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Former military training ground Scharpenacken, Wuppertal
Ehemaliger Truppenübungsplatz Scharpenacken, Wuppertal
forms the boundary between the counties of Ceredigion and Carmarthenshire in south-west Wales for most of its length, and the boundary between Ceredigion and Pembrokeshire for the final 3 miles (4.8 km) of its total length of 76 miles (122 km) (making it the longest river wholly in Wales), flowing into the sea below the town of Cardigan.
They say imitation is the sincerest form of flattery. In that case, I am sincerely indebted to the developer of this fabulous cobblestone technique, Teresa Elsmore. Having first been introduced to this technique with her walled garden piece several years back, I have kept in the back of my mind, waiting for the perfect subject matter on which to apply my own interpretation. These herringbone cobblestone patterns – both perfectly symmetrical – were a treat to build. The hundreds of interlaced 1x1 tiles and shifting patterns kept me fully engrossed for the hours it required to lay the entirety of these slightly sunken recesses in the Chameli Farsh. The fact that the pattern so closely resembles that of the actual brickwork used for this particular surface, is nothing short of serendipitous!
View the full photo gallery on Patreon:
www.patreon.com/RoccoButtliere/posts/taj-mahal-photos-160...
Droplet light painting @ 100mm - 1.6 sec at f/6.3
...Planet scan --- Epsilon 3E-858
Log date: 2046 - Deep space probe scan
---sensors online---
Atmosphere: nitrogen, carbon dioxide, argon, helium
Orbit sequence: 4-RE-001100
Objective complete: Scans confirm -carbon based signatures...
photo edit-lightroom
creature sculp-zbrush
final edit-photoshop
life form by © Zack Podratz 2012
Is the vulture hovering above Austria? Could also be a turtle.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Here's one of me with my "Star Icosahedron" displayed in the "Surface to Structure: Folded Forms" origami exhibit at The Cooper Union in New York City.
Active 1881 / 1959
Formed by the amalgamation of
34th Regiment of Foot formed 1772
55th Regiment of Foot formed 1755.
Motto Honi Soit Qui Mal y Pense.
Evil Be To Him Who Evil Thinks.
March John Peel
Anniversaries 25th October Arroyo Day.
As the 34th/55th served in The War of Spanish Succession, The Jacobite Rebellion, The French and Indian War, The Seven Years War, The American Revolutionary War, The Napoleonic War,
The Upper Canadian Rebellion, The Crimean War, The lndian Mutiny and The Boar War.
ln The Great War saw action at Gallipoli, The Somme, Arras, Messines, Ypres and Cambrai just to name a few. ln that war they won 64 battle honours. They lost 7,450 men and were honoured with 5 Victoria Crosses.
ln World War 2 They served at Dunkirk and took part in a desperate rear guard action. They also served at Tobruk and Burma where they formed part of Wingates long penetration group. They also took part in The Normandy Landings on D Day. The Laurel leaves near the centre of the badge represent heroic conduct at the Battle of Fontenoy in 1745. At the centre of the badge is a Chinese Dragon and the word China. This is for service in the Chinese war of 1840/42. A well served regiment now part of The Duke of Lancaster Regiment
Forming one side of Piazza del Duomo and opening on the other side to Piazza della Scala, the grand Galleria Vittorio Emanuele II was designed by Giuseppe Mengoni and built between 1865 and 1877. It was then the largest shopping arcade in Europe, with a dome soaring 48 meters above its mosaic floor.
Marking the beginning of modern architecture in Italy, today it stands as a splendid example of 19th-century industrial iron and glass construction. And it's still a beautiful, vibrant place where locals meet for lunch or coffee in its elegant cafés and browse in its luxury shops. It is so much a part of local life that the inhabitants of Milan refer to it as "il salotto" (the salon) [planetware.com]
Sufi whirling (or Sufi spinning) is a form of Sama or physically active meditation which originated among Sufis, and which is still practiced by the Sufi Dervishes of the Mevlevi order. It is a customary dance performed within the Sema, or worship ceremony, through which dervishes (also called semazens) aim to reach the source of all perfection, or kemal. This is sought through abandoning one's nafs, egos or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the sun.
