View allAll Photos Tagged forms
NRFB FR LOFT DRESS FORM (female)
RARE & VHTF
Compare - eBay @ $250!
www.ebay.com/itm/RARE-FASHION-ROYALTY-1-6-SCALE-DRESS-FOR...
~ The Windsor Locks Public Library ~ 1905-2006
The Memorial Hall Association formed on June 27, 1905 to provide a "lecture and entertainment course" for the citizens of Windsor Locks. A Library Committee was formed on November 15, 1905 after the Association adopted a constitution and bylaws, which set forth the purpose of the Association as "intellectual and social improvement of the community." On June 29, 1907 the Association voted to authorize the Library Committtee to proceed with locating space for a free library and reading room to serve the town of Windsor Locks. Windsor Locks's first library opened its doors on October 7, 1907. Located then in the Converse Block on the corner of Main and Spring Streets, the library's collection consisted of 1,250 volumes, 450 of which were donated by the Women's Christian Temperance Union of Windsor Locks. Seventy one books were checked out by borrowers on its first day. The town's first permanent librarian, Miss Lula Stockwell, served from 1907 until April, 1918, when she was suceeded by Alice Coffin.
By 1920 the library was open 6 days a week, for a total of 19 hours and in 1924 the library relocated to rooms in the Windsor Locks Bank Building. In May, 1928 the name was changed from the Memorial Hall Association to Windsor Locks Public Library, Inc. By this time there were 6,158 books on our shelves and annual circulation was 10, 336. 1,200 people used the library on a regular basis. In August, 1940 the library received a bequest of $5,000 from the late Mr. J.J. Burke and land from Mrs. Conant for the purpose of building a library. It is on this land that the library presently stands.
Mae Egan was appointed librarian in May, 1941, replacing Alice Coffin. Miss Egan had previously served on the library's Board of Directors as chairman of the book committee and secretary. Discussions about erecting a library building went on for several years, and in 1947 it was decided that building would be delayed for at least 2 years. In 1954 the library was offered the Swindell home, which had to be moved due to construction of the town's new high school. This offer was accepted, the building was moved and remodeled, and on February 1, 1955 the beautiful new library was opened. A new wing was added in 1962 and professional librarians were added to the staff in 1963.
Linda Most was named head librarian in September, 1969. Ronald Hubbs was hired to lead the library's staff in 1979, and in June, 1990 the current building was dedicated under his able direction. Ronald Hubbs served as head librarian until his retirement in 1998. Terry Crescimanno served as Director from 1999 until April 2001 and David Brown managed the library from August, 2001 until September, 2003. Gloria Malec has been serving as Director of the Windsor Locks Public Library since January 2004.
Today the Windsor Locks Public Library's collection includes about 60,000 items, including books, subscriptions to 80 magazines, audio books (on tape, CD, and playaway), more than 1,000 entertainment and informational videos, CDs and CD-ROMs, and a growing number of DVDs. We are also in the process of developing an ESOL (English for Speakers of Other Languages) collection and updating our Reference collection to include more online resources that can be used in conjunction with our print materials. INFOAnytime 24/7 virtual reference service is available for all of our library users. On March 1, 2006 the library, along with 22 other consortium members, began offering downloadable audio books for our users.
In addition to the director, our staff includes an Adult Services Librarian (Eileen Pearce), our new Children's Librarian (Kristin Raiche), our Head of Technical Services (Beth Morrill), 6 part-time library assistants, a page, several fill-in clerks, and numerous dedicated volunteers. During 2007 our staff invites the community to join with us in celebrating our 100th anniversary!
Information on this page was compiled from various local sources, including "The Story of Windsor Locks: 1663-1976",
published by the Windsor Locks Bicentennial Commission in 1976
THE HISTORY IS USED WITH PERMISSION.
COPYRIGHT BY THE WINDSOR LOCKS PUBLIC LIBRARY.
