Public restroom in a shopping mall. Switzerland, June 19, 2022.

Adam holding Elinor's hand. As Elinor is his oldest cousin I thought this image represented their future relationship.

'Warrior Princess'

Digital Art

Today's story and sketch "by me" you see the latest Lawn chair flying machine

out of the "FSU" Flying Stuff University, by a new designer Swapadi Saba, who

after talking with her Career Guidance Counselor (Rescue Randy) at "MIT",

Martian Institute of Technologies, Intergalactic anti mater worm hole

drive systems division. Randy talked her into transferring to FSU after they had dated a couple of hours, or a day, maybe two. Randy noticed right away the

interest she had in Lawn Chairs that could fly, and potential she had for

filling in the gaps that the Propulsion division was having with unreliability

of some, or most of the Anti Gravity Propulsion Drives they had been recycling.

Swapadi working with Doris Kagler in the lawn chair design studio, handcrafted

the Quicksilver 24, around a nice casual nylon weave beach chair, with a double

wrap on all of the bamboo joints for strength, covered in a nice heavy Gage silky fabric then painted with Environmentally safe water base silver poly paint.

Doris made very few alterations to the 24 to make it nice and roomy for test

pilot Gwayne and the new anti gravity drive designed by Swapadi, she named

"DOODROP", Decomposing Organic Odorless Dynamic Reflex Orbital Propulsion

Drive. This first flight is looking, so far so good as the 24 Glides just above Limpy Gofish who is really hoping it all goes well, otherwise he is the one who

will have to clean up the mess.

We hope to have more on the reliability of the DOODROP drive soon,

until then taa ta the Rod Blog.

I can't believe they would actually include (3), but they probably have investigated someone who tried this!

OM-2n + Zuiko 50mm 1.4 + Reala 100

Melbourne

Joan of Arc is a patron saint of France, honored as a defender of the French nation for her role in the siege of Orléans and her insistence on the coronation of Charles VII of France during the Hundred Years' War. Claiming to be acting under divine guidance, she became a military leader who transcended gender roles and gained recognition as a savior of France.

 

Joan was born to a propertied peasant family at Domrémy in northeast France. In 1428, she requested to be taken to Charles, later testifying that she was guided by visions from the archangel Michael, Saint Margaret, and Saint Catherine to help him save France from English domination. Convinced of her devotion and purity, Charles sent Joan, who was about seventeen years old, to the siege of Orléans as part of a relief army. She arrived at the city in April 1429, wielding her banner and bringing hope to the demoralized French army. Nine days after her arrival, the English abandoned the siege. Joan encouraged the French to aggressively pursue the English during the Loire Campaign, which culminated in another decisive victory at Patay, opening the way for the French army to advance on Reims unopposed, where Charles was crowned as the King of France with Joan at his side. These victories boosted French morale, paving the way for their final triumph in the Hundred Years' War several decades later.

 

After Charles's coronation, Joan participated in the unsuccessful siege of Paris in September 1429 and the failed siege of La Charité in November. Her role in these defeats reduced the court's faith in her. In early 1430, Joan organized a company of volunteers to relieve Compiègne, which had been besieged by the Burgundians—French allies of the English. She was captured by Burgundian troops on 23 May. After trying unsuccessfully to escape, she was handed to the English in November. She was put on trial by Bishop Pierre Cauchon on accusations of heresy, which included blaspheming by wearing men's clothes, acting upon visions that were demonic, and refusing to submit her words and deeds to the judgment of the church. She was declared guilty and burned at the stake on 30 May 1431, aged about nineteen.

 

In 1456, an inquisitorial court reinvestigated Joan's trial and overturned the verdict, declaring that it was tainted by deceit and procedural errors. Joan has been revered as a martyr, and viewed as an obedient daughter of the Roman Catholic Church, an early feminist, and a symbol of freedom and independence. After the French Revolution, she became a national symbol of France. In 1920, Joan of Arc was canonized by the Roman Catholic Church and, two years later, was declared one of the patron saints of France. She is portrayed in numerous cultural works, including literature, music, paintings, sculptures, and theater.

this was shot in Siliguri , West Bengal, India.

Counseled down the line.

Another historic classic, another "child" of the late 70ies: an anime interpretation of the famous 'Fields & Meadows' camouflage, characteristic for the Swedish Saab 37 'Viggen' jet plane family (and also used on other Swedish military vehicles, but the Viggen is/was the most prominent one).

