Business Development Strategy Vancouver

Container Home In Houston, Texas

In all, the Bank of Abyssinia lent nearly $9 million of their own funds to agrobusinesses thanks to USAID guarantees. Before USAID's guarantee, it was estimated that agriculture received just 16 percent of total available credit in Ethiopia – mostly from government-owned banks. By mobilizing local financing for agriculture USAID is working to improve Ethiopia's capacity to produce enough food for its people.

These pics were all taken during Quin's initial development. Initially shared in Instagram.

Is this an example of his development skills? Run out of fuel on busy main road.

Jeremiah Yancy is an active member of many NGOs and a large part of his businesses is contributed to social services for the sake of humanity and well fare of the society.To know more visit here: medium.com/@Jeremiahyancy

Arrested Development at Koko, London

Developments and experimenting with the idea of projecting myself (a teenager) onto an image without being in it. The pressed flowers and jewels symbolise decoration paired with thick black marker and scratching which show destruction, forming an image which describes the ups and downs of teenage life.

Reflection test using the new internal Structure Synth raytracer. (Rendering time: 2.4s)

I've started working on a simple built-in raytracer in Structure Synth, both for providing fast previews in the GUI, and for people who are intimidated by the somewhat complex template export.

So far it is pretty standard stuff: a single-threaded, Phong shaded based raytracer which uses the Fast Voxel Traversel method to accelerate ray-primitive intersection tests. As of now it supports reflections, transparency, shadows (the hard and ugly type), and adaptive anti-alias. I've also implemented a simple Ambient Occlusion scheme.

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Gage is a character whom I've just recently decided to develop. He was originally a Cephilian (like Romeo Peters), but I decided an anthropomorphic boar would fit his character better.

I know, I know; you're thinking: "Really? Anthropomorphic stuff AS WELL AS a shit-ton of different species?"

Yeah, this universe I've been working on is going to be very ... colorful. I may reduce the species list later. (And anthropomorphic characters would technically be considered human, anyway.)

Scaling Social Economy: Engaging Private and Public Sectors

Tim Hanstad, Chief Executive Officer, Chandler Foundation, USA ; Chantal Line Carpentier, Chief, UNCTAD New York Office of the Secretary-General, United Nations Conference on Trade and Development (UNCTAD), USA ; Precious Moloi-Motsepe, Co-Founder and Chief Executive Officer, Motsepe Foundation, South Africa ; Marcos Neto, Director, Finance Sector Hub, United Nations Development Programme (UNDP), New York ; Alexandra van der Ploeg, Senior Vice-President, Corporate Social Responsibility, SAP, Germany ; Dan Viederman, Managing Director, Working Capital Innovation Fund, USA ; François Bonnici, Director, Schwab Foundation for Social Entrepreneurship; Head, Social Innovation, World Economic Forum ; Hilde Schwab, Chairperson and Co-Founder, Schwab Foundation for Social Entrepreneurship; Cultural Leader

Copyright: World Economic Forum/Jeffery Jones

Sustainable Development Impact Meetings, New York, USA 19 - 23 September

A blog post that includes these photos lives here: likeafishinwater.com/2016/04/29/pilgrimage-to-uji-for-hib...

My company: www.thirdplacemedia.com - Research, content development and communications strategy focused on transit, walkability, placemaking and environment issues

My blog: likeafishinwater.com

SATURDAY, OCTOBER 19, 2019 WASHINGTON DC. 2019 ANNUAL MEETINGS. Development Committee

World Bank Group President David Malpas, International Monetary Fund Managing Director Kristalina Georgieva. Photo: World Bank / Grant Ellis

Photo ID: 101919-Development Committee-078-FF

##Vanished##

Cabinteely, Dublin.