The New Zealand bellbird (Anthornis melanura), also known by its Māori names korimako and makomako, is a passerine bird endemic to New Zealand. The bellbird forms a significant component of the famed New Zealand dawn chorus of bird song that was much noted by early European settlers. The explorer Captain Cook wrote of its song "it seemed to be like small bells most exquisitely tuned". Its bell-like song is sometimes confused with that of the tui.
DESCRIPTION
Bellbirds are green with a short, curved bill, slightly forked tail, and noisy whirring, fast and direct flight. Adult males are olive green, slightly paler on the underparts, with a dark purplish sheen on their head and blackish outer wing and tail. Females are a duller olive brown with a blue sheen on the head and yellowish-white curving from the base of the bill to below the eye. Adults of both sexes have a notably red eye. They are about 17–20 cm from the tip of their beak to the end of their tail. Juveniles are similar to females, but with a light yellow cheek stripe, brown eyes and lacking the bluish gloss on the head.
VOICE
Song varies regionally but is ringing notes without grunts or wheezes. Alarm call a rapidly repeated harsh “yeng”. The famous bell notes noted by Sir Joseph Banks in Queen Charlotte Sound on James Cook first voyage to NZ are only heard when many birds are present at once, mostly at dawn and dusk in places of high bellbird density with few other bird species.
CLASSIFICATION
There are four sub-species: NZ bellbird (A. melanura melanura/dumerii), Poor Knights bellbird (A. melanura oneho), Three Kings bellbird (A. melanura obscura), and the Chatham bellbird (A. Melanocephala) that became extinct in the early 20th century.
DISTRIBUTION
The bellbird is found throughout both the main islands of New Zealand apart from the north of the North Island. Its population and distribution had been seriously affected by the introduction of European-style farming, which has led to the removal of native forests (the natural habitat of the bellbird). Another important factor is the introduction of predatory species such as cats, weasels, stoats, ferrets, rats and food-robbing species like wasps. Predators either eat the birds or consume eggs, while food robbers compete with the bellbird for its natural food sources of nectar, honeydew and insects. The decline occurred around the same time as many other NZ species, but for unknown reasons was reversed and the species is still common across much of New Zealand.
BREEDING
Bellbirds breed in spring and summer (two broods), building a loose nest of twigs and grasses, lined with feathers and fine grasses. Most nests are in a fork under dense cover, from near ground level to >5m. The clutch size is typically 3-4, rarely up to 5 eggs. The female incubates and both parents care for the young.
THREATS AND CONSERVATION
Bellbirds are common throughout most of their range, and can reach extraordinarily high densities on predator-free offshore islands (e.g. 5.5 to 9.1 pairs per hectare). The cause of the rapid decline of the bellbird from Northland and around Auckland in the 1860s is a matter for speculation. At least nine attempts had been made to translocate bellbirds to islands or mainland sites up to 2012; most failed, and none has yet resulted in a well-established population.
BEHAVIOUR AND ECOLOGY
Bellbirds are territorial when breeding, but may leave the territory to feed at nearby sources of concentrated food, such as nectar. After breeding they move around, usually alone, although several may feed simultaneously in a flowering tree. Males are substantially larger than females and often dominate at concentrated food sources such as nectar sources. The outer primaries of males are notched and these produce a whirring when the birds are in flight and males accentuate the sound during territorial disputes. The oldest known bird was over 8 years. Banded birds have moved up to 10 km, but they are likely to move greater distances when searching for concentrated food source during winter.
FOOD
Bellbirds mainly feed on nectar from many native and introduced plants. They use their brush-like tongue to reach deeply into flowers. In late summer and autumn they take fruit, and in beech forests they take honeydew from scale insects on beech trunks. Bellbirds also eat many insects and spiders by gleaning trunks, branches and leaves; also by hawking. Young appear to be fed insects almost exclusively. As honeyeaters they play an important part pollinating numerous native plants such as mistletoe, flax, fuchsia and kowhai. Subsequently, when feeding on fruits they have a role in dispersing the seeds, and so they assist in the regeneration of the forest in at least two ways.