 

This weirdo idea had been lurking in the back of my mind for a long time, and when a friend of mine uttered the idea of such a color variant for a Valkyrie, too, I decided to start a kind of competion - for comparison purposes, to see how an individual interpretation of this unique paradigm on a Valykrie from both of us would look like?

 

The kit is, as usual, a simple, vintage 1:100 scale VF-1A Valkyrie Fighter from ARII. Since the livery would be the "star" of the kit, only minor things were changed/enhanced. Usual added cockpit details include a HUD, a pilot figure, seat belts and an ejection seat trigger. Some typical Valkyrie antennae on the outside were added, too, and the rudders re-positioned off of the neutral position.

Additional external features are a IR pod under the nose, small bulges in tne air intake area which are supposed to contain guidance antennae for the air-to-ground missiles (see below), and two outriggers under the vertical fins which contain a (fictional) radar warning system and a chaff dispenser. Viggen would frequently carry such equipment in external pods, so why not be more effective and integrate them into the hull?

 

Now for the camouflage scheme... that one was tricky. The colors themselves are already a riddle. I guess that anyone who tries to match the original colors through photographs becomes crazy at some point, because light and weathering make them look VERY different from machine to machine, and even from picture to picture!

 

The Viggen's proportions hardly match a Valkyrie, but I tried my best to apply the 'Fields & Meadows' scheme on the upper surfaces. But transferring a scheme from a fixed double delta wing airplane onto a variable geometry wing fighter just leaves lots of room for interpretation... After extensive research (and experience with two 'Fields & Meadows' Viggens in 1/72 scale in the past) I finally settled for the small Valykrie on:

 

Light Green "322M" = Testors/Model Master 1734 (Green Zinc Chromate)

Dark Green "326M" = Humbrol 117 (Leaf Green, FS34102)

Black "093M" = Mix of Humbrol's 33 & 91 (Flat Black & Black Green) in 1:1 ratio

Earth "507M" = Testors/Model Master 2008 (Raw Sienna)

Grey undersides "058M" = Testors/Model Master 2086 (RLM76, Lichtblau)

 

The Zinc Chromate sounds crude and IS very bright, but on the 1/100 scale Valkyrie this extreme green is O.K., esp. with the later black ink wash which tones down everything a bit. At 1/72 scale I would have rather used Humbrol's 80 (Grass Green), which is a bit "milder" and comes IMHO very close to the real life color.

Humbrol 117 for the dark green tone is a compromise, and IMHO still a bit too dark. During pre-tests I found more authentic but even darker greens like Humbrol's 116 (FS 34079), 75 (Bronze Green) or 30 (Dark Green) to be too murky for the small kit. 117 is already considerably "brighter", and this contrast was simply necessary for a good overall impression of the camouflage scheme - the dark green was supposed to stand out against both the light green and the black fields. I should have used RAL6003, but the way it turned out is still acceptable.

Instead of pure black which 'Fields & Meadows' is supposed to contain, I went for a very dark green, which also yields a slightly bleached look. Some pictures of real Viggen also suggest that the "Black" is actually a greenish tone.

Testors' Raw Sienna from their figure color series is a very good match for the Viggen's light earth color patches. Another, more common but also very plausible alternative is Humbrol's 118 (US Tan, FS30219). Again, pictures of real Viggen suggest a wide variety of light brown shades due to fading and light influences! The Sienna is more yellowish, though, so I went for that tone.

Finally, RLM76 for the undersides was a surprise find! Originally, FS36375 (Humbrol 127) was my choice. But when I checked other paints in store I found Testors' RLM76 to be a tad lighter and with a stronger bluish hue - exactly the look I had been searching for for this kit, without need for mixing.

 

The radar nose became semi-gloss black and the wings' leading edges were painted in flatr aluminium Markings were consciously left simple, trying to emulate the stern original Viggen look as much as possible, with no flashy distractions. Consequently, there are just standard Macross roundels instead of Swedish insignia (which look, in red/white instead of blue/yellow, a bit disturbing?), a yellow squadron number at the cockpit (for SVF-15) and the red individual airplane number on the vertical fins' outsides. Only a falcon squadron empblem in red and yellow found its way onto the fins (it comes from an Israeli IAI Kfir from a Hasegawa kit), because the colors matched well with the overall look of the kit.

 

After basic painting, the kit received a light wash with black ink and some fine liner treatment. Then, decals and finally a coat of matte varnish was appllied. The end result looks cool, though, whatever one might quibble about authenticity!