Cadet Tanner Blanchard, from the University of Texas at San Antonio, passes a board along to begin the “Double Culvert” obstacle, July 29, 2019, at Fort Knox, Ky. Cadets from 5th Regiment Basic Camp complete the Team Development Course today to build both teamwork and leadership skills. | Photo by Amy Turner, CST Public Affairs Office

Logo Mark

SATURDAY, OCTOBER 19, 2019 WASHINGTON DC. 2019 ANNUAL MEETINGS. Development Committee

World Bank Group President David Malpas, International Monetary Fund Managing Director Kristalina Georgieva. Photo: World Bank / Franz Mahr

Photo ID: 101919_Development Committee_163_FF

The program will support the School Sector Development Plan (SSDP), which is the government's major education initiative for FY2017 -FY2023. The Asian Development Bank (ADB) and eight other joint financing partners (JFPs) will finance the program with the government during FY2017- FY2021 through a sector-wide approach.

Read more on:

Nepal

Supporting School Sector Development Plan

Children learning through play

The Waldorf Annex

downtown Los Angeles

Outsourcing software development emblem from www.freelancerselite.com

Children learning through play

Photo: Susan Allen/ Stockton University

➡️ Of Man and Environment

A octagonal gazebo at the University of Utah.

Triangular development along Interstate 95 in foreground: Spanish Lakes Fairways

14600 Dalia Ave, Fort Pierce, FL Near Vero Beach and Lakewood Park. 34951 ‎PBI>DCA20140118-3641

This was amazing. Both Peter and this guy Joey showed up as Tobias - with cutoffs and all. AND both ceremonially de-pantsed upon walking in the door to Cassie's house saying, "do these effectively hide my thunder?"

SONY Alpha a7 (Alpha 7), New FD 24mm f/1.4L, 2014/1/2, Yagaji, Okinawa, Japan

DSC00852_3

Georgia Avenue at Kenyon Street in NW Washington DC: The strip connecting Howard University and the Petworth Metro seems to be in the midst of a development spasm these days... Now, somebody's secured financing to build some apartments and new retail on this corner.

.....should be interesting...

..............blogg'd

Become Part of the Solution (POS)... make new friends at www.WeChat3.com

Earth Hour at the 3 Finger Club LOHHAS Lifestyle Lounge

Lights were out between 8:30 and 9:30 while we told stories and discussed our Lifestyle Of Health, Happiness And Sustainability (LOHHAS) using the 3 Finger "Peace Plus One" Sustainability Salute to remind us about Peace, Harmony and Balance between Society, Environment and Economy

People were the best jugglers of "Society, Environment, Economy" balls won "EARTH HOUR 60" T-Shirts WOW \!/O\!/

Photo Courtesy of the McMaster Institute for Sustainable Development in Commerce

www.SustainabilitySymbol.com

www.PeacePlusOne.com

www.Dragonpreneur.com

all participants in the Earth Hour Discussion got a copy of "Letter to Maddie" featured below:

We Screwed Up

A Letter of Apology to My Granddaughter

By Chip Ward

[Note: I became politically active and committed on the day 20 years ago when I realized I could stand on the front porch of my house and point to three homes where children were in wheelchairs, to a home where a child had just died of leukemia, to another where a child was born missing a kidney, and yet another where a child suffered from spina bifida. All my parental alarms went off at once and I asked the obvious question: What’s going on here? Did I inadvertently move my three children into harm’s way when we settled in this high desert valley in Utah? A quest to find answers in Utah’s nuclear history and then seek solutions followed. Politics for me was never motivated by ideology. It was always about parenting.

Today my three kids are, thankfully, healthy adults. But now that grandchildren are being added to our family, my blood runs cold whenever I project out 50 years and imagine what their world will be like at middle age -- assuming they get that far and that there is still a recognizable “world” to be part of. I wrote the following letter to my granddaughter, Madeline, who is almost four years old. Although she cannot read it today, I hope she will read it in a future that proves so much better than the one that is probable, and so terribly unfair. I’m sharing this letter with other parents and grandparents in the hope that it may move them to embrace their roles as citizens and commit to the hard work of making the planet viable, the economy equitable, and our culture democratic for the many Madelines to come.]

March 20, 2012

Dear Maddie,

I address this letter to you, but please share it with Jack, Tasiah, and other grandchildren who are yet unborn. Also, with your children and theirs. My unconditional love for my children and grandchildren convinces me that, if I could live long enough to embrace my great-grandchildren, I would love them as deeply as I love you.

On behalf of my generation of grandparents to all of you, I want to apologize.