Source Wikipedia, nzbirdsonline.org.nz
2 August 2012. El Fasher: UNAMID peacekeeper first sergeant Joko Ashari, Formed Police Unite (FPU) member from Indonesia, prays in the mosque at the base in UNAMID headquarters in El Fasher (North Darfur) right few minutes before breaking the fast for Ramadan.
Indonesia has around 150 FPU policemen deployed in Darfur to provide escort and security to UNAMID, UN agencies and any other aid organization, as to the Internally Displaced Persons (IDP) in Abu Shouk and Zam Zam camps.
Photo by Albert González Farran - UNAMID
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Part of Azzedine Alaïa: The Couturier
(May to October 2018)
Azzedine Alaïa’s innovations in stretch fabrics were at least as important as his elevation of leather. In his hands, these transformed the silhouette of the wearer.
Rather than creating clothes anchored at strategic points – conventionally, the waist and the shoulders – Alaïa’s bandage dresses cling to the wearer’s form, conscious of the entire body. The stretch fabric allows these minimal silhouettes to move freely.
Debuted in 1986, these variations on the ‘Bandelette’ (bandage) dress are clearly inspired by ancient Egyptian mummification, but also perhaps by the swaddling of infants. The garments join Western and Eastern traditions – highly fitted and precision-cut, with a body simply and sensually wrapped in cloth.
The dresses seem simple, but each band of fabric is precisely engineered and cut to specific dimensions, according to its place on the figure. These creations ushered in the notion of physique-delineating ‘bodycon’ dressing, the defining aesthetic of the early 1990s.
Conceived and co-curated with Monsieur Alaïa before his death in November 2017, the exhibition charts his incredible journey from sculptor to couturier, his nonconformist nature and his infectious energy for fashion, friendship and the female body.
Unlike many of his contemporaries, Alaïa personally constructed each garment by hand and refused to bow to the pressures of fashion week deadlines, instead working to his own schedule. His collaborative approach earned him an esteemed client list, including Greta Garbo, Grace Jones, Michelle Obama and Rihanna.
Rather than a retrospective, the show interlaces stories of his life and career alongside personally selected garments, ranging from the rare to the iconic and spanning the early 1980s to his most recent collection in 2017.
[Design Museum]
Many traders set up shops in the street in the form of metal kiosks, which have the advantage of being easy to move. Using computers makes it possible to create image compositions to promote services and improve screen printing processes to develop appropriate advertising materials. Unfortunately, these "new supports" in printed tarpaulins often show lousy taste to the detriment of local artists who previously painted original advertising panels in their remarkable style.
De nombreux commerçants installent des boutiques dans la rue sous forme de kiosks métalliques qui ont l'avantage de facilement pouvoir être déplacés. Le recours à l'informatique permet de créer des compositions d'images pour promouvoir les services offerts et les améliorations dans les procédés de sérigraphie de réaliser les supports publicitaires adéquats. Malheureusement, ces "nouveaux supports" sous forme de bâches imprimées font souvent preuve de mauvais goût au détriment des artistes locaux qui auparavant réalisaient à la peinture des panneaux publicitaires originaux dans leur style et remarquable.
Well over 300 people from around Noordhoek, Imhoff Waldorf School, Kommetjie
and beyond gathered today to form a giant 350 in people on the beach. The
initiative was spear-headed by the Imhoff Waldorf School.
Noordhoek beach - one of the most iconic beaches in the Cape Peninsula - was
a fitting backdrop to the photograph that was captured from above on
Chapman's Peak. This is a beach that could well be inundated, should climate
change continue unabated.
"The mood here today is just brilliant. So many local people have walked,
cycled or car-pooled to join in and shown that they are concerned and want
to see change", said Karoline Hanks, one of the organisers.
Alexandra James-Getts, another member of the organizing team said "There's
no doubt about it! People want to see real action from the world on global
warming before the problem gets any worse. We all need to wake up and we
need to make a loud enough noise and get our country's leaders to start
seeing climate change as a very real issue".
