U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) District Conservationist for Arkansas Derrek Nokes, and State Grazing Lands Specialists such as Jeremy Huff assisted Kenny and Annette Sites with a conservation plan that includes prescribed grazing (528); and the forage and biomass planting (524) of the pastures, in Sheridan, AR, on June 27, 2019.

 

A companion video can be seen at youtu.be/JOiyO31rOis

 

Prescribed Grazing manages the harvest of vegetation by grazing and/or browsing animals.

 

This improves or maintains desired species composition and vigor of plant communities. Improves or maintains quantity and quality of forage for grazing and browsing animals’ health and productivity. Improves or maintains surface and/or subsurface water quality and quantity. Improve or maintain riparian and watershed function. Reduce accelerated soil erosion and maintain or improve soil condition. Improve or maintain the quantity and quality of food and/or cover available for wildlife. Manage fine fuel loads to achieve desired conditions.

 

Forage and Biomass Planting establishes adapted and/or compatible species, varieties, or cultivars of herbaceous species suitable for pasture, hay, or biomass production.

 

These pastures improve or maintain livestock nutrition and/or health. Provide or increase forage supply during periods of low forage production. Reduce soil erosion. Improve soil and water quality. Produce feedstock for biofuel or energy production

 

NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.

 

As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science.

 

And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.

 

Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs and technical assistance, and commodity, lending, and disaster programs.

 

The agencies and service supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).

 

For more information please see www.usda.gov.

Prescribed Grazing, Practice Code 528, nrcs.usda.gov/wps/portal/nrcs/detail/national/programs/?cid=nrcs144p2_027164

  

USDA Photo by Lance Cheung.

   

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

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If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

Includes the Swift Industries bug-out bag for the front rack. All questions answered. Contact capricornworkshop@gmail.com.

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

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I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

   

Barnard Castle is a well-documented example of a ringwork which developed into a shell keep. It is one of the largest castles in the north of England and its importance lies not only in the good state of preservation of its standing remains but also in the wide range of ancillary features which survive as buried features within its four wards. Equally important are its associations with the Balliols and the Earls of Warwick, the former being one of the most important families in Scottish medieval history and the latter in later medieval English history.