 

Some extra effort went into the ordnance under this VF-1A's wings, though: the outer pylons hold a 4-missile launcher each (leftover from a fictional but neat ESCI Kamow Ka-34 'Hokum' kit), the inner pylons carry larger cruise missiles which were inspired by the characteristic Rb04E and more modern Rbs-15 anti-ship/surface missiles the AJ37 used to carry in its heydays.

These are actually modified Norwegian AGM-119C 'Penguin' missiles in 1/72 which I found in a Hasegawa F-16 weapon kit and never has a use for. I shortened the fuselage, changed the main fins into wing end plate types and added details like an underbelly air intake for a jet engine (like the more modern RBS-15 missile now carried by the Gripen) and an exhaust nozzle. Finally, these missiles were painted to look like a Rb04E in white, black and aluminium - they help a lot in order to create a "vintage AJ37 feel" to this Valkyrie.

 

Even when the finish is not perfect, it is amazing to see how well even such an exotic livery works on a Macross Valkyrie - it suits her well, as an hommage to one of the most famous (and attractive?) camouflage schemes ever applied to military verhicles.

For once not a HDR ... from lovely South of France ... :-)

 

Please don't use this image on any media without asking for permission.

© All rights reserved.

Jeff is retired military (thanks so much for your service, Jeff!), and now works at Middleton Place, one of the plantations near the Charleston area. After the military, Jeff studied history, and is very knowledgable, especially, it seems, about the history surrounding Middleton. He works with pottery, both making various pieces in the same manner they would have at Middleton in it's early stages, and also working with the pieces of pottery found on the property.

 

Jeff is just starting a piece here, and I thought it was cool how he used his left hand to gently guide his right.

 

Thanks, Jeff, for the picture!

 

(BTW, Jeff - I think I have everything fairly accurate above, but if not, feel free to contact me. )

Cherish the wisdom and love of those with more experience.

2024_11_12_IMG_0854

2017 Uji Kyoto

Clydesdale Apperance

Snucks

Cape Girardeau Missouri

 

I had fun yesterday with another session! Random spots are always the best.

Katherine Photoshoot

Super Happy Funtime Burlesque Show

Grand Rapids, Michigan

www.superhappyfuntimeburlesque.com

 

Set #4

Krishna is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kureksetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.

 

Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana, or as an elder giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.

 

Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE. Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC. Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.

 

NAMES AND EPITHETS

The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue". The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening". Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.

 

As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh). Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.

 

ICONOGRAPHY

Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.

 

A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.

 

The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.

 

Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures: his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.

 

Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna, a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra and Nimbarka sampradaya, as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.

 

Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra, Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.

 

LITERARY SOURCES

The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.

 

The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles". Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna. Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13. Some authors have also likened prehistoric depictions of deities to Krishna.

 

Chandogya Upanishad (3.17.6) composed around 900 BCE mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.

 

Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.

 

Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.

 

Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.

 

The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.

 

The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.

 

According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.

 

Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.

 

In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors". Brahmi inscription on the Mora stone slab, now in the Mathura Museum.

 

Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools. Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.

 

LIFE

This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.

 

BIRTH

Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami, is 18 July 3228 BCE. He was born to Devaki and her husband, Vasudeva, When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kamsa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kamsa's sister (Devaki) would kill Kamsa. Out of affection for Devaki, Kamsa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kamsa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring. Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world. However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children. Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.

 

The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kamsa.

 

Krishna belonged to the Vrishni clan of Yadavas from Mathura, and was the eighth son born to the princess Devaki, and her husband Vasudeva.

 

Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kamsa, Devaki's brother, had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kamsa had the couple locked in a prison cell. After Kamsa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kamsa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Rohini nakshatra and simultaneously the goddess Durga was born as Yogamaya in Gokulam to Nanda and Yashoda.

 

Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna).

 

CHILDHOOD AND YOUTH

Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.

 

Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.

 

Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.

 

The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.

 

Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation. The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun. This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.

 

THE PRINCE

On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kamsa, after quelling several assassination attempts from Kamsa's followers. He reinstated Kamsa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court. During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.

 

Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens - collectively called the Ashtabharya - including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana. Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour. Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation. In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi - consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.

 

When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.

 

KURUKSHETRA WAR AND BHAGAVAD GITA

Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.

 

Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.

 

Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."

 

Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons - which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation - an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed

 

Ashwathama Hatahath, naro va Kunjaro va

 

i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.

 

When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.