Aside from the call for action to the leaders in Copenhagen, the event was
an opportunity to get some critical messages out there - about how we can
all reduce our carbon footprint. The slogan 'Be the Change' was everywhere -
and tips from managing your waste better, buying only local food and
switching to energy efficient light bulbs were on small posters dotted all
over the beach.
Photographs by Warren Johnson
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............
Asian Elephant +++ Male
From trunk to toe, Asia’s largest land mammal displays some amazing adaptations to life as a forest-dwelling herbivore. It is most famous for its trunk, which is indispensable for feeding, drinking, smelling, touching, communicating, and bathing. Asian elephants live in family groups called herds that are led by older, experienced females. These matriarchs are responsible for the herd’s safety, as well as for providing food and shelter for its members. Females maintain a life-long connection to the herd, while males leave the herd when they reach puberty. They spend most of their time alone, or in bachelor groups. During musth, a period of heightened testosterone, bulls compete with other for mating opportunities. Generally, the older and larger bulls dominate the breeding.
•An elephant drinks up to 40 gallons of water (enough to fill a bathtub) and eats several hundred pounds of food each day.
•Since they don’t sweat, elephants flap their large, thin ears to cool down the blood vessels across the ear, which then circulates throughout the body.
•An elephant essentially walks on tiptoe since the foot bones rest on a cushiony pad of fatty tissue, a built-in shock absorber.
•Elephants communicate through sound from the loud, well-known trumpeting to infrasonic calls that humans cannot hear.
.
Fact File
Height: Up to 10 ft
Weight: Up to 11,000 lbs
Lifespan: More than 60 yrs
Habitat: Forest
Diet: Grasses, leaves, barks, and fruits
Status: Species at Risk (IUCN—Endangered)
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Here are some picture's of our big guy. I wasn't able to get an outstanding picture of him but I still wanted to post some of him. Have a nice weekend everyone!
Rome - Forma / La città moderna e il suo passato (2004).
www.electaweb.it/catalogo/scheda/978883703189/it?language...
Abstract
Proposal by Fuksas and Mandrelli to transform Via dei Fori Imperiali,
the street that bisects the archaeological park that encompasses the
Republican and Imperial forums, into a viaduct hovering above the
ruins.
Subject/Artist
Fuksas, Massimiliano, 1944-; Mandrelli, Doriana O; Mussolini, Benito,
1883-1945; Streets -- Alterations and additions -- Italy -- Rome --
Via dei Fori Imperiali; Fascism and architecture -- Italy -- Rome
______________
Al Colosseo e' aperta una mostra, "Forma. La città moderna e il suo passato", al cui termine e' esposto il progetto dell'architetto Fuksas per la sistemazione dell'area archeologica centrale e di via dei Fori Imperiali.
www.architettiroma.it/dettagli.asp?id=5940
www.architettiroma.it/dettagli-p.asp?id=5931
www.kwart.kataweb.it/kwart/ita/recensionidett.jsp?idConte...
** Comments regarding the Fuksas Project in Rome (Aug. 2004), by an Italian archaeologist in Rome affiliated with the Imperial Fora excavations and studies (1989-present). **
In sintesi (forse eccessiva) via dei Fori Imperiali, ormai storicizzata,
resta, pedonalizzata per sei mesi l'anno (l'estate si prevede solo il
passaggio dei mezzi pubblici), ma su una serie di arcate che scavalcano
le aree archeologiche Queste formano dunque un unico spazio, senza
soluzione di continuità, tra Fori Imperiali e il Foro Romano (e oltre,
fino al Colosseo e al Circo Massimo, Delle passerelle, sempre
sopraelevate, tagliano qua e la' l'area dei Fori Imperiali, seguendo
(più o meno) il tracciato delle vie del quartiere alessandrino, quello
buttato giù da Mussolini negli anni '30. Dalle passerelle delle rampe
in corrispondenza delle attuali aree alberate con pini, che vengono
mantenute, scendono nell'area archeologica. Ci sono poi anche delle
piattaforme che si dipartono dalle passerelle, coperte in materiale
trasparente e che possono essere utilizzate come belvedere, come centri
informativi e/o espositivi, ma anche per caffe', librerie, ecc., in
mododa rendere questo percorso aereo anche un posto dove stare, da
raggiungere, e non solo vie di passaggio. Piattaforme e (suppongo)
passerelle poggiano su sostegni sottili. A quanto si dice le opere previste sono comunque reversibili e di costo abbastanza limitato (ovvio, tutto e' relativo).