The monument is situated on a cliff above the River Tees and includes an early 12th century ringwork, a 12th to 14th century shell keep castle with four wards or enclosures, a chapel and a dovecote. Formerly, an outer ditch enclosed the east side of the castle between the curtain wall and the Horse Market. Although the remains of this ditch will survive beneath later urban development, it is not included in the scheduling as the extent of the remains is not sufficiently understood. A series of partial excavations carried out within the later castle walls between 1974 and 1982 has shown that the earliest fortification dates to between c.1109 and 1125. It was constructed overlooking the river where the cliff turned eastwards into the mouth of a gully. A ditch was quarried in an arc from the north cliff to the west cliff, enclosing a roughly circular area with a diameter of c.50m. The upcast from the ditch was used to create a rampart along the inside of the ditch and this, together with the cliff edge, was surmounted by a timber palisade. Within this ringwork the remains of wooden outbuildings and a large timber hall have been found beneath the floors of later stone buildings. Access to the interior was via a bridge across the ditch which led through a timber gatehouse located at the junction of the ditch with the west cliff. This gatehouse was soon afterwards rebuilt in stone and was the earliest stone building of the castle. The main period of reconstruction came in two phases between c.1125 and 1170. During the first phase, 1125-1140, the ringwork was strengthened by the excavation of the Great Ditch, a substantial rock-cut feature along the line of the earlier ditch, and the palisade was replaced by a multi-angular curtain wall with a wall walk and an interval tower along the east side. The original entrance was blocked and a new entrance was built alongside it at the head of a wooden bridge across the Great Ditch. The stone gatehouse became incorporated into the larger Headlam Tower and a small rectangular keep was built at the north east angle of the enclosure. In addition, the rampart was widened to create a site for timber buildings along the inside of the east and south curtain. The resultant shell keep, occupying the site of the original ringwork, formed the Inner Ward of the castle. To the south and east were three more wards which originated at the same time as the ringwork though they were not fortified in stone until the second phase of rebuilding between 1140 and 1170. The smallest of these was the Middle Ward, situated south of the Inner Ward with the Great Ditch forming its north side and walls enclosing it on the south, west and east sides. The walls here have been heavily robbed but it is clear that this enclosure acted as a barbican or fortified entry for the Inner Ward. It controlled access to the Inner Ward by means of a gate beneath the Constable Tower, a three storey gate-tower on the south side of the Middle Ward. Little of the Constable Tower remains standing, but its foundations and those of other buildings, located by excavation in the south east corner of the ward, survive as buried remains. The approach to the gate was from the Outer Ward which lay to the south and was the largest of the four wards with an area of c.1.5ha. It was enclosed by a curtain wall on the south, west and east sides, and also by the outer ditch which lay outside the east curtain. On the north side another ditch ran from west to east, below the cross-curtain wall that separated the Outer Ward from the Middle and Town Wards and effectively divided the castle in two. The main route into the castle ran parallel with this ditch before turning north to pass beneath the Constable Tower. The Outer Ward has not been excavated but documentary evidence indicates that a chapel dedicated to St Margaret had been built on the east side by the mid-12th century and bestowed on St Mary's Abbey, York. The remains of this chapel survive incorporated into a later stable. Further remains which survive as buried features beneath the buildings, paddocks, yards and gardens that now occupy the Outer Ward, are the farm buildings belonging to the castle and the gate-tower in the east curtain which controlled the approach from the town. The fourth ward was the Town Ward, located in the north east quarter of the castle and enclosed on the north side by the outer curtain. On the east side it was bounded by the curtain and the outer ditch, on the south side by a cross-curtain wall and, on the west side, by the Great Ditch. Excavations inside the Town Ward have uncovered a number of buildings set against the curtain wall round at least one cobbled courtyard containing a pond and a well. Other buildings and yards occupied the open interior and also the wide bank extending round the inside of the walls. Incorporated into the curtain wall were at least three towers and also a postern or pedestrian gate, located in the east curtain. The east curtain does not survive well round the Town Ward, having in places been replaced by a modern wall. Towards the north angle, however, it survives sufficiently well to illustrate a typical defensive feature of the castle: arrow loops set inside recessed arches. In addition, it includes the remains of Brackenbury Tower, a large rectangular structure of two storeys which projects slightly beyond the wall. The upper storey contained a fireplace, two garderobes or privies, and a window with seats converted from one of three recessed arrow loops. Beneath was a barrel-vaulted basement which also contained a fireplace, a garderobe and cupboards. The arrangements on both floors indicate that the tower had a domestic or administrative function. The curtain wall round the north side of the Town Ward is unusual in that it is too narrow to have carried the usual wall walk. It also contains many nesting boxes for pigeons or doves. Included within it is the north gate, a two storey tower with a chamber above the gate passage and rooms flanking it. Though both ground floor rooms contain fireplaces, that to the right is less elaborate and would have been the guardroom while that to the left opened onto the ward and probably also had an administrative function. The third tower of the Town Ward is a small square structure in the north curtain, adjacent to the Great Ditch. It is known as the Dovecote Tower because the interior, from top to bottom, consists of tiers of nesting boxes. In construction the tower dates, like the rest of the ward, to the later 12th century but, before it was a dovecote, it may have had another function connected with a doorway which now opens into mid-air. The doorway led into another building set against the curtain wall, but nothing of this structure survives above ground. As yet, its buried remains have not been excavated, and so its function and relationship to the Dovecote Tower cannot yet be determined. Between 1170 and 1185, following the second building phase, there was a third period of reconstruction carried out only in the Inner Ward. The timber hall was rebuilt in stone and was connected to the gate-tower by a wall behind which lay kitchens and other ancillary buildings. The keep in the north east angle was replaced by the three-storey Round Tower which had both a military and a domestic function, and, between the tower and the new hall was built the Great Chamber: a three-storey residence for the lords of Barnard Castle. The wall round the Inner Ward was strengthened by the addition of the Postern Tower and the Prison Tower, the latter replacing the earlier projecting tower. A bakehouse was also constructed against the curtain. Following this, there were no further alterations until the 14th century when the hall and service buildings were rebuilt and enlarged by the addition of the Mortham Tower, and the access into the Inner Ward was changed to make it more secure. This was achieved by relocating the bridge over the Great Ditch, so that it now ran alongside the west curtain, and by building a demi-bastion, or semicircular tower, which extended from the original Headlam Tower to the edge of the ditch. The route from the bridge was then walled off so that the way into the Inner Ward was completely covered by the new defences even before it reached the gate under the demi-bastion. Also at this time, a portcullis was inserted into the curtain wall at the bottom of the Great Ditch so that the bridge over the Tees could be protected from the castle. During this period the Outer Ward went out of use and at least one building in the Town Ward was demolished. A wet moat was dug alongside the east wall of the Middle Ward and a tower was built to overlook the moat and protect the drawbridge across it. In this way, the castle was made smaller and more defensible, cheaper to run and also more comfortable for its residents. For the next hundred years no further changes were made, and then modifications were only of a minor and domestic kind, including the insertion of an oriel window into the Great Chamber and the addition of a turret onto the Mortham Tower. The first castle was built by Guy de Balliol to be the caput or chief centre of his estates in the north of England. At that time the site was defended not only by the cliffs alongside the Tees but by a steep gully to the north. This gully has since been infilled but, in the 12th century, it still carried the old Roman road between Bowes and Binchester, and the castle commanded the point where this road forded the river. Guy was succeeded by his nephew Barnard de Balliol who, together with his second son, also called Barnard, was responsible for the reconstruction of the castle and the creation of the borough which bears their name. Throughout the next hundred years, the Balliols grew in power and importance until, in 1290, John Balliol defeated the claim of Robert de Brus and became King of Scotland. In his bid for the Scottish throne, however, he had been dependent on the support of Edward I and, in the war which followed his subsequent refusal to do homage to the English king, he rapidly lost power, was taken prisoner by the English, and lost all his estates save the family lands in Picardy. Meanwhile, Barnard Castle was seized by Anthony Bek, Bishop of Durham, in response to a long-standing claim that the bishops had rights over the estates which included the castle. Edward I tolerated this for a time but, in 1306, confiscated the lordship of Barnard Castle and granted it in 1307 to Guy de Beauchamp, Earl of Warwick. From being a home and a stronghold, the castle became merely a source of revenue, and, though it was kept on a war-footing due to the ever-present threat from Scotland, the Beauchamps rarely visited it despite the domestic improvement carried out during their period of lordship. In 1445 the Nevilles succeeded to the Earldom of Warwick and, with the death of Richard Neville at the Battle of Barnet in 1471, the castle passed to Richard, Duke of Gloucester who in 1481 became King Richard III. Richard planned to found an ecclesiastical college within the castle, but these plans had not been realised by the time of his death in 1485.