In the symbolism of the Sema ritual, the semazen's camel's hair hat (sikke) represents the tombstone of the ego; his wide, white skirt (tennure) represents the ego's shroud. By removing his black cloak (hırka), he is spiritually reborn to the truth. At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth. The semazen conveys God's spiritual gift to those who are witnessing the Sema. Revolving from right to left around the heart, the semazen embraces all humanity with love. The human being has been created with love in order to love. Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!
NO PHOTOSHOP PHOTOGRAPHY
Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.
This is a view from the trail looking basically southeast across the valley. The clouds are starting to get ominous. It did rain.
www.amerind.org/texascanyonnaturepreserve/
Chat GPT
Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.
The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.
The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.
Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.
en.wikipedia.org/wiki/Texas_Canyon
Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.
www.arizonahighways.com/article/texas-canyon-nature-preserve
The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.
By Suzanne Wright
Zipping past Texas Canyon, an hour southeast of Tucson, it's impossible not to notice the boulders - giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 - particularly at a rest area just down the highway from the kitschy attraction known as The Thing - the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.
There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve - on land previously closed to the public for 85 years, and where the organization's founding family raised quarter horses until 1968 - is open to all.
The idea had been percolating with the Amerind Foundation board and management for years, says Eric Kaldahl, the president, CEO and chief curator of the foundation. The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we've seen for the past 10 years.
The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.
Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be perfect little morsels. Rana didn't grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.
Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite, she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. It's very unusual that it's right off a major interstate and just an hour from a major metropolitan area, she adds. This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I'm so pleased with how it turned out.
Elsewhere along the trail, signage reflects the Amerind Museum's mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O'odham, English and Spanish text, in that order â and Kaldahl hopes to add Apache, too.
Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.
Haiku Thoughts:
Stone giants whisper,
Texas Canyon's quiet grace,
Time's hand carves the sky.
Southern Arizona Adventure 2024
Southern pylon and the Rubrica Engineering Form Travellers used to construct the main bridge deck. Temporary bridge deck support pier under construction (Far left)............Please note ALL pictures on this Photostream are Copyright Protected
Colonial Williamsburg is the historic district of the independent city of Williamsburg, Virginia. It consists of many of the buildings that, from 1699 to 1780, formed colonial Virginia's capital. The capital straddled the boundary of two of the original shires of Virginia, James City Shire (now James City County), and Charles River Shire (now York County). For most of the 18th century, Williamsburg was the center of government, education and culture in the Colony of Virginia.
Colonial Williamsburg is meant to be an interpretation of a Colonial American city, with exhibits including dozens of authentic or accurately-recreated colonial houses and relating to American Revolutionary War history. Prominent buildings in Colonial Williamsburg include the Raleigh Tavern, the Capitol, The Governor's Palace, and Bruton Parish Church. However, rather than simply an effort to preserve antiquity, the combination of extensive restoration and thoughtful recreation of the entire colonial town facilitates envisioning the atmosphere and understanding the ideals of 18th century American revolutionary leaders. It was here that Thomas Jefferson, Patrick Henry, James Monroe, James Madison, George Wythe, Peyton Randolph, and dozens more helped mold democracy in the Commonwealth of Virginia and the United States.
The Historic Area is located just east of the College of William and Mary, founded at Middle Plantation in 1693, just prior to the establishment of the town as capital of Virginia and its renaming. The university's historic Wren Building stands at the west end of Duke of Gloucester Street.
Colonial Williamsburg is a major source of tourism to Williamsburg, as well as a touchstone for many world leaders and heads of state, including U.S. Presidents. The United States hosted the first World Economic Conference at Colonial Williamsburg in 1983. It is the centerpiece of the surrounding Historic Triangle of Virginia area, which has become a popular tourist destination for visitors domestic and foreign. The other two points of the Historic Triangle are Jamestown and Yorktown.