 

FAMILY

Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.

 

The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.

 

LATER LIFE

According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).

 

After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth. The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event. The place of this incident is believed to be Bhalka, near Somnath temple.

 

According to Puranic sources, Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE. Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.

 

Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature. While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him. Krishna is also explicitly described as without deterioration elsewhere.

 

WORSHIP

VAISHNAVISM

The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself. However the exact relationship between Krishna and Vishnu is complex and diverse, where Krishna is sometimes considered an independent deity, supreme in his own right. Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.

 

All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism, Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God. Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period. Today the faith has a significant following outside of India as well.

 

EARLY TRADITIONS

The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity. This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna. Some early scholars would equate it with Bhagavatism, and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace. In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka. The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.

  

BHAKTI TRADITION

Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."

 

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country. A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre. Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.

 

SPREAD OF THE KRISHNA-BHAKTI MOVEMENT

The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India.

 

While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.

 

These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.

 

In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba, a local form of Krishna, from the beginning of the 13th century until the late 18th century. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.

 

IN THE WEST

In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.

 

WIKIPEDIA

Detail of one of a pair of richly coloured windows by Henry Holiday in the north aisle at Tamworth installed c1918.

 

The magnificent former collegiate church of St Editha dominates the town centre of Tamworth. It is an impressively large building of mainly 14th - 15th century date with an imposing west tower (the stump of a former spire is just visible above the parapet), the lower part of which serves as a lofty main entrance and antechamber to the nave.

 

The spacious interior has several fine monuments (including several medieval tombs on the north side of the chancel and a splendid Baroque piece under the tower) and much fine stained glass by Pre Raphaelite artists (Burne Jones & Ford Madox Brown in the chancel, Henry Holiday in the nave aisles), one of the most rewarding displays in any Midland church.

 

The church is generally open to visitors most days between 10am & 4pm.

While i was doing this girl i knew of a young soul that just left, a friend of my friend.

I hope he and all the lost souls find Guidance, and light and love . And find peace, and all they will ever need to be happy and find their way to enlightment :)

 

www.youtube.com/watch?v=ZRJ6ImfK1IA&feature=fvst

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl/, more often /ˈtɑːʒ/; from Persian and Arabic, "crown of palaces", pronounced [ˈt̪aːdʒ mɛˈɦɛl]) is a white marble mausoleum located on the southern bank of Yamuna River in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned 1628–1658) to house the tomb of his favorite wife of three, Mumtaz Mahal.

 

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for an additional ten years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million Indian rupees, which in 2015 would be valued at around 52.8 billion Indian rupees ($827 million US). The construction project employed around 20,000 artisans under the guidance of a board of architects led by Ustad Ahmad Lahauri. The domed marble tomb is part of an integrated complex consisting of gardens and two red-sandstone buildings surrounded by a crenellated wall on three sides.

 

The Taj Mahal is regarded by many as the best example of Mughal architecture and is widely recognized as "the jewel of Muslim art in India". It is one of the world’s most celebrated structures and a symbol of India’s rich history. Designated a UNESCO World Heritage Site in 1983, the Taj Mahal attracts some 3 million visitors a year.

 

INSPIRATION

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief-stricken when his favorite of three wives and beloved companion, Mumtaz Mahal, a Persian princess, died during the birth of their 14th child, Gauhara Begum. Construction of the Taj Mahal began in 1632. The court chronicles of Shah Jahan's grief illustrate the love story traditionally held as an inspiration for Taj Mahal. The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.

 

ARCHITECTURE AND DESIGN

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

 

TOMB

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

 

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

 

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres high. Because of its shape, the dome is often called an onion dome or amrud (guava dome). The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasized by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

 

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

 

The minarets, which are each more than 40 metres tall, display the designer's penchant for symmetry. They were designed as working minarets - a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

 

EXTERIOR DECORATIONS

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.

 

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity". Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

 

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting color which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

 

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

 

INTERIOR DECORATION

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used. The interior walls are about 25 metres high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.

 

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.

 

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal. Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

 

GARDEN

The complex is set around a large 300-metre square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

 

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

 

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.

 

OUTLYING BUILDINGS

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.

 

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

 

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.

 

CONSTRUCTION

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage, and leveled at 50 metres above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

 

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

 

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

 

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". Construction of the mausoleum itself was essentially completed by 1643 while work continued on the outlying buildings. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.