Throughout the 15th and 16th centuries the castle gradually fell into disrepair, as illustrated by surveys done at the time. In 1569 it enjoyed a brief period of importance during the so-called Rising of the North when the Earls of Westmorland and Northumberland, together with the Scropes and Dacres, moved to release Mary, Queen of Scots from Castle Bolton, place her on the throne of England and restore the country to Catholicism. Their rebellion failed, in part due to the time bought by Sir George Bowes, a loyal supporter of Elizabeth I, who moved to Barnard Castle and managed to withstand a ten-day siege before surrendering the castle, thus giving the Earl of Sussex time to muster an army in support of the queen. Following this, the castle and its estate were rented out by the Crown to various tenants, including the Bowes family, until 1603 when James I granted it to Robert Carr, together with the lordship of Raby. By 1630, both Barnard Castle and Raby were in the possession of Sir Henry Vane who proceeded to dismantle the former to provide building material for his improvements to the latter. Since 1952, by a number of Deeds of Gift, the Inner, Middle and Town Wards have been brought into State care. The ruins are also a Grade I Listed Building. (Scheduling Report)

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

More from Friday morning at the Goodwood Festival of Speed. The rain made the chalky rally stage very slick.

Andrei Platonovich Platonov was a Soviet Russian novelist, short story writer, philosopher, playwright, and poet. Although Platonov regarded himself as a communist, his principal works remained unpublished in his lifetime because of their skeptical attitude toward collectivization of agriculture (1929–1940) and other Stalinist policies, as well as for their experimental, avant-garde form infused with existentialism. His famous works include the novels Chevengur (1928) and The Foundation Pit (1930).

 

Early life and education

Platonov was born in the settlement of Yamskaya Sloboda on the outskirts of Voronezh in the Chernozem Region of Central Russia. His father was a metal fitter (and amateur inventor) employed in the railroad workshops and his mother was the daughter of a watchmaker. He attended a local parish school and completed his primary education at a four-year city school and began work at age thirteen, with such jobs as an office clerk at a local insurance company, smelter at a pipe factory, assistant machinist, warehouseman, and the railroad. Following the 1917 Revolution, he studied electrical technology at Voronezh Polytechnic Institute. When Civil War broke out in 1918 Platonov assisted his father on trains delivering troops and supplies and clearing snow.

 

Early career

Meanwhile, Platonov had begun to write poems, submitting them to papers in Moscow and elsewhere. He was also a prolific contributor to local periodicals. These included Zheleznyi put ("Railroad"), the paper of the local railway workers' union; the Voronezh Region Communist Party newspapers Krasnaia derevnia ("Red countryside") and Voronezhskaia kommuna ("Voronezh commune"); and Kuznitsa, the nationwide journal of the "Smithy" group of proletarian writers.

 

From 1918 through 1921, his most intensive period as a writer, he published dozens of poems (an anthology appeared in 1922), several stories, and hundreds of articles and essays, adopting in 1920 the pen-name Platonov by which he is best-known. With remarkable energy and intellectual precocity, he wrote confidently across a range of topics including literature, art, cultural life, science, philosophy, religion, education, politics, the civil war, foreign relations, economics, technology, famine and land reclamation, and others. It was not unusual around 1920 to see two or three pieces by Platonov, on quite different subjects, appear daily in the press.