Si tratta come sottolinea lo stesso architetto non di un progetto
definitivo, per ora, ma di un'idea, di un concetto, sebbene già
tradotto in immagini. E' bene sottolinearlo perche' ci sono, almeno per l'occhio
di chi conosca bene le aree, alcune incongruenze e non sembra calibrata
in funzione quanto meno *anche* dei resti antichi, la posizione di
questi elementi moderni. Ma sono ovviamente tutte cose che si possono
meglio calibrare in un progetto vero e proprio.
La mia impressione sul progetto? non l'ho ancora ben chiara.
Le piattaforme sembrano piccoli grappoli di oblunghe bolle trasparenti,
delle astronavi sospese in aria Le forme sono bellissime, ma
onestamente mi lasciano un po' "stranita" delle astronavi aliene che si
librano sopra l'area archeologica dei Fori, davanti alle colonne del tempio di
Marte Ultore o della Basilica Ulpia. Non so, puo' essere che mi debba
abituare all'idea e che sia un'operazione simile a quella della
piramide nel cortile del Louvre (che a me personalmente piace molto). O forse
effettivamente finiscono per lasciare un segno moderno dove forse
avrebbe senso essere il più possibile sommessi. Insomma se devo fare
una balaustra di protezione, o un elemento a servizio della visita, che
ovviamente sono in parte inevitabili, e' giustissimo dare a questi
oggetti una qualità estetica, anche a contrasto (e forse meglio a
contrasto, per rendere immediatamente evidente che di aggiunte si
tratta). Ma diventa giusto se questa vista distrae il visitatore dalla
percezione delle architetture antiche? (la piramide del Louvre non lo
fa, mi sembra, e lo stesso palazzo del Louvre, nonostante il prestigio
del suo museo, non e' i Fori Imperiali...).
L'idea di cui si propone questa realizzazione non e' sbagliata: sia il
fatto di lasciare la via dei Fori Imperiali su arcate, ma di lasciarla
(e io non la chiuderei al traffico, mi sembra sufficiente e sensato
farlo per la domenica e i di' di festa. Oppure, all'interno di
un'operazione urbanistica (oddio, forse impossibile) che comprenda
viabilità alternative la renderei pedonale tutto l'anno....). Non e'
peraltro un'idea nuovissima, e veniva abbastanza spontanea come
soluzione, essendoci i soldi per farlo e trovando le soluzioni tecniche.
Anche l'idea delle passerelle sopraelevate (reversibili, leggere) non
mi sembra sbagliata. Ottima anche l'idea di tracciare con questo percorso
aereo il tracciato delle strade del quartiere distrutto e riproporre
dunque la stratificazione storica ora scomparsa.
Pero' il percorso e la quantità di queste passerelle forse andrebbe
meglio valutato. Nelle ricostruzioni (proposte rapidamente in
diapositive che scorrevano, e dunque difficilmente percepibili nei
particolari) ne ho colto una che passava tra le colonne del tempio di
Venere Genitrice e le colonne dei portici della piazza del Foro di
Cesare che io onestamente non avrei messo, anche se fosse sulla
linea di una di queste perdute strade (e posto che lo sia: dovrei
controllare, ma non mi pare che i percorsi storici siano rispecchiati con
precisione). E mi chiedo che senso abbia demolire l'esistente via
Alessandrina, per rimpiazzarla con una passerella, varrebbe forse piu'
la pena aprire, come e' stato fatto per alcuni passaggi, tutte le
arcate del muro di recinzione moderno e lasciarla anch'essa su arcate
(ovviamente non ho le competenze per capirne la difficoltà tecnica,
magari non si puo'), con il vantaggio di avere per la funzione che
serve l'elemento originale, la strada, ancora conservatasi pur senza le sue
case intorno, invece che un elemento nuovo che la ricalchi. O forse
sbaglio e forse la strada cosi' mutiliata in effetti non ha senso e
sarebbe meglio un segno moderno, ma più lineare e più leggero che si
limitasse a ricordarne la memoria.
