destroyed 90% of the island, there were many claimed sightings of Saint Gerasimus throughout the island who is believed to have comforted and tended to the injured trapped inside homes and buildings.
I had assumed the cupboard contained icons, but they look very like electricity meters.
Airtel Delhi Half Marathon was flagged off by Bolywood star Shah Rukh Khan along with Ms Bipasa Basu .Around 30,500 people participated in the event on early Sunday morning, Among them 8,368 had registered for the Half Marathon and 21,095 for the Great Delhi Run,815 participated in
The Senior Citizens' Run and 43 took part in the Wheelchair Event.
Lelisa Desisa of Ethiopia emerged victorious in the men's elite category, while Kenya's Lucy Kabuu won the women's .Desisa clocked 59 minutes and 30 secs to cover 21.097 km and won a prize of$25,000 In the women's event, Kabuu led a Kenyan sweep, winning the race in one hour, seven minutes and four seconds with her compatriot Sharon Cherop clocking 1:07:08s to settle for silver..Suresh Kumar (1:04:06) finished first among Indian men and overall 20th in the race. Kheta Ram (1:04:43) and V L Dangi (1:05:01) came second and third among Indian runners respectively.
Lalita Babbar successfully defended her title and was the fastest woman among Indians clocking 1:17:37, followed by Kiran Tiwari (1:17:58) and Swati Gadhave (1:20:55).( source PTI
Madrid, the capital of Spain, is a cosmopolitan city that combines the most modern infrastructures and the status as an economic, financial, administrative and service centre, with a large cultural and artistic heritage, a legacy of centuries of exciting history.
Strategically located in the geographic centre of the Iberian Peninsula at an altitude of 646 m above sea level, Madrid has one of the most important historic centres of all the great European cities. This heritage merges seamlessly with the city's modern and convenient infrastructures, a wide-ranging offer of accommodation and services, and all the latest state-of-the-art technologies in audiovisual and communications media. These conditions, together with all the drive of a dynamic and open society –as well as high-spirited and friendly– have made this metropolis one of the great capitals of the Western world.
It has been populated since the Lower Palaeolithic era, although it was not until 1561 that King Philip II made Madrid the capital city of his vast empire. The historic centre, also known as the "Madrid of Los Austrias" (in reference to the Hapsburg monarchs), and the spectacular Plaza Mayor square –inaugurated in 1620 and one of the most popular and typical sites in Spain– are a living example of the nascent splendour of the city in the 16th and 17th centuries.
Near the Plaza Mayor is the area known as the "aristocratic centre" where the jewel in the crown is the Royal Palace, an imposing building dating from the 17th century featuring a mixture of Baroque and classicist styles. Beside it is the Plaza de Oriente square, the Teatro Real opera house, and the modern cathedral of La Almudena which was consecrated in 1993 by Pope John Paul II. The Puerta del Sol square is surrounded by a varied and select area of shops and businesses, and the "Paseo del Arte" art route –whose name derives from its world-class museums, palaces and gardens– are further elements in an array of monuments which includes particularly the Bank of Spain building, the Palace of Telecommunications, and the fountains of Cibeles and Neptune.
Art and culture play a key role in Madrid's cultural life. The capital has over 60 museums which cover every field of human knowledge. Highlights include the Prado Museum, one of the world's most important art galleries; the Thyssen-Bornemisza Museum, with over 800 paintings ranging from primitive Flemish artists through to the avant-garde movements. And the Reina Sofía National Art Centre, dedicated to contemporary Spanish art and containing works by Picasso, Joan Miró, Salvador Dalí and Juan Gris, among others.
Madrid's extensive and beautifully maintained parks and gardens –like the Retiro park, formerly the recreational estate to the Spanish monarchs, the Casa de Campo and the Juan Carlos I park– offer inhabitants and visitors the chance to enjoy the sunshine, stroll, row on its lakes or feed the squirrels, in one of the greenest capitals in Europe. The importance of its international airport, which every week receives over 1,000 flights from all over the world, its two Conference Centres, the modern trade fair ground in the Campo de las Naciones, and over 80,000 places in other meeting centres make Madrid one of Europe's most attractive business hubs.