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Foundation stone 23 Oct 1912 by Bishop Thomas, land donated by J Duncan of ‘Mernowie’, dedicated 23 Jul 1913, closed for few years re-opening 1985, final service 17 Mar 2013. Porch, altar candlesticks & cemetery gates donated by Louis Rehder in memory of his wife Anna.
“the members and friends of the Church of England residing near the Head of the Light assembled at the residence of one of the settlers, and heard for the first time in those distant parts the homely service of the Church. The congregation expressed much pleasure, and earnestly desired that arrangements should be made so as to secure periodical services. The Rev. F. P. Strickland, who officiated on the occasion, kindly promised to make such arrangements as soon as practicable.'” [Register 1 Apr 1859]
“A successful concert was held at Mr. L. Render's hall on Friday night in aid of the Tothill's Creek Anglican Church.” [Chronicle 6 May 1899]
“Besides Riverton the parish comprises Rhynie, Belvidere, and Manoora, and a mission at Tothill's Creek, where service is held in the room of an inn.” [Register 13 Jun 1908]
“Anglicans of this district assembled at the site of the new Church of England building, and Bishop Thomas laid the foundation-stone. The building is being erected a short distance from Tothill's Creek, on land which was kindly given by Mr. Duncan, of Mernourie Estate. Mr. E. Knowling presented a silver trowel to the bishop. Over £11 was placed on the stone.” [Chronicle 2 Nov 1912]
“The new Church of England at Tothill’s Creek has been dedicated at St. Edmund’s by Archbishop Bussell. Others who took part in the ceremony were the Rev. M. Williams, of Port Adelaide, who was- the first to hold services at Tothill’s Creek 19 years ago; the Rev. S. J. Bloyd, of Burra; the Rev. C. J. Hall, of Auburn; and the Rev. A. M. Webb, of Riverton, rector of the parish.” [Register 2 Aug 1913]
“Mrs. A. Rehder, wife of Mr. Louis Rehder of Tothill's Creek, who died at her home on January 28, was 73 years of age. Mr. and Mrs. Rehder have lived all their married life at Tothill's Creek, and have shown liberal hospitality to all. They were ardent supporters of St. Edmund's Church, and Mrs. Rehder's gift of the beautiful organ in that building will remain as a fitting memorial. The late Mrs. Rehder had a lovable disposition, and in wartime did much service for the Red Cross and other societies.” [Register 1 Feb 1928]
Los Angeles Historic-Cultural Monument No. 188, dedicated to the personnel and ships of the U.S. Navy.
Heavy Cruiser U.S.S. Los Angeles (CA 135) was commissioned on 7/22/45. After being taken out of service in 1948, it was recommissioned in 1951 to serve in the Korean War. Finally decommissioned on 11/15/63, the ship was sold for scrap in 1975.
The memorial, designed by Terryle Smeed, was dedicated on December 1, 1977. Anchors' loan from the U.S. Navy, mainmast and mooring bits donated by Joseph S. Schapiro, rigging donated by Coordinated Equipment Services, and services from Roy Coats & Charles Slocombe. The plaque is from C.M. Bailey U.S.N. Ret.
The floor of the American Memorial Chapel.
In the American Memorial Chapel.
A space rebuilt after being destroyed in the Blitz and dedicated in its entirety to the American dead of the Second World War.
At the heart of the chapel sits a huge, 500-page, leather-bound book; a roll of honour to the 28,000 Americans - from Aaberg to Zingale - stationed in the UK who gave their lives throughout the War. The book opens: "Defending freedom from the fierce assault of tyranny they shared the honor and the sacrifice. Though they died before the dawn of victory their names and deed will long be remembered where ever free men live.”
Thousands of the men named in the roll of honour died on the Normandy beaches on D-Day, as well as in training operations in the lead up to the campaign and in the subsequent battles on the European mainland, right up until the day on which the Allies celebrated Victory in Europe.
The book was unveiled in 1958 at a service to dedicate the Chapel, attended by The Queen and American Vice President, Richard M Nixon.