I am sorry we used up all the oil. It took a million years for those layers of carbon goo to form under the Earth’s crust and we used up most of it in a geological instant. No doubt there will be some left and perhaps you can get around the fact that what remains is already distant, dirty, and dangerous, but the low-hanging fruit will be long-gone by the time you are my age. We took it all.

There’s no excuse, really. We are gas-hogs, plain and simple. We got hooked on faster-bigger-more and charged right over the carrying capacity of the planet. Oil made it possible.

Machines are our slaves and coal, oil, and gas are their food. They helped us grow so much of our own food that we could overpopulate the Earth. We could ship stuff and travel all over the globe, and still have enough fuel left to drive home alone in trucks in time to watch Monday Night Football.

Rocket fuel, fertilizer, baby bottles, lawn chairs: we made everything and anything out of oil and could never get enough of it. We could have conserved more for you to use in your lifetime. Instead, we demonstrated the self-restraint of crack addicts. It’s been great having all that oil to play with and we built our entire world around that. Living without it will be tough. Sorry.

I hope we develop clean, renewable energy sources soon, or that you and your generation figure out how to do that quickly. In the meantime, sorry about the climate. We just didn’t realize our addiction to carbon would come with monster storms, epic droughts, Biblical floods, wildfire infernos, rising seas, migration, starvation, pestilence, civil war, failed states, police states, and resource wars.

I’m sure Henry Ford didn’t see that coming when he figured out how to mass-produce automobiles and sell them to Everyman. I know my parents didn’t see the downside of using so much gas and coal. The all-electric house and a car in the driveway was their American Dream. For my generation, owning a car became a birthright. Today, it would be hard for most of us to live without a car. I have no idea what you’ll do to get around or how you will heat your home. Oops!

We also pigged out on most of the fertile soil, the forests and their timber, and the oceans that teemed with fish before we scraped the seabed raw, dumped our poisonous wastes in the water, and turned it acid and barren. Hey, that ocean was an awesome place and it’s too bad you can’t know it like we did. There were bright coral reefs, vibrant runs of red salmon, ribbons of birds embroidering the shores, graceful shells, the solace and majesty of the wild sea…

…But then I never saw the vast herds of bison that roamed the American heartland, so I know it is hard to miss something you only saw in pictures. We took lots of photos.

We thought we were pretty smart because we walked a man on the moon. Our technology is indeed amazing. I was raised without computers, smart phones, and the World Wide Web, so I appreciate how our engineering prowess has enhanced our lives, but I also know it has a downside.

When I was a kid we worried that the Cold War would go nuclear. And it wasn’t until a river caught fire near Cleveland that we realized fouling your own nest isn’t so smart after all. Well, you know about the rest -- the coal-fired power plants, acid rain, the hole in the ozone...

www.tomdispatch.com/images/managed/fear2.gifThere were plenty of signs we took a wrong turn but we kept on going. Dumb, stubborn, blind: Who knows why we couldn’t stop? Greed maybe -- powerful corporations we couldn’t overcome. It won’t matter much to you who is to blame. You’ll be too busy coping in the diminished world we bequeath you.

One set of problems we pass on to you is not altogether our fault. It was handed down to us by our parents’ generation so hammered by cataclysmic world wars and economic hardship that they armed themselves to the teeth and saw enemies everywhere. Their paranoia was understandable, but they passed their fears on to us and we should have seen through them. I have lived through four major American wars in my 62 years, and by now defense and homeland security are powerful industries with a stranglehold on Congress and the economy. We knew that was a lousy deal, but trauma and terror darkened our imaginations and distorted our priorities. And, like you, we needed jobs.

Sorry we spent your inheritance on all that cheap bling and, especially, all those weapons of mass destruction. That was crazy and wasteful. I can’t explain it. I guess we’ve been confused for a long time now.

Oh, and sorry about the confusion. We called it advertising and it seemed like it would be easy enough to control. When I was a kid, commercials merely interrupted entertainment. Don’t know when the lines all blurred and the buy, buy, buy message became so ubiquitous and all-consuming. It just got outta hand and we couldn’t stop it, even when we realized we hated it and that it was taking us over. We turned away from one another, tuned in, and got lost.