Contents
Early in the 20th century, the restoration and recreation of Colonial Williamsburg, one of the largest historic restorations ever undertaken, was championed by the Reverend Dr. W.A.R. Goodwin and the patriarch of the Rockefeller family, John D. Rockefeller, Jr., along with the active participation of his wife, Abby Aldrich Rockefeller, who wanted to celebrate the patriots and the early history of the United States.
Many of the missing Colonial structures were reconstructed on their original sites during the 1930s. Other structures were restored to the best estimates of how they would have looked during the eighteenth century, with all traces of later buildings and improvements removed. Dependency structures and animals help complete the ambiance. Most buildings are open for tourists to look through, with the exception of several buildings that serve as residences for Colonial Williamsburg employees.
Notable structures include the large Capitol and the Governor's Palace, each carefully recreated and landscaped as closely as possible to original 18th century specifications, as well as Bruton Parish Church and the Raleigh Tavern.
The major goal of the Restoration was not to merely preserve or recreate the physical environment of the colonial period, but to facilitate education about the origins of the idea of America, which was conceived during many decades before the American Revolution.
In this environment, Colonial Williamsburg strives to tell the story of how diverse peoples, having different and sometimes conflicting ambitions, evolved into a society that valued liberty and equality.
formato A5, schizzo a penna, acquerello e ink brushes, su carta pura cellulosa liscia. da fotografia
Tortue, coq, poussin et en train de gonfler, le joueur de cornemuse au vestival des ballons de Château d'Oex
These form when stable air moves over a raised land feature, such as hills or mountains, and is forced upward. Gravity then causes the air to fall back down, and it begins to oscillate, creating that ripple effect
This is a very popular dance form in South India. It is oldest of all classical dance forms in India. Dance of mind & soul. It is extremely traditional and known for its grace, purity, tenderness, staturesque & sculpturesque poses. It uplifts the dancer and the beholder to a higher level of spiritual consciousness. The dancer is considered as a worshiper, worshiper of the Divine. An embodiment of beauty, charm and gracefulness.
The general interpretation for the name is
BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dance) = Bharatanatyam
Origin of Bharatanatyam
The Gods & Godesses pleaded Lord Brahma to create another veda which would be simple for the common man to understand. It is believed that considering this request Lord Brahma created the Panchamaveda, Fifth veda, Natyaveda, an essence of the other four vedas. It is believed that he has taken pathya (words) form the Rigveda, abhinaya (gesture) from the Yajurveda, geet (music and chant) from Samaveda and rasa (sentiment and emotional element) from Atharvaveda to form the fifth veda, Natyaveda.
After creating this natyaveda, Lord Brahma gave the same to sage Bharata and asked him to popularise this veda on earth. Following the words of Lord Brahma, sage Bharata wrote Natyashastra or the Science of Dramaturgy, a great, comprehensive work on the science and technique of Indian drama, dance and music.Bharatanatyam might have got its name from sage Bharata also.The dancers still follow this work to perform.
There is also another story which says that Godess Parvathi tought this dance form to Usha, daughter of Banasura, a demon. Usha taught the same to the Gopikas of the city of Dwaraka, Lord Krishna's birth place. Thus the divine dance form Bharatanatyam was introduced to the mankind.
In Indian mythology,Lord Shiva is considered as the supreme lord of dance. This divine art form is performed by Lord Shiva & his wife Goddess Parvathi. The Dance performd by Lord Shiva is known as Tandava, which depicts his violent nature as the distructor of the universe. The tandava performed with joy is called Ananda Tandava and performed in violent mood is called Rudra Tandava. There are 7 types of Tandava. Namely Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are few people who believa that there are 16 types of Tandava. Tandava has vigourous, brisk movements.The dance performed by Goddess Parvathi is known as Lasya, in which the movements are gentle, graceful and sometimes erotic also. Some scholars call Lasya as the feminine version of Tandava. Lasya has 2 kinds. Jarita Lasya and Yauvaka Lasya.