Un'altra idea che condivido e' quella di rendere viva la zona, un punto
di arrivo e non solo di passaggio, aprendovi, caffe', librerie, centri
informativi, gallerie, e via dicendo. Ma magari farlo proprio in mezzo
alle aree archeologiche, ancorche' in posizione sopraelevata, non so,
e' davvero necessario? se uno usasse, che so, zone dei marciapiedi di via
dei Fori dove sono più larghi? chioschi nelle aree alberate che
giustamente si vogliono conservare? E dei belvedere, magari giusto ci
siano (sebbene i Fori, visti dall'alto si possano capire, ma non
percepire e sentire, starci dentro), ma al limite degli allargamenti
delle passerelle, che belvedere lo sarebbero poi le passerelle stesse.
Delle cose dette dall'architetto progettista e dal Soprintendente La
Regina, condivido assolutamente la necessità di porre il problema: gli
scavi delle aree sono stati fatti, ma occorre per renderli davvero
"fruibili" a tutti pensare, con attenzione, ad una loro
sistemazione. La faccenda e' delicata: quali delle testimonianze dei secoli
successivi trovate in gran copia nell'area della piazza del Foro Traiano, ad
esempio, abbiamo diritto di demolire? Possiamo probabilmente farlo con
le cantine delle case cinquecentesche, ma i resti del convento
duecentesco di S.Urbano? il laboratorio del ceramista rinascimentale? e
penso che a nessuno venga in mente di demolire l'unico esempio di una
casa signorile di età carolingia, trovato nell'area del Foro di Nerva.
Siccome tutte queste cose, piu' e meno importanti, una volta demolite
saranno perse per sempre (nonostante tutta la documentazione, ovvio),
credo sia necessario valutare con molta attenzione, lasciarsi anche il
tempo di farlo bene. Ci sono anche legate tutta una serie di faccende
pratiche (tipo il luogo di deposito dei materiali archeologici, o
l'installazione dei servizi tecnologici, dei bagni e di altri servizi
indispensabili in un'area archeologica cosi' vasta (solo sulle
piattaforme sopraelevate? e cosa, bagni chimici? o altrimenti dove
dovrebbero scaricare? E poi, se vogliamo permettere il libero accesso
su tutta l'area, quanti custodi ci serviranno? e come si salvaguardano, in
modo che non vadano perdute per il calpestio, le tracce della
pavimentazione marmorea della piazza del Foro Traiano?
A proposito poi dell'accesso gratuito. Ottima cosa, naturalmente.
Permette ai cittadini di riappropriarsi delle aree, e probabilmente,
anche solo attraverso una percezione non ragionata, di trasmettere il
valore della cultura e della conoscenza del passato.
Pero'.... e qui forse sbaglio, non so: intanto la mancanza di supporti
didattici (che secondo il Soprintendente non servono perche' tanto c'e'
*altrove* una messe enorme di informazioni e chi si vuole informare ha
dunque ampie possibilità di farlo), ma anche l'inevitabile tracciare
percorsi obbligati, chiudendo le aree più delicate (cosi' e' avvenuto
nel Foro Romano: non si entra più nella Basilica Emilia, non si entra
più nella Casa delle Vestali, praticamente si puo' solo seguire la
strada) appiattisce tutti i visitatori su un'unica possibile
frequentazione "di base", generica e impedisce ogni
approfondimento. Ho dei dubbi (e' vero, non sono sicura) che sia davvero meglio per la diffusione della cultura, tendere ad appiattire tutto "verso il basso", verso un utilizzo più diffuso e più in fondo, superficiale, invece di
cercare di portare tutti verso "l'alto".