I’m betting you can still download this note, copy it, share it, bust it up and remake it, and that you do so while plugged into some sort of electrical device you can’t live without -- so maybe you don’t think that an apology for technology is needed and, if that’s the case, an apology is especially relevant. The tools we gave you are fine, but the apps are mostly bogus. We made an industry of silly distraction. When our spirits hungered, we fed them clay that filled but did not nourish them. If you still don’t know the difference, blame us because we started it.

And sorry about the chemicals. I mean the ones you were born with in your blood and bones that stay there -- even though we don’t know what they’ll do to you). Who thought that the fire retardant that kept smokers from igniting their pillows and children’s clothes from bursting into flames would end up in umbilical cords and infants?

It just seemed like better living through chemistry at the time. Same with all the other chemicals you carry. We learned to accept cancer and I guess you will, too. I’m sure there will be better treatments for that in your lifetime than we have today. If you can afford them, that is. Turning healthcare over to predatory corporations was another bad move.

All in all, our chemical obsession was pretty reckless and we got into that same old pattern: just couldn’t give up all the neat stuff. Oh, we tried. We took the lead out of gasoline and banned DDT, but mostly we did too little, too late. I hope you’ve done better. Maybe it will help your generation to run out of oil, since so many of the toxic chemicals came from that. Anyway, we didn’t see it coming and we could have, should have. Our bad.

There are so many other things I wish I could change for you. We leave behind a noisy world. Silence is rare today, and unless some future catastrophe has left your numbers greatly diminished, your machines stilled, and your streets ghostly empty, it is likely that the last remnants of tranquility will be gone by the time you are my age.

And how about all those species, the abundant and wondrous creatures that are fading away forever as I write these words? I never saw a polar bear and I guess you can live without that, too, but when I think of the peep and chirp of frogs at night, the hum of bees busy on a flower bed, the trill of birds at dawn, and so many other splendorous pleasures that you may no longer have, I ache with regret. We should have done more to keep the planet whole and well, but we couldn’t get clear of the old ways of seeing, the ingrained habits, the way we hobble one another’s choices so that the best intentions never get realized.

Mostly I’m sorry about taking all the good water. When I was a child I could kneel down and drink from a brook or spring wherever we camped and played. We could still hike up to glaciers and ski down snow-capped mountains.

Clean, crisp, cold, fresh water is life’s most precious taste. A life-giving gift, all water is holy. I repeat: holy. We treated it, instead, as if it were merely useful. We wasted and tainted it and, again in a geological moment, sucked up aquifers that had taken 10,000 years to gather below ground. In my lifetime, glaciers are melting away, wells are running dry, dust storms are blowing, and rivers like the mighty Colorado are running dry before they reach the sea. I hate to think of what will be left for you. Sorry. So very, very sorry.

I’m sure there’s a boatload of other trouble we’re leaving you that I haven’t covered here. My purpose is not to offer a complete catalog of our follies and atrocities, but to do what we taught your parents to do when they were as little as you are today.

When you make a mistake, we told them, admit it, and then do better. If you do something wrong, own up and say you are sorry. After that, you can work on making amends.

I am trying to see a way out of the hardship and turmoil we are making for you. As I work to stop the madness, I will be mindful of how much harder your struggles will be as you deal with the challenges we leave you to face.

The best I can do to help you through the overheated future we are making is to love you now. I cannot change the past and my struggle to make a healthier future for you is uncertain, but today I can teach you, encourage you, and help you be as strong and smart and confident as you can be, so that whatever the future holds, whatever crises you face, you are as ready as possible. We will learn to laugh together, too, because love and laughter can pull you through the toughest times.

I know a better world is possible. We create that better world by reaching out to one another, listening, learning, and speaking from our hearts, face to face, neighbor to neighbor, one community after another, openly, inclusively, bravely. Democracy is not a gift to be practiced only when permitted. We empower ourselves. Our salvation is found in each other, together.

Across America this morning and all around the world, our better angels call to us, imploring us to rise up and be as resilient as our beloved, beautiful children and grandchildren, whose future we make today. We can do better. I promise.