The art form has definitely gone through lot of changes over the years. In olden days it was performed mostly by female artists. They were called Devadasis, who would perform in the temples. These devadasis were accomplished artists who would sing, dance, play many instruments. They were well worsed in sanskrit & other languages which helped them to interpret compositions which they would perform. But this tradition came to an end as the devadasis lost their position in the society.
Then dance entered the royal courts. Here the artists called Rajanartakis, performed in the courts of kings who gave them shelter.Even these were accomplished artists like devadasis.
The next well-documented period of dance history is far more recent. In the first half of the 19th century the dance tradition was revitalized and defined anew through the contributions of four talented brothers (known today as the Tanjore Quartet)Chinniah, Sivanandam, Ponniah and Vadivelu. By coordinating their diverse talents, the four managed to organize all the basic dance movements of pure dance into a progressive series of lessons [adavu chapters]. Each adavu (basic unit of motion) was taught in systematic order and then combined with others to produce choreographed sequences based upon the rhythmic contour of a musical composition (Krishnamoorthy Pillai). In addition the brothers composed new music specifically for the dance, and introduced a different sequence of items which integrated the various aspects of dance and music into a carefully coordinated, aesthetically sound progression. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Indian dance.
The contribution of Udayshankar, Rukminidevi Arundale and Balasaraswathi, in the 20th century, cannot be forgotten at this juncture.
Even though Bharatanatyam has gone through lot of changes, it still has its roots deep into the religious and rich mythological heritage of India. In the modern day scenario it is performed by both male & female artists. Many learn as a hobby and few make it as a profession. Whether taken as a hobby or a profession it certainly needs lot of practice,concentration and dedication.
About Bharatanatyam
Bharatanatyam is evenly divided between three elements Nritta, Nritya and Natya .
Nritta : Rhythmic Element.Interprits the language of rhythm with the help of body movements.
Nritya : Combination of Rhythm with Expression.Conveys poetic meaning with the help of expressions, rhythmic gaites and postures. eg. Varna, Shabda, Pada etc.
Natya : Dramatic Element.Performing for a theme like Ramayana, Mahabharata etc.
Nritta
Nritta can be broadly divided into Chari, Karana, Angahara and Mandala. Movement of a leg is called Chari. Movement of both the legs is Karana. 3 Karanas make a Khanda. 3 to 4 Khandas make a Mandala. 4 to 9 Karanas make a Angahara. 4 to 5 Angaharas also make a Mandala. 108 Karanas and 32 Angaharas are defined in Natyashatra. The 13 Nritta Hastas (explained later) are used to perform nritta. The rythmic body movements along with hand gestures are called Aduvus. Number of aduvus constitute a Jati. Jati will generally end with a Muktaya or Teermana.
There are varieties of Aduvus like
Tattaduvu
Mettaduvu
Nataduvu
Kattaduvu
Kudittamettaduvu
Maiaduvu
Mandiaduvu
Jati
Nadai
Ardi
There are 12 aduvus in each of the above explained. Hence 120 aduvus exist in total. Only about 70 - 80 are in practice. The aduvus are more or less Karanas. Hence can be concluded that there are 108 aduvus. The 108 Karanas or Aduvus are carved in the Chidambaram Temple in Tanjore, Tamilnadu, India. To perform an aduvu aramandi, bending of the knees is very very important.
The entire body is divided as Anga, Pratyanga and Upaanga.
Anga
Anganyatra shirohastau vaksha paarshwakateetatau
Paadaviti shaduktaani greevamapyapare jaguhu
Head, Hands, Chest, Waist, Bottom, Legs are the Six Angas. Some people include Neck also.
Pratyanga
Pratyangaani twathaskandhau baahoo prushtam tathodaram
ooroo janghe shadityahurapare manibandhakau
jaanooneekoorparamiti trayamapyadhikam jaguhu
Shoulders, Arms, Stomuch, thighs, Knee are the Six Pratyangas. Some people include Wrist, elbow and Ankle also.