Ecco, queste sono le mie (prolisse) impressioni.
Voi, che ne pensate?
Guardate che io, personalmente, avrei proprio bisogno di confrontarmi
con qualcuno che magari sia un po' meno legato di me alle aree in
questione, per capire se il fatto di lavorarci non alteri le mie
impressioni......
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 curently 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.
Kirtipur (Nepali: कीर्तिपुर, Nepal Bhasa: किपू Kipu) is an ancient city in Nepal. It is located in the Kathmandu Valley 5 km south-west of the city of Kathmandu. It is one of the five municipalities in the valley, the others being Kathmandu, Lalitpur, Bhaktapur and Madhyapur Thimi.
ETYMOLOGY
The name Kirtipur comes from Kirti (glory) and pur (city).
DEMOGRAPHICS
Originally a Newar foundation, Kirtipur is still a center of Newar culture. It has been merged with surrounding villages to form the municipality of Kirtipur with a population of 67,171.
It consists of many temples, gumbas (Buddhist monastery) and churches too. Due to the presence of Tribhuvan University, Kirtipur is also a popular area for out-of-town students and professors to rent houses and they are major contributors to the local economy.
HISTORY
Kirtipur's history dates from 1099 AD. It was part of the territory of Lalitpur at the time of the invasion of the Kathmandu Valley by the Gorkhali king Prithvi Narayan Shah in the 18th century.
In 1767, Kirtipur was annexed to the Gorkhali kingdom by Prithvi Narayan following the Battle of Kirtipur. He took the town on his twenty third attempt, after entering it by trickery. After this, he cut off the noses and lips of everybody in the city.
This was the site of an inspirational peaceful demonstration of the people in the 2006 mass uprising that overthrew the powers of the king. It is considered to be an anti-monarchy city due to its bitter history against the Shah dynasty whose modern founder conquered the city insultingly, which was followed by negligence of the administration and development by subsequent rulers.
PLACES OF INTEREST
BAGH BHAIRAB
Bagh Bhairab temple is one of the most popular temples dedicated to the God Bhairab in the form of a tiger. This god is regarded as the guardian of Kirtipur and the locals call it Ajudeu, a grandfather god. Bhairab, the most terrifying and awful form of Shiva is the destroyer on one hand and the guardian on the other. Ceremonial rituals in relation to the important events of life such as rice-feeding, puberty, marriage and even the construction of houses cannot be done without propitiating this deity in most of the towns and cities of Nepal.
The present three storeyed temple of Bagh Bhairab probably built in 16th century stands in the brick-paved rectangular courtyard with the rest houses around it. There are some small shrines and stone images spread over the courtyard. The main gate is at the southern side. There are two other gates in the eastern and western sides. The two roofs of the temple are of tiles while the third one is covered with gilt-copper. There are wooden pillars carved with Hindu gods and goddesses. They have been erected in between windows of the second storey and the names of the carved deities have been finely cut out below them on the pedestals.
There are eighteen pinnacles-one in the first roof, six in the middle and eleven in the top roof. Beneath the eaves of the first roof there are very old but faded murals depicting the stories of Ramayan. Maha Bharat and the various manifestations of Durga, the mighty mother goddess. These paintings are frescoes in red with white plaster background. At the right side of the main gate of the temple there is Hifa Dyo, the god of blood sacrifice is allowed directly to Bagh Bhairab, all animal offerings to the deity are made here on behalf of this deity just as the animal sacrifices are made to Kumari, a stone idol, placed at the second gate in the left side of Chandeswori at Banepa and to the Chhetrapal which is at the very beginning of the final series of the steps to the temple of Khadga Jogini at Sankhu.