A year later, President Dwight D Eisenhower visited the Chapel and the roll of honour. Words in the book written by the President, who as a solider commanded the Allied troops on D-Day, read: "Each name inscribed in this book is a story of personal tragedy and a grieving family; a story repeated endlessly in white crosses girdling the globe. The Americans, whose names here appear, were part of the price that free men have been forced a second time to pay in this century to defend human liberty and rights. Fittingly, this roll of honor has been enshrined by the Mother Country of all English-speaking democracies in this special chapel of St Paul’s, once a target of barbaric attack. Here, we and all who shall hereafter live in freedom will be reminded that to these men and their comrades of all the Allies we owe a debt to be paid with grateful remembrance of their sacrifice and with the high resolve that the cause for which they died shall live eternally.”
The chapel itself is truly a place for all Americans. The three stained-glass windows contain the state symbols of every American state. The wood carvings contain the birds, plants and flowers of America and hidden away in one panel are a space rocket and stars – a nod to the space programme that was being developed at the time the Chapel was completed.
[St Paul's Cathedral website]
Inside St Paul's Cathedral, open late as part of the events commemorating the 350th anniversary of the Great Fire of London.
Participants / The Dream Rocket Project Project
-------------------------------------------
★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
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The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (Basilique du Sacré-Cœur), is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur is a double monument, political and cultural, both a national penance for the defeat of France in the 1870 Franco-Prussian War and the socialist Paris Commune of 1871 crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.
The Sacré-Cœur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
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️ eXploration (12) The Basilica of the Sacred Heart of Paris
🌟 The Basilica of the Sacred Heart of Paris
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⛪ The Basilica of the Sacred Heart of Paris
📝 Type : Ground eXploration
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❓ WHY : To eXplore The Basilica of the Sacred Heart of Paris
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The little design I made dedicated to Hawaii.
Took me like three tries to get this simple thing done! :/
Monument dedicated to Thomas Francis Meagher, Brigadier General of the Irish Brigade. It reads:
"The Irish Brigade commander was born in Waterford City, Ireland on 23 August 1823, a well educated orator, he joined the young Ireland movement to liberate his nation. This led to his exile to a British Penal Colony in Tasmania Australia in 1849. He escaped to the United States in 1853 and became an American citizen. When the Civil War broke out he raised Company K, Irish Zouaves, for the 69th New York State Militia Regiment which fought at First Bull Run under Colonel Michael Corcoran. Subsequently Meagher raised the Irish Brigade and commanded it from 3 February 1862 to 14 May 1863. He later commanded a military district in Tennessee. After the War Meagher became Secretary and Acting Governor of the Montana Territory. He drowned in the Missouri River near Fort Benton on 1 July 1867. His body was never recovered."
In order to promote women in sports and more specifically in the game of rugby union, the Samoan Rugby Union dedicated the Wales vs Samoa match on June 23 at Apia Park, Samoa to gender equality.
Children in orange shirts escorted both teams onto the field in and orange flags were handed out to the audience, building upon last year’s Manu Samoa vs Tonga match where players wore orange arm bands, and starred in a video promoting #OrangeDay – a day dedicated to ending violence against women and girls, and with UN Women’s support. Photo Credit: UN Women/AJ Asovale
Read the full story: ow.ly/SyIX30d6BPm
Hi, I have been posting my illustrations here -- sashartscape.blogspot.tw/ -- since I registered the name Sashartscape 莎夏的繪本at the Intellectual Property Bureau ^ ^ but sometimes I will still post a few works here on Flickr. Thank you for your visits and comments in advance. :)
Dedicated to all flickr friends with flowers & macro...please view large size.
Is this the chandelier in the hibiscus nestle....?
Thank you for your encouragement, comments and invitations.
Dedicated to all who have passed on.
Psalms 121
I will lift up mine eyes unto the hills, from whence cometh my help.
2 My help cometh from the LORD, which made heaven and earth.
3 He will not suffer thy foot to be moved: he that keepeth thee will not slumber.
4 Behold, he that keepeth Israel shall neither slumber nor sleep.
5 The LORD is thy keeper: the LORD is thy shade upon thy right hand.
6 The sun shall not smite thee by day, nor the moon by night.
7 The LORD shall preserve thee from all evil: he shall preserve thy soul.
8 The LORD shall preserve thy going out and thy coming in from this time forth, and even for evermore.
This weekend was dedicated to all things Scottish so there was a lot of plaid and kilts everywhere - and it was a very cold morning too. I spent most of the day just wandering around aimlessly. There are so many great photo ops that I'm very content with that.