Your grandfather,

Chip Ward

Belltown shop. It never seemed to be open on the days I walked by. I never did get inside.

Now closed and building demolished.

More gleanings from past years

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Gloster Meteor was the first British jet fighter and the Allies' first operational jet aircraft during the Second World War. The Meteor's development was heavily reliant on its ground-breaking turbojet engines, pioneered by Sir Frank Whittle and his company, Power Jets Ltd. Development of the aircraft itself began in 1940, although work on the engines had been underway since 1936. The Meteor first flew in 1943 and commenced operations in 1944 with the RAF.

Strangely, none of the Swedish J31 Meteors were converted to target tugs. Instead Sweden bought several retired Meteors (T.7 and NF.11) from Denmark and used these aircraft with civil registrations through Svenska Flygtjanst as target tugs.

General characteristics:

Crew: 2

Length: Length: 51 ft 4 in (15.65 m)

Wingspan: Span: 43ft

Height: 13 ft 11 in (4.2 m)

Wing area: 350 ft² (32.52 m²)

Empty weight: 12.620 lb (5.725 kg)

Loaded weight: 21.200 lb (9.625 kg)

Powerplant:

2× Rolls-Royce Derwent 9 engines, rated at 3.800lb/16,9kN each

Performance:

Maximum speed: 585mph (511 knots, 942 km/h, Mach 0.8) at 10.000 ft (3.050 m)

Range: 875 mi (765 nmi, 1.408 km)

Service ceiling: 43,000 ft (13,100 m)

Rate of climb: 5,800ft/min at sea level

Wing loading: 44.9 lb/ft² (218.97 kg/m²)

Thrust/weight: 0.45

Armament:

4× 20 mm British Hispano Mk. V cannons in the outer wings

The kit and its assembly:

This whif is another tribute to fellow user SPINNERS at whatifmodelers.com who came up with a CG simulation of a Meteor NF.14 in Swedish colors. This looked VERY plausible - see the respective screenshots. I had a Matchbox/Revell Gloster Meteor NF.11, 12 and 14 night fighter in the pile without a real plan – until now!

SPINNERS’ screenshots basically became the design benchmark for my build, even though my hardware differs a bit in scheme and markings in order to match the narrow, historic slot for this whif.

Concerning the Matchbox kit there’s not much to say. It’s a simple kit that has been re-boxed several times and is also offered through Hannants under the Xtrakit brand. Fit is mediocre, how to mount the landing gear is up to the modeler, the cockpit is intended for pygmies (even though with nice dahsboard and radar equipment), you get several sink holes, and the fine, raised panels more or less disappear due to the unavoidable and extensive putty work all over the thing.

Since we have a NF.14 here, the kit was built OOB with the respective option parts. Even the belly and drop tanks are standard, only two pilot figures were added for the photo shooting.

Calling it J31 is a bit of a double, since the 31 had already been used for the Spitfire PR.19 photo reconnaissance variant, domestically called S31 (for ‘Spaning’). Therefore the J31 was theoretically ‘free’, even though not really correct. ;)

Painting and markings:

Basically, no surprises here, too, even though mimicking Swedish Air Force colors is a rather tricky task for the ambitious modeler. Especially the "mörk olivgrön/mörkblå/blågrå" scheme from the late 50ies is described with very contradictive suggestions concerning the tones to use, I even found “Blue Angel Blue” (FS 15050!) as serious paint suggestion from Hasegawa.

The colors themselves obviously varied considerably under light conditions and weathering influences: the blue could turn grey or even into a kind of turquoise, and depending on light and perspective the blue tone would even appear like a dull, very dark grey (think WWII German tank grey). The green, on the other side, also ranges from a dark green (FS 34079 is frequently suggested, but IMHO too "green") to a very dark olive drab, and in real life the tone could turn into an almost brownish khaki drab when thoroughly weathered. Much room for interpretation and speculation, even consulting pics of museum and service aircraft did not yield anything conclusive and consistent.