Upaanga
Drushtibhrooputatarashcha kapolau naasikaahanuhu
Adharodashanaa jihwaa chubukam vadanam tatha
Upaangani dwadashitaanyanyaanyangaani santi cha
Paarshnee gulbautathangulyaa karayoho padayostale
Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include Heels, Fingers, Feet, Palm also into upaangas.
Pratynaga and Upaangas should move along with the Angas.
Anga Lakshana, the way of moving body parts, are described below.
Shirobhedha - Head Movement
Greevabhedha - Neck Movement
Drushtibhedha - Eye Movement
Paadabhedha
Mandala - Standing Posture
Utplavana - Leaps
Bhramari - Circling Movement
Chari - Leg Movement
Gatibhedha - Charecteristic walks and
Hastas or Mudras - Hand Movements
Asamyuta Hasta
Samyuta Hasta
Deva Hasta
Dashavatara Hasta
Navagraha Hasta
Jaati Hasta
Bandhu Hasta
Nritta Hasta
When all Angas(main body parts) coordinate (along with pratyanga and upaanga) the artist is said to have Angashudhi. Anga meaning body parts and shudhi, meaning perfect. Any dancer should try to achive this perfection. The Natyashastra, which talks about all aspects of Bharatanatyam, quotes shlokas to perform all the above movements. All the above said movements are dealt in detail in the respective links.
Aspects of Abhinaya
The expressions which are shown to express poetic meanings is Abinaya. Here the emphasis is more on facial expressions than rhythmic movements. The Abinaya is divided as
Angikabhinaya
Vachikabhinaya
Aharyabhinaya
Satvikabhinaya
Angikabhinaya : Expressing the meanings of lyrics using the body parts like Head, Hands, Legs etc. is Angikabhinaya. The Bhedas which i have explained above come under Angikabhinaya.
Vachikabhinaya : Expressing the Story using narrations in the dance drama is Vachikabhinaya.
Aharyabhinaya : Imitating the Costumes, Jewellary, Make-up etc. in a dance comes under Aharyabhinaya.
Satvikabhinaya :Showing the Bhava(moods) come under Satvikabhinaya.
Lord Shiva is praised as the embodiment of the above 4 types of abinaya in this following shloka.
Angikam bhuvanam yasya
Vachicam sarva vangmayam
Aharyam chandra taradi
tam vande satvikam shivam.
Meaning for the above shloka is
We bow to Him the benevolent One
Whose limbs are the world,
Whose song and poetry are the essence of all language,
Whose costume is the moon and the stars..."
In Lord Shiva's well-known pose of NATARAJA,
his right hand holds the drum of creation - symbolising a new awakening
his left hand holds fire - representing destruction of the old order
his other right hand is raised in blessing
the other left hand points to his left foot, which has crushed demon Muyalaka - representing ignorance.
There are nine main or primary emotions, Sthayibhavas. It is also termed as Rasa(Mood).
Shringara - Love
Hasya - Mirth
Veera - Heroism
Roudra - Anger
Bhayanaka - Terror
Bheebatsa - Disgust
Adbhuta - Wonder
Karuna - Compassion
Shanta - Tranquility
Vatsalya(Parental fondling) rasa is also sometimes included as one of the stayibhava.
Vibhava (cause of emotion), Anubhava (effect of emotion) and Sanchari bhava (subordinate emotions) constitute the state of rasa.
Now i would like to talk about Nayika(the Heroine) and Nayaka (the Hero) bhavas.
The Nayika Bhava
The shastras have classified the basic mental status of woman, the Nayika, into Eight divisions, called Ashtanayika bhavas. These divisions portray the heroine in different situations, express different feelings, sentiments & reactions.
The Ashtanayika bhava are
Abhisarika
Kalahantarika
Khandita
Proshitapathika
Swadheenapathika
Vasakasajjika
Virahotkantita
Vipralabda
Abhisarika - She is the one who boldly goes out to meet her lover.
Kalahantarika - She is the one who is repenting her hastiness in quarrelling with her lover, which has resulted in their seperation.
Khandita - She is the one who is angry with her lover for causing dissapointment.
Proshitapathika - She is the one who is suffering in the absence of her beloved, who is away on a long journey.
