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新北市New Taipei City
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Speakers are in good condition and have continuity- great for a work bench or testing for stereo work.
The sign says that this is an "external automated defibrillator". This one was outside the McDonalds at LAX. I guess you just press your belly against the panel and get a zap - then continue chewing your burger...
The external iSight's ¼-inch colour CCD sensor has 640×480-pixel VGA resolution, with a custom-designed three-part F/2.8 lens with two aspherical elements. It features autoexposure, autofocusing from 50 mm to infinity, and video capture at 30 frames per second in 24-bit colour with a variety of shutter speeds. However, the iSight has an image delay of approximately 120 ms.
External Affairs Minister Dr. S. Jaishankar delivered keynote address at the Inaugural of the Youth Pravasi Bharatiya Divas
this is for my friend Swami Stream, he posted items his wife had in her arm, this is what I had in my arm when I broke my wrist in 2001. those four screws were drilled into my bones and the bar kept my wrist from moving while it healed, I expected a normal cast, but when I woke up this is what I had!
Browse funny political cartoons, political cartoons, political cartoons India, election cartoons and other funny Indian global politicians cartoons.
Persepolis (Old-Persian: Pārśa[2]) was the ceremonial capital of the Achaemenid Empire (ca. 550–330 BC).
Gate of All Nations
Apadana Palace
The Throne Hall
Tombs of Kings
Persepolis is situated 70 km northeast of the modern city of Shiraz in the Fars Province of modern Iran. The earliest remains of Persepolis date from around 515 BCE. UNESCO declared the citadel of Persepolis a World Heritage Site in 1979
Persepolis is near the small river Pulwar, which flows into the river Kur (Cyrus / Kuroush). The site includes a 125,000 square metre terrace, partly artificially constructed and partly cut out of a mountain, with its east side leaning on Kuh-e Rahmet ("the Mountain of Mercy"). The other three sides are formed by retaining walls, which vary in height with the slope of the ground. From 5 to 13 metres on the west side a double stair. From there it gently slopes to the top. To create the level terrace, depressions were filled with soil and heavy rocks, which were joined together with metal clips.
Around 519 BC, construction of a broad stairway was begun. The stairway was planned to be the main entrance to the terrace 20 metres above the ground. The dual stairway, known as the Persepolitan stairway, was built in symmetrically on the western side of the Great Wall. The 111 steps were 6.9 metres wide with treads of 31 centimetres and rises of 10 centimetres. Originally, the steps were believed to have been constructed to allow for nobles and royalty to ascend by horseback. New theories suggest that the shallow risers allowed visiting dignitaries to maintain a regal appearance while ascending. The top of the stairways led to a small yard in the north-eastern side of the terrace, opposite the Gate of Nations.
Grey limestone was the main building material used in Persepolis. After natural rock had been levelled and the depressions filled in, the terrace was prepared. Major tunnels for sewage were dug underground through the rock. A large elevated water storage tank was carved at the eastern foot of the mountain. Professor Olmstead suggested the cistern was constructed at the same time that construction of the towers began.
The uneven plan of the terrace, including the foundation, acted like a castle, whose angled walls enabled its defenders to target any section of the external front. Diodorus writes that Persepolis had three walls with ramparts, which all had towers to provide a protected space for the defense personnel. The first wall was 7 metres tall, the second, 14 metres and the third wall, which covered all four sides, was 27 metres in height, though no presence of the wall exists in modern times
Primary Interior Doors/ Primary External Doors- One thing that occasionally bothered me about the original series is when the Doctor would open the interior doors of his TARDIS and they would lead directly to the exterior of the planets they happened to be visiting, but when they left the TARDIS they would still have to open the police box doors. Earlier incarnations of the set, and I mean earlier as in the initial pilot of the Unearthly Child, fixed this by having the police box doors separate of the internal doors, via having the "Interior Doors" connected to what would be the "back" of the police box.I prefer this to having the doors open to the open environment, to I've included it in my incarnation of the interior.
2022-06-04: President of the African Development Bank Group, Dr. Akinwumi A. Adesina addresses along with (L-R), Nnenna Nwabufo, Director General, East Africa Regional Development and Business Delivery Office, African Development Bank; Grace Adesina and Solomon Mugera, Director, Communication and External Relations, AfDB during the official visit to the Tour of Djibouti Electricity Power station and load Distribution Centre.
Fallen fragments of the west window at English Martyrs church photographed on April 11th 2010, The defective upper central transom broke free the previous morning, sending the stained glass/dalle de verre panel above it crashing to the ground where it shattered on the grass below.