There are two torans over Hifa Dyo. They bear very fine cuttings of Asta-Matriks, Asta-Bhairabs and other gods and goddesses. In the western wall of the temple there is a hollow space regarded by the local people as Nasa Dyo, the god of music and dance. Bagh Bhairab made of clay has been enshrined in the left side corner in the temple. The three glass-eyed tiger-god is tongue-less and tooth-less but covered with silver and copper plates and heavily ornamented. This deity as mentioned in the stone inscriptions has been called Bagheswor (the tiger god), Bhimsen Bhattarak (Bhimsen, the governing deity), Gudei Sthanadhipati (the lord in the form of tiger) and Ajudyo(the ancestral god).
The local peoples hail this deity as the embodiment of prudence, knowledge, productivity and strength to resist all evils. Hence, the auspicious ceremonies such as weddings, hair-cuttings, rice-feedings and other ritual performances in Kirtipur are done only after a puza to this deity.
CHILANCHO STUPA
A Buddhist shrine, is situated on the southern hill. It is located in Kirtipur, Nepal. It was made in medieval period. An inscription of Nepal Samvat 635 is found in this Chaitya. Therefore, it is one of the most important historical stupa of this region.
UMA MAHESHWAR
Uma Maheshwar temple (locally, Kwacho Dega) is one of the important heritage sites of Kirtipur. This pagoda-style three-storied temple is situated at the highest point (1414 m) of Kirtipur. Since this temple is at the top of the hill, one can enjoy picturesque view of the Kathmandu valley and mountains like Langtang, Dorge Lakkpa, Chobhu Bhamure, and Gaurishankar.
The temple was constructed in 1655 AD by Rautra Vishwanath Babu, a son of king Sidhhi Narsinga Malla. It was destructed in an earthquake in 1832 AD. After remained dilapidated for about a century, it was restored in 1933 AD after it was again destroyed by an earthquake. Local people and government made a herculean effort to renovate it into the current state. The restoration process was completed only in 1982 AD. Recently, in 2008 some work was done to preserve the arts of temple.
There is an artistic stone gate at the entrance. On each side of the stone staircase leading to the temple, there is a stone elephant, with sculptures of Bhimsen and Kuber as protectors of the temple. The main deities in this temple are standing Lord Shiva and Parvati. There are other images of deities like Sarasvati and Mahismardini on false doors around temple.
The wooden doors, pillars, and beams are crafted with artistic figures of different gods and goddess such as Astamatrika and Asta Bhairav. Similarly, erotic figures are also carved in wooden beams. According to archeologists, these figures on beams have tantric values.
The bell on the northern side of temple was cast in 1895 by Gillett & Johnston Founders, Corydon. It was one of the four quarter bells of Ghantaghar of the central Kathmandu and was reallocated to this temple after the Ghantaghar was destroyed by the earthquake in 1933.
SHRI KIRTI BIHAR
A Theravada Buddhist monastery built in traditional Thai architectural style, is situated near the entrance to the city.
MEDIA
To Promote local culture Kirtipur has one FM radio station Radio Newa F.M. - 106.6 MHz Which is a Community radio Station.There are several weekly newspaper published from Kirtipur. They are Shahid Weekly, Kirtipur Darpan, Kirtipur Sandesh. Also there is a local television station, Kirtipur Channel and some more local channel.
WIKIPEDIA
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
Today is the day we're supposed to post our hollow form rings, according to the guidelines of the second ring challenge:
*Make a Hollow Form Ring
*The ring should have at least one gemstone in a setting of your choice.
*Post the photos of your Ring (in the Jefferson and Ring-a-Day group pools) on May 16th (not earlier)
You're free to interpret this in your own way, as long as it is a hollow form ring.
My first though was to make a tulip ring, as I was -and still am- obssessed with tulips :-)
I had a few more ideas but I decided to go with the first one. I'm also posting some process pics . Fortunately, making it didn't involve any serious accidents but it took a lot of time to fabricate.
When I finished it, I wasn't entirely happy with it, it reminded me more of fire flames, not a tulip. I wore it a few times, some people said it was tulip, some others though they were flames. Anyway, last night I was asked by someone to reserve it for her and I couldn't be happier. Luckily, it fits her and I won't have to make it again in her size :-)
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.