Well, I tried to find a compromise for the upper sides' basic colors for the and settled for Humbrol 163 (Extra Dark Slate Grey, it has that olive drab, reddish touch) and 77 (Navy Blue, which is discernable as a deep, greenish blue; Humbrol 123 is also often suggested, e. g. through Heller, but it’s IMHO too dark), while I used Model Master's "French Dark Grey Blue" (an authentic WWII tone; it is much less 'dark' than you'd expect) for the undersurfaces.

The authentic tone for the lower sides is supposed to be FS 36173 (US Neutral Grey), and pics from museum aircraft (e. g. close-ups from an J32E at the Linköping Swedish Air Force Museum) confirm that. But I think that the pure/original tone is much too dark for a 1:72 scale model kit. Pictures of real service aircraft rather appear like a pale bluish-grey, almost like RLM76?

The pattern itself was adapted from a late Saab J32 instead of SPINNERS’ RAF scheme with modified colors.

After basic painting the Meteor received serious dry-painting on the upper surfaces in order to create a worn and bleached look, e. g. with Humbrol 86 & 155 on the green, with Revell 79 and Humbrol 230 (PRU Blue!) on the blue as well as some "Italian Light Blue Grey" from Modelmaster on the lower surfaces. A black ink wash was also added to emphasize panel lines and other small details.

In order to add some color variation I painted the drop tanks in Aluminum. The radome was painted in satin black, the landing gear and the air intakes in various Aluminum shades. The cockpit was painted in very dark grey (Humbrol 184) with some medium grey dry painting. Gauges and instruments were added with black clear paint.

Roundels and tactical codes mostly come from an RBD aftermarket sheet from Sweden (great stuff!), which features many options for about a dozen J32 aircraft from all of the type's career. Most stencils come from the Matchbox sheet, though.

The red radome band is personal even though authentic addition. These nose colors were common practice in the Swedish Air Force, matching the tail letter code in earlier times that would indicate the aircraft's division (red for 1st, yellow for 2nd and blue for 3rd), even though this code would disappear with the change to individual aircraft numbers on the fin around 1960.

Finally, the kit was sealed with a coat of matt varnish.

Well, “Röd Niklas” is not a spectacular or complicated whif, rather just a color variant - realised in eactly one week from sprues to pics. But the Swedish colors and markings suit the Meteor SO well that it deserved to be taken to the hardware stage, at least as a 1:72 model kit. :D

Pentax *ist • Tamron SP AF Di 90mm F2.8 Macro

Agfachrome RSX II 100 expired film developped in Tetenal Colortec E-6

Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio

Fauna & Flora International

AS Coursework 'Fairy Tale' Corset Project. Development of techniques to create a tree bark like outcome to my corset.

December 2015

Director General of Revenue of Somalia Jafar Mohamed Ahmed, Director General of Somalia National Bureau of Statistics Sharmarke Farah, Senior Economist Vincent de Paul Koukpaizan, and Deputy Division Chief of the IMF Statistics Department Zaijin Zhan participate in a Capacity Development Talk titled Building Capacity in Fragile States moderated by Noha El-Gebaly at the International Monetary Fund.

IMF Photo/Cory Hancock

12 April 2022

Washington, DC, United States

Photo ref: CH220412072.arw

Pinehurst housing development, South Everett, WA USA.

April 09, 2019 - WASHINGTON DC - 2019 World Bank/ IMF Spring Meetings. World Bank Group CEO Kristalina Georgieva, IFC VP for Latin America & the Caribbean and Europe and Central Asia Georgina Baker, and the Sexual Violence Research Initiative founder Claudia Garcia-Moreno, 11 winners from around the world were awarded prize money to design, implement, and capture results of new solutions, including the first-ever private sector winner. Photo: World Bank / Grant Ellis

You know it's a party when...

October 14, 2017 - WASHINGTON, DC. World Bank / IMF 2017 Annual Meetings. Development Committee

World Bank Group President Jim Yong Kim; International Monetary Fund Managing Director Christine Lagarde; Chair of the Development Committee Sri Mulyani Indrawati, Minister of Finance of Indonesia; Development Committee Executive Secretary Yvonne Tsikata, World Bank Vice President and Corporate Secretary. Photo: World Bank / Simone D. McCourtie

Photo ID: 101417-DevCommittee-0164f

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

WIKIPEDIA