Swadheenapathika - She is the one who is proud of her husband's or beloved's love and loyalty.
Vasakasajjika - She is the one who is preparing for the arrival of her beloved, by decorating herself and her surroundings. to provide a pleasent welcome to her lover.
Virahotkantita - She is the one who is seperated from her lover & is yearning for reunion.
Vipralabda - She is the one who is dissapointed that her lover has not turned up at the tryst as he promised.
Other classifications of the Nayika bhava are
Mugdha - Inexperienced in love.
Madhya - Partly Experienced in love.
Pragalbha - Matured in the art of love.
This Pragalbha Nayika is further classified as
Dheera
Adheera
Dheeraadheera
Sweeya - Married & faithful to her husband.
Parakeeya - Married but in love with another man.
Samanya - A free woman, who truly belongs to any man for a price.
Jyeshta - The preferred one.
Kanishta - The other woman.
Further classifications are
Uttama - Self-controlled & tolerant.
Madhyama - Literally the middle one, who gives as she gets.
Adhama - Literally the low one, who has no self restraint.
The Companion to the Nayika plays an important role in any padam, javali or Ashtapadi. This Companion is the one to whom the Nayika will convey her feelings, she is the one who will take the message,if any, from the nayika to the nayaka, she is the one who will sort out the differences between the nayika & the nayaka. This companion is usuallly a girl who is close to the Nayika.
The classification of the Companion is as follows.
Daasi - Servant
Sakhi - Friend
Kaaroo - Woman from a lower caste
Chatriya - Step Sister
Prativamshini - Neighbour
Lindini - Saint
Shilpani - Artist
Swaa - Nayika herself as a messenger
The Nayaka Bhava
Just like the heroines, the moods and emotions of the hero are also classified into different divisions. The main division is
Dheerodaatta eg. Lord Rama
Dheeroddhata eg. Demon Ravana
Dheeralalita eg. Vatsaraaja
Dheerashanta eg. Buddha
The other classification is
Pati - Married & faithful to his wife.
Upapati - Married but in love with another woman.
Vaisika - One who pays & enjoys women.
Further Nayaka classifications
Anukoola - Faithful to the Woman. eg. Lord Rama
Dakshina - Loves all his wives or women. eg. Arjuna
Drishta - When rejected, pleads to be accepted by his woman. eg. Vaali
Shatha - The deceitful one. eg. Lord Krishna
Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka.
Nayaka's Companion plays an important role too. This companian is categorised as
Peetamardhana
Vita
Cheta
Vidooshaka
Arangetram
Arangetram is a tamil word.Aranga meaning raised floor and Etram meaning climbing in Tamil,one of the south indian languages. It is also called Rangapravesha in Kannada, another south indian language, Ranga meaning Stage and Pravesha meaning Enter. Ideally this should be the first public performance of an artist. After learning bharatanatyam under the guidance of an accomplished guru, this is the occation for the proud guru to present his/her deciple to the public. This is the testing time for both the guru & the shishya(deciple) as the guru's knowledge & the deciple's talent both are judged by the public. Hence, the guru will decide when the deciple is ready for public appearence. Atleast 10 - 12 years of training is necessary to give a comendable performance.
This arangetram was known as Gejjepooje in old mysore district, meaning worshiping the jingles in kannada, a south indian language.For a dancer, jingles are considered devine. In olden days, deciples were not allowed to wear jingles till their first public performance. In their first performance, they were made to worship the jingles, wear them & then perform.
Accompaniments play a major role in the making of a memorable dance performance.Basic accompaniments are a Singer, Mridangam player, Violin player and ofcource the Natuvanga. Veena,Flute and other instruments are optional. These people sit in the corner of a stage or in a place in front of the stage which will be in a lower level than that of the stage.
The artist will wear lot of jewellery, make-up and a specially stitched dress. Jingles are a must.
Usually duration of an arangetram will be 2 1/2 - 3 hours. To perform for such long hours one must have good stamina and concentration. This time is divided into two halves.