It is now clear that the major factor in the declining condition of this window is the poor load bearing capacity of the concrete transoms and their weak connection to the main mullions. The lowest row of panels are bowed and sagging precariously as a result of the weak structure supporting them. Thus the poor condition of the window is as much a failure of the architectural design as much as the nature of the glazing.
Hillmorton's Roman Catholic church of the English Martyrs was built in 1965 (architects Sandy & Norris) with a square core surmounted by an expanse if coloured glass on all four sides forming a lantern, and capped by a concrete vaulted ceiling. Below it was envisaged that four limbs would sprout from this nucleus to form a cross, though in the event only one was built to the north, which served as the nave until the church was re-orientated in the early 1980s when a new sanctuary extension was added to the east.(the old nave being walled off and serving as the church hall ever since). The remaining two temporary walls below the vast windows were finished in brick only in 1990.
The major artistic feature of the building is the enormous expanse of stained glass by noted Welsh artist Jonah Jones, executed in the dalle de verre ('slab of glass') technique popular in the 1950s & 60s, with heavy chunks of glass set in a resin matrix (in place of traditional lead, which would be insufficient to hold such thick pieces of glass). The design of the four windows is abstract, though each incorporates a subtle crown of thorns motif in red glass.
However, times have changed and the dalle de verre technique has not stood the test of time well. Though the east and north windows remain in sound condition those on the south and particularly the west have suffered from the effects of heat expansion which has caused several of the glass pieces to detach from their resin matrix, whilst in the worst cases the resin structure itself is failing, in places cracked and bowing dangerously. Finding a remedy to these problems seems to be frought with difficulties and currently the future of these windows (the largest work ever undertaken by the artist Jonah Jones) hangs in the balance.
Personally I hope they can be saved, admittedly I have an emotional attachment having grown up here, but I also consider them a rare period piece, a bold expression of the kind of optimism and vision that gave us Coventry Cathedral (a mere 12 miles away) and Liverpool Metropolitan Cathedral, both of which are accepted as iconic statements of their time, despite the general unpopularity of the architecture of the time.
Any information on how to proceed with saving these precarious artworks will be most gratefully recieved.
For more information on the artist Jonah Jones see the following website dedicated to his life and work
Replacing the super noisy fan on my Thinkpad Advanced Dock with something quiet.
Sadly this drive is connected via USB, so it's not as fast as it could be.
Camera: Minolta-16 Model-P
Lens: Rokkor 25 / 3.5
Meter: Polaris SPD-100 @ ISO 200
F-stop: not recorded
Exposure time: 1/100th fixed
Film: Kodak 7266 / Tri-X 16mm
Format: 16mm
Developer: XTOL 1+1
Time: 10m00s
Agitation: 5 inv every full minute + 1 inv every half min until 5m
Scanner: Epson V600
Alexandra "Sacha" Westerbeek, Chief of External Relations for UNICEF Ethiopia. Photographed in Oromia Region of Ethiopia on 9 April 2014.
Pastorlist in Afar and Oromia region of Ethiopia, Alternative Basic Education Center ©UNICEF Ethiopia/2014/Ose
External Affairs Minister Dr. S. Jaishankar met Asian American Hotel Owners Association (AAHOA) members on the sidelines of PBD 2023, Indore
VWS3360 © VW Selburn 2015: The external wall of the porch is a single brick wall and needed to be insulated. It can be awfully cold in winter. I used the underlay you would normally lay under wood flooring because it was easy to stick to the bricks. It has excellent insulating, waterproofing and anti-mould properties so is ideal for a northeast facing wall. The whole wall used to be a wall to floor window, until I had it bricked up and a smaller window inserted. I did not do this myself of course, but after doing a 'women builder's' course in later years, (carpentry, bricklaying, dry-lining and a small amount of electrics) now I probably could!
Regards,
David
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These USB drives are convenient and simple to deal with, yet once in a while you may confront the external hard drive not recognized an issue with Windows PC. This happen when the USB port didn't perceive the outside USB drives. At the point when you attempt to get to the information from the hard drive or USB device, you see the accompanying USB Device Not Perceived mistake message. Simply call us or send us a mail; we will react to you within 24 working hours. Customer Service is accessible. We convey USB device not recognized Customer Service and Support to our clients for USB device not recognized Call +1-855-888-1009 or visit our website. sites.google.com/view/usbdevicenotrecognized
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
Max underwent surgery to repair a broken femur. Since he broke his other leg when he was less than a year old, this time he required surgery that will allow him to eventually put weight on the leg. This is his first day home from the veterinary hospital. The external fixture on his leg will eventually be removed.
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.
GEOGRAPHY
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.
HISTORY
The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.
The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.
ARCHITECTURE
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.
SHRINES
The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.
The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
OTHER FEATURES
The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.
CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
FESTIVAL
Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.
WIKIPEDIA