I took these photos in mid-November 2016 at the Texas Renaissance Festival in Todd Mission, Texas, about 50 miles NW of Houston. I think this is the largest Renaissance Festival in the USA.
www.mcmillanlibrary.org/taylor/photos/photo252.JPG
The climax that brought about the building of the Swimming Pool was the drowning of boys to such an extent that it stirred the fathers and mothers into action. "Jack" Arpin, was an ardent promoter of this scheme and donated liberally in both time and money to get this place to swim, for young and old, started. The main motive of course was to provide a safe place where children could enjoy the play of swimming. Later it was taken over by the city and so maintained. On May 30, 1922, it was dedicated as Legion Park, and with proper ceremonies a tree was planted to the memory of each soldier who had died in the World War. A cannon was also assigned to this park by the government and it may have seen service abroad, but this is an American made gun.
The picture at the top shows off the cannon and the river at its high state. The lower picture of the swimming pool was taken in 1930, from the roof of the boy's dressing room and looks towards the pool and swimmers. The lack of water below the dam and in the river is in direct contrast with the picture above.
The bell tower was dedicated in 1965 as a gift of the Pangborn Foundation of Hagerstown. It is 95 feet high and crowned with a 25-foot, gold-leafed bronze figure of the Blessed Mother. It stands on the site of Rev. DuBois’ original church on the hill, which burned down in 1913.
The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is dedicated to the memory and music of Frank Sinatra and benefits the Barbara Sinatra Center for Abused Children. This event enjoys a rich history as one of the marquee golf and fundraising events in the Palm Springs, California desert. Each year, celebrities, amateur contestants, loyal sponsors and enthusiastic spectators from all over the country look forward to returning to this unique "celebrity friendly" event.
Known as "Franks little party in the desert", Barbara and Frank Sinatra founded this event in 1988 to raise funds for the Barbara Sinatra Center for Abused Children at Eisenhower Medical Center, which opened in 1986. Through their efforts, and those of supporters throughout the world, the Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is now one of the most successful events of it's kind.
This is a five (5) player team gross and net scramble golf tournament held at Eagle Falls Golf Course in Indio, California. One (1) celebrity and four (4) contestants are a team. The team of four (4) amateur players remains together for two (2) consecutive days. The celebrity contestant changes teams for the second day. Current USGA handicaps are verified and applied to all contestants.
Dedicated to Leda_Greece
you can read the reason why greeks were awarded the city in XVIIth century - en.wikipedia.org/wiki/Cargese
Making my way to the road bridge over the lines into Kensington Olympia after taking my shots at the fence I was offered to share space on an upturned bread crate by a very kind fellow enthusiast. This gave me those extra few inches to see over the high parapet as anyone under 6ft + who hadn't brought a box or step ladder to stand on to see over had to resort to sticking their camera's over the top and shooting blindly. The gentleman above was one of the best prepared there. In sight, sound and steps! With a set of steps and this fantastic looking very 'Heath Robinson' home made sight and sound recording apparatus!
Hexham Abbey is a place of Christian worship dedicated to St Andrew and located in the town of Hexham, Northumberland, in northeast England. Since the Dissolution of the Monasteries in 1537, the Abbey has been the parish church of Hexham.
There has been a church on the site for over 1300 years since Etheldreda, Queen of Northumbria made a grant of lands to Wilfrid, Bishop of York c.674. Of Wilfrid's Benedictine abbey, which was constructed almost entirely of material salvaged from nearby Roman ruins, the Saxon crypt still remains; as does a frith stool, a 7th/8th century cathedra or throne.For a little while around that time it was the seat of a bishopric.
In the year 875 Halfdene (Halfdan Ragnarsson) the Dane ravaged the whole of Tyneside and Hexham Church was plundered and burnt to the ground.[2]
About 1050 one Eilaf was put in charge of Hexham, although as treasurer of Durham, he probably never came there. Eilaf was instructed to rebuild Hexham Church which then lay in utter ruin. His son Eilaf II completed the work, probably building in the Norman style.