 

He has also been involved with the local Proletcult movement, joined the Union of Communist Journalists in March 1920, and worked as an editor at Krasnaia Derevnia ("Red countryside"), and the paper of the local railway workers' union. in August 1920, Platonov was elected to the interim board of the newly-formed Voronezh Union of Proletarian Writers and attended the First Congress of Proletarian Writers in Moscow in October 1920, organized by the Smithy group. He regularly read his poetry and gave critical talks at various club meetings.

 

In July 1920, Platonov was admitted to the Communist Party as a candidate member on the recommendation of his friend Litvin (Molotov). He attended Party meetings, but was expelled from the Party on 30 October 1921 as an "unstable element". Later, he said the reason was "juvenile". He may have quit the party in dismay of the New Economic Policy (NEP). like a number of other worker writers (many of whom he had met through Kuznitsa and at the 1920 writers' congress). Troubled by the famine of 1921, he openly and controversially criticized the behaviour (and privileges) of local communists. In spring, 1924 Platonov applied for re-admission to the Party, offering reassurance that he had remained a communist and a Marxist, but he was denied then as on the next two occasions.

 

In 1921 Platonov married Maria Aleksandrovna Kashintseva (1903–1983); they had a son, Platon, in 1922, and a daughter, Maria, in 1944.

 

In 1922, in the wake of the devastating drought and famine of 1921, Platonov abandoned writing to work on electrification and land reclamation for the Voronezh Provincial Land Administration and later for the central government. "I could no longer be occupied with a contemplative activity like literature", he recalled later. For the next years, he worked as an engineer and administrator, organizing the digging of ponds and wells, draining of swampland, and building a hydroelectric plant.

 

Chevengur, The Foundation Pit and For Future Use

When he returned to writing prose in 1926, a number of critics and readers noted the appearance of a major and original literary voice. Moving to Moscow in 1927, he became, for the first time, a professional writer, working with a number of leading magazines.

 

Between 1926 and 1930, the period from NEP to the first five-year plan (1928–1932), Platonov produced his two major works, the novels Chevengur and The Foundation Pit. With their implicit criticism of the system, neither was then accepted for publication although one section of Chevengur appeared in a magazine. The two novels were only published in the USSR during the late 1980s.

 

In the 1930s, Platonov worked with the Soviet philosopher Mikhail Lifshitz, who edited The Literary Critic (Literaturny Kritik), a Moscow magazine followed by Marxist philosophers around the world. Another of the magazine's contributors was the theoretician György Lukács and Platonov built upon connections with the two philosophers. A turning point in his life and career as a writer came with the publication in March 1931 of For Future Use (″Vprok″ in Russian), a novella that chronicled the forced collectivisation of agriculture during the First Five Year Plan.

 

According to archival evidence (OGPU informer's report, 11 July 1931), Stalin read For Future Use carefully after its publication, adding marginal comments about the author ("fool, idiot, scoundrel") and his literary style ("this isn't Russian but some incomprehensible nonsense") to his copy of the magazine. In a note to the publishers, the Krasnaya nov monthly, Stalin described Platonov as "an agent of our enemies" and suggested in a postscript that the author and other "numbskulls" (i.e. the editors) should be punished in such a way that the punishment served them "for future use".

 

In 1933, an OGPU official Shivarov wrote a special report on Platonov. Attached were versions of The Sea of Youth, the play "14 Red Huts" and the unfinished "Technical Novel". The report described For Future Use as "a satire on the organizing of collective farms," and commented that Platonov's subsequent work revealed the "deepening anti-Soviet attitudes" of the writer.

 

Official support and censure

In 1934, Maksim Gorky arranged for Platonov to be included in a “writers' brigade” sent to Central Asia with the intention of publishing a collective work in celebration of ten years of Soviet Turkmenistan. (Earlier that year, a collective work by over 30 Soviet writers had been published about the construction of the White Sea Canal.) Platonov’s contribution to the Turkmen volume was a short story titled “Takyr” (or “Salt-flats”) about the liberation of a Persian slave girl. Platonov returned to Turkmenistan in 1935 and this was the basis for his novella Soul (or Dzhan). Dzhan is about a “non-Russian” economist from Central Asia, who leaves Moscow to help his lost, nomadic nation called Dzhan, of rejects and outcasts possessing nothing but their souls. A censored text was first published in 1966; a complete, uncensored text only in 1999.

 

In the mid-1930s Platonov was again invited to contribute to a collective volume, about rail workers. He wrote two stories: "Immortality", which was highly praised, and "Among Animals and Plants", which was severely criticized and eventually published only in a heavily edited and far weaker version.

 

In August 1936, The Literary Critic published "Immortality" with a note explaining the difficulties the author had faced when proposing the story to other periodicals. The following year, this publication came under criticism in Krasnaya Nov, damaging Platonov's reputation.  In 1939, the story was republished in the intended collective volume, Fictional representations of Railway