In the first half the artists generally perform
Pushpanjali or Alaripu
Jatiswara
Shabda
Varna
In the second half
Padam
Ashtapadi or Devaranama
Tillana
Mangala
Pushpanjali
This is an item where the artist salutes to god, guru and the audience. This item is a warmup item where the artist prepares the body for the next few hours of vigorous performance.
Alaripu
This is a tamil word.Alar meaning to bloom. It comprises of set of movements without any meaning or expression. The movements are performed for syllables set for a beat(Tala). The complexity of the movements gradually increase. The steps are so formed that it looks like a bud blooming into a flower. This is also a warmup piece to prepare the body for the next few hours of performance. Eventhough there is no meaning, this can also be considered as an item where the artist salutes god,guru and the audience.
Jatiswaram
This is also an item where the movements will not convey any meaning or theme. Here the steps are more complex than the previous items. The composition can have amazing postures and teermanas or muktayas(ending of a jati). This is a musical composition set to a raga unlike alaripu which has only syllables.
Shabda
This is a dance item with both nritta & abinaya. Usually the theme of the lyrics will be devotional like praising lord krishna, depicting lord krishna's childhood , praising a king etc.The movements here are leisurely.
Varna
This is the item where the dancers are tested for their capacity to perform abinaya & nritta. This can be treated as a benchmark to judge the artist's talent.The item will contain many complex steps and will have lot of room for expressions also. To perform this item one should have lot of stamina & concentration. The lyrics can be devotional, praising a king etc. Varna can also have shrigara rasa as its theme.
Padam
In this dance item the dancer's abhinaya is put into test. It narrates expression of divine love or pangs of seperation in love. The tempo is slow and the performance is based on a specific mood of love.Padams will have Nayaka(Hero, Supreme lover, Divine Lord)& Nayika(Heroine, the yearning soul). Heroine will talk to her friend(sakhi) and narrate her feelings towards her hero. The lyrics can be about how the hero has betrayed, how he has delayed the arrival, how she is angry with her beloved hero etc. The Nayika and Nayaka Bhavas are explained in detail Here.
Ashtapadi
These are poet Jayadeva's Sanskrit compositions called Geetagovinda, an extremely romantic composition. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. The songs are sung by Krishna or Radha or by Radha's maid. Each Canto is named differently considering Krishna's status of mind.
Saamodadamodara - Joyful Krishna
Aakleshakeshava - Careless Krishna
Mugdhamadhusoodhana - Bewildered Krishna
Snigdhamadhusoodhana - Tender Krishna
Saakankshapundareekaksha - Longing Krishna
Kuntavaikunta - Indolent Krishna
Naagaranaaraayana - Cunning Krishna
Vilakshalakshmeepatihi - Abashed Krishna
Mandamukunda - Languishing Krishna
Chaturachaturbhuja - Intellegent Krishna
Saanandadamodara - Blissful Krishna
Supreetapeetambara - Ecstatic Krishna
Expressions are given foremost importance while performing these poems. Needs lot of grace. The artist should be mature enough to understand the lyrics and the situation to show the rasas.
Devaranama
This item is a devotional piece where the lyrics are in praise of god, describing the god etc. This is a pure abhinaya item with almost no emphasis on nritta. Usually the lyrics are in Kannada. These songs are the compositions of great mystics like Purandharadaasa, Kanakadaasa, Vijayadaasa, Vyasaraaja to name a few. The compositions are popularly known as Daasa Sahitya. It is a devotional literatures written in simple language understood by common man. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching phylosophy of Love, Devotion and Peaceful Co-Existance.
If you are looking for some compositions, here they are.
Tillana
This is usually the last item in any bharatanatyam performance. Tillana is full of complicated movements & postures. This will also have complicated Muktayas or Sholkattu, ending of any step or aduvu. This is mainly a nritta piece which might have a charana, a meaningfull lyrics for which abinaya is shown.
Mangala
Meaning ending the performance. Here the artist will again salute god, guru & the audience for making the performance a success.
Original source can be found here.
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