In Norman times Wilfrid's abbey was replaced by an Augustinian priory. The current church largely dates from that period (c.1170–1250), in the Early English style of architecture. The choir, north and south transepts and the cloisters, where canons studied and meditated, date from this period.
The east end was rebuilt in 1860. The Abbey was largely rebuilt during the incumbency of Canon Edwin Sidney Savage who came to Hexham in 1898 and remained until 1919. This mammoth project involved re-building the nave, whose walls incorporate some of the earlier church and the restoration of the choir. The nave was re-consecrated on 8 August 1908.
In 1996 an additional chapel was created at the east end of the north choir aisle. Named St Wilfrid's Chapel, it offers a place for prayer or quiet reflection.
St. George, Staten Island, New York City, New York, United States
Dedicated in 1844, St. Peter's was the first Roman Catholic church building erected on Staten Island, housing the only Catholic parish on the island from 1839 to 1849; its pastor was responsible for ministering to the Catholic patients at the Quarantine Hospital during the key years of the Irish Potato famine and the European uprisings of 1845, one of this country's most significant periods of immigration. The church has remained a dominant Catholic presence on the island, and more than half of Staten Island's Catholic churches have been formed as offshoots of St. Peter's parish, the most important institution in die historic district. (The 1844 building, destroyed by fire in the 1890s, was replaced by the present St. Peter's church in 1900-01.)
This church and rectory complex is located on a through-the- block site with a frontage of 353 feet on St. Marks Place and about 412 feet on Carroll Place. Most of the site was conveyed to the St. Peter's Church in New Brighton in 1840 in two parcels from the Trustees of the New Brighton Association and from Edward A. Nicoll to be used as a place of public worship according to the rites of the Roman Catholic Church. The congregation which formed the nucleus of the parish had begun to meet in April 1839. in a gun factory in New Brighton (at the corner of Lafayette St. and Richmond Terrace) under the leadership of Rev. Ildefonso Madrono. Construction of a church building proceeded slowly, and the first church, which faced Carroll Place, was dedicated in March 1844. The first Roman Catholic church building erected on Staten Island, housing the only Catholic parish on the island from 1839 to 1849, St. Peter's has, through the years, remained a dominant Catholic presence on the island, and more than half of the Island's Catholic churches have been formed as parishes of St. Peter's. During the early 1850s, the Sisters of Charity came to St. Peter's and established a parish school in the church basement. For much of the nineteenth century, the church complex also included a rectory, a school building (demolished in 1923 when it was replaced by the present St. Peter's School which is on the north side of Carroll Place and outside the historic district) that stood at the west side of the church, and a frame building that served as a convent and St. Peter's Academy Music School which stood at 67 St. Marks Place (demolished in 1967).
The present church and rectory are associated with the early-twentieth-century rebuilding of the complex. A fire destroyed the first St. Peter's church building during the 1890s. The present neo- Romanesque structure, designed in 1900 by the architectural firm of Harding & Gooch under the direction of the Reverend Terrance Early, was dedicated in 1902. The fact that George Edward Harding resided in a large home on Richmond Terrace (now the site of St. Peter's School) may explain why the firm of Harding & Gooch received the commission. The firm is best known for several commissions for prominent commercial buildings during the 1890s, including the Postal Telegraph Company Building (a designated New York City Landmark). The remainder of the improvements were overseen by Father Charles A. Cassidy. Dormer windows had been added to the main roof of the structure by 1912, perhaps in 1910 when alteration applications were filed with the Department of Buildings (the dormers were removed in 1990). The tower on the west side of the church, left in a truncated state when the church was dedicated, was increased in height and finished in 1919 as the "Cardinal's Tower" in honor of Cardinal John M. Farley, who had served as curate at St. Peter's from 1870 to 1872. The neo-Renaissance/Romanesque rectory, to the east of the church and connected to it by an arcade, was designed by architect George H. Streeton in 1912 to replace the nineteenth-century rectory.