 

LATER DAYS

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb. Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife. In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen. Kanbo, a Mughal historian, said the gold shield which covered the 15-foot high finial at the top of the main dome was also removed during the Jat despoliation.

 

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

 

THREATS

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots.

 

More recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura Oil Refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre area around the monument where strict emissions standards are in place.

 

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 5 feet a year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. In 2011 it was reported that some predictions indicated that the tomb could collapse within 5 years.

 

TOURISM

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which increased to about 3 million in 2015. A two tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center.

 

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

 

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan. For security reasons only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

 

MYTHS

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

 

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

 

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

 

In 2000, India's Supreme Court dismissed P. N. Oak's petition to declare that a Hindu king built the Taj Mahal. In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

 

WIKIPEDIA

Although their main body for 16 centuries has been out of communion with both the Roman Catholic Church (in Rome) and the various Eastern orthodox churches, Coptic churches feel a lot like Orthodox churches (as opposed to Catholic churches).

 

Full gallery: www.m1key.me/photography/egypt_2/

Le temps montrant le chemin à la jeunesse, une sculpture de Charles van der Stappen au jardin botanique de Meise.

...and mistrust of the thorns!

I love walking off the beaten path...And it looks as if the wildllife does too.

 

©2015 Jamie A. MacDonald

A visit to Maker Media’s pop-up store at 345 Sutter Street, in San Francisco's iconic Union Square. For the holidays, they offer a well-curated selection of maker products: from drones to robots, 3d printing and do-it-yourself kits. You can gets hands-on experience for some of these products, and they also give free workshops. I was there to meet Dale Dougherty, founder and chairman of Maker Media, to get his advice on our art maker programs, such as the Pataphysical Slot Machine exhibit and the Create Your Own Wonderbox workshops. He was very generous with his time and gave me some really helpful guidance for how to grow this project next year. Maker Media is the publisher of Make: magazine, the producer of the popular Maker Faires — and a driving force for the Maker movement.

 

Learn more about the Make pop-up store: makerfaire.com/popupSF/

 

View more photos in our Maker Media album: www.flickr.com/photos/fabola/albums/72157633515937533

 

Learn more about Pataphysical Studios: pataphysics.us/

This BA whale rumbles over the approach light system on KLAX's runway 24R.

Bacchante and Infant Faun

1893–94, cast 1894

Frederick William MacMonnies (American, New York 1863–1937 New York)

Bronze, 84 x 29 3/4 x 31 1/2 in. (213.4 x 75.6 x 80 cm)

Gift of Charles F. McKim, 1897

97.19

 

“Bacchante and Infant Faun” epitomizes the dramatic French Beaux-Arts style that dominated American sculpture during the late nineteenth century. An exuberant pagan reveler with grapes in her raised right hand holds an eager infant in the crook of her left arm. Her twinkling eyes, joyous mouth, spiraling form, lively silhouette, and richly textured surface combine to produce one of the most vibrant images in American art. MacMonnies gave this cast to the architect Charles Follen McKim (1847–1909) as thanks for a fifty-dollar loan. When McKim’s plan to install it in the courtyard of his new Boston Public Library set off an angry storm about its dubious moral tone, he instead presented it to the Metropolitan.

 

The Charles Engelhard Court, a vast-light filled space, serves as the grand vestibule to the Metropolitan Museum of Art's American Wing, which houses period rooms and galleries for American decorative arts, paintings, and sculpture.

 

The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

 

Following all the tracks, one turns and pauses, for understanding.

Photo captured via Minolta MD W.Rokkor-X 35mm F/2.8 Lens. Spokane Indian Reservation. Selkirk Mountains Range. Okanogan-Colville Xeric Valleys and Foothills section within the Northern Rockies Region. Inland Northwest. Stevens County, Washington. On the first day of Fall 2020.

 

Exposure Time: 1/125 sec. * ISO Speed: ISO-100 * Aperture: F/4 * Bracketing: None * Color Temperature: 5350 K * Film Plug-In: Fuji Provia 100F * Elevation: 2,402 feet above sea-level

©Victoria Dixon

This bench is a memorial branch for Ivan Polivka, a Vancouver Island paramedic who lost his life while serving others. The lady on the bench is my friend Angie, also a paramedic and a co-worker of Ivan's. When we went to Harrison that day neither of us knew where the bench was located but ironically Angie got out of the car and walked straight to it. Quite remarkable when you consider it was about a 1/2 mile away from where we had parked and was one of numerous benches there. Guidance or sheer luck? You decide. HBM