St. Peter's Church, roughly cruciform in plan, is a brick structure on a foundation of rock-faced limestone; the basement levei is of a tan brick, while brick on the upper stories is a lighter shade. Because of the sloping site, the basement levels of the church are exposed on the Carroll Place end of the structure. The main facade facing St. Marks Place has a projecting gabled entrance bay framed by the main gable face and corner towers rising above the main block. At the portal, engaged columns with foliate capitals form the jamb and support a round compound arch which frames a rose window. A band of sculpture niches surmounts a pair of arched entrances which have glazed wood doors below multi- paned transoms. The portal is flanked by large torcheres; a niche with the sculpture (badly eroded) of St. Peter terminates the gable face of the projecting entrance. The bell towers at the St. Marks facade are similar in design with terminating open arcades above blind arcades. The west tower has a polygonal roof, while the east tower has gable projections that rise above the flat replacement roof (1966), The side walls of the main block are articulated with pilasters and corbel tables framing each bay which has a round-arched window with German stained glass. The ends of the crossing have window groups at the basement and main sanctuary levels and a bull's eye window in the gable face, a feature that appears on the main block as well. The apse is formed by a gable-roofed extension (which, according to historic photographs, originally had a small dome rising above the gable roof) pierced by a series of round-arched windows at the main level, and by a curved extension built of small, rock-faced blocks (now painted), the uniformity of which suggests that they are cast stone or concrete. This extension has wide and narrow round-arched windows and a low-pitched domical roof. Three-story els flanking the apse are terminated by a bracketed cornice band and a parapet that is stepped adjacent to the apse. Prominent paired round-arched windows are set in larger arched openings in the north end walls, and entrances are placed in the east and west bays of these portions of the building, as well as other round- arched window openings.
Dedicated to Ioanna / Joanne of Thessaloniki, Greece ( "CorinthianGulf"), whose comment on a previous picture of this space inspired us to re-arrange our furniture. Thank you! It's far better this way!!!
The saturation of color adjusted, 2026 - hence re-uploaded.
The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
LOCATION
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India
ARCHITECTURE
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. 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 (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures (refer images of temple's outer wall) 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.
SCULPTURES
MAIN IDOL
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).
_________________________________
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
Jongmyo is a Confucian shrine dedicated to the perpetuation of memorial services for the deceased kings and queens of the Korean Joseon Dynasty (1392–1897). According to UNESCO, the shrine is the oldest royal Confucian shrine preserved and the ritual ceremonies continue a tradition established in the 14th century. Such shrines existed during the Three Kingdoms of Korea period (57-668), but these have not survived. The Jongmyo Shrine was added to the UNESCO World Heritage list in 1995.
Jongmyo is adjacent to Changdeokgung and Changgyeonggung in the south. They used to be connected in the Joseon period, but were separated by a road built by Japanese colonialists. Nowadays there is a construction plan to recover the original structure of the shrine.
The main buildings of Jongmyo was constructed in October, 1394 when Taejo, first king of Joseon Dynasty, moved the capital to Seoul. It was destroyed by fire in the Japanese invasions of Korea (1592–98), then rebuilt in 1608.
HISTORY
When it was built in 1394 by order of King Taejo, the Jongmyo Shrine was thought to be one of the longest buildings in Asia, if not the longest. The main hall, known as Jeongjeon, had seven rooms. Each room was reserved for a king and his queen. The complex was expanded by King Sejong (r. 1418–50) who ordered the construction of Yeongnyeongjeon (Hall of Eternal Comfort). This practice of expansion continued, with the growth of the complex moving from west to east, because of the need to house more memorial tablets during the reigns of later kings until there were a total of 19 rooms. However, during the Seven-Year War (1592–98), Japanese invaders burned down the original shrine and a new complex was constructed in 1601 and has survived to this day. The original tablets were saved in the invasion by hiding them in the house of a commoner and also survive. A king's tablets were enshrined three years after his death. There are 19 memorial tablets of kings and 30 of their queens, placed in the 19 chambers. Each room is very simple and plain in design. Only two kings' memorial tablets are not enshrined here. In addition to the tablet, there is a panel listing each king's accomplishments.
The current Jeongjeon is National treasure of Korea No. 227 and is the longest building in Korea of traditional design.
DESCRIPTION
Viewed from the king's throne at Gyeongbokgung Palace, Jongmyo Shrine would have been on the king's left while the Sajik Shrine, another important Confucian shrine, was on the right. This arrangement was derived from Chinese practice. The main halls are surrounded by hills. In front of the main hall is the Woldae Courtyard, which is 150 meters in length and 100 meters in width.
The south entrance gate was reserved for spirits to enter and exit, the east gate was for the king, and the west gate was for the performers of the royal ritual.
The Jongmyo Shrine is divided into 15 main parts.
This list is incomplete; you can help by expanding it.
Jeong Moon -정문- (Front Gate),
'Mang-Myo Ru',
'Gong-min Wang' Shrine,
'Hyang-Dae Cheong (향대청)'
'Uh-sook' Room (shil),
'Panwi Dae',
'Jun-Sa Chung (전사청)'
RITUALS AND PERFORMANCES
An elaborate performance of ancient court music (with accompanying dance) known as Jongmyo jeryeak (hangul: 종묘제례악; hanja: 宗廟祭禮樂) is performed there each year for the Jongmyo jerye ritual. Musicians, dancers, and scholars would perform Confucian rituals, such as the Jongmyo Daeje (Royal Shrine Ritual) in the courtyard five times a year. Today the rituals have been reconstructed and revived. The Jongmyo Daeje has been designated as Important Intangible Cultural Property No. 56 and is performed every year on the first Sunday in May. The Jongmyo Jerye-ak, the traditional court music of Joseon, is performed by the Royal Court Orchestra and has been designated as Important Intangible Cultural Property of South Korea No. 1. This court music has its origins in Chinese court music that was brought to Korea during the Goryeo period (918-1392). King Sejong composed new music for the ritual based largely on hyangak (with some dangak) in 1447 and 1462. .
The songs invite the ancestral spirits to descend from heaven to enjoy the kings achievements in founding the dynasty and defending the country in order to encourage their descendants to follow in their footsteps.
Today the members of the Jeonju Yi Royal Family Association perform the rites to the accompaniment of music and dance provided by musicians from the National Center for Korean Traditional Performing Arts and dancers from the Gukak National High School.
ACCESS
Jongmyo entry is located 155 Jong-no, Jongno-gu. The nearest subway station is Jongno 3-ga Station (Station #130 on Line 1, Station #329 on Line 3, Station #534 on Line 5).
WIKIPEDIA
Dedicated to Darren Clarke who won the British Open last weekend. Another Ulsterman who, like Rory McIlroy played a lot of his golf at Royal Portrush in Co. Antrim N. Ireland.
If Irishmen are going to continue winning Majors at this rate, I will have to photograph more Lake View Golf Course holes to use as dedications!
This is the par 4 17th at Lake View Golf & Country Club, Rotorua, NZ
Sol i llimoner.
They excuse if I cannot comment its photos, the work has to me very occupied these days, thanks to all for all the pleasant commentaries.
Dedicated to Heather Buckley who luvs her some doll babies. More Monster High 2013 details at idlehands1.blogspot.com/2013/02/toy-fair-2013-monster-hig...
The Second Unique Jewel of the Collection Dedicated to Amy Winehouse designed and created by the Italian sculptor Emanuele Rubini is called BLACK SWALLOW. Il Secondo Gioiello Unico della collezione dedicata a Amy Winehouse disegnato e creato dallo scultore Italiano Emanuele Rubini si chiama RONDINE NERA. A marble swallow, light as a feather leans slightly like a caress on the neck of the woman who it wears. On the skin will be soft and enveloping, but especially ergonomic. The beauty and elegance of this Swallow lies in its apparent form sharp and pointed, from wings to the head, turned towards the sky as a sign of freedom. It is a true and its sculpture-jewel, designed for the woman who loves to be unique. Una Rondine di marmo leggera come una piuma, come una carezza si appoggia lieve sul collo della donna che la indosserà. Sulla pelle sarà morbida e avvolgente, ma soprattutto ergonomica. La bellezza e l’eleganza di questa Rondine sta nella sua apparente forma tagliente e acuminata dalle ali alla testa, volta verso il cielo in segno di libertà. E’una vera e propria scultura-gioiello, pensata per la donna che ama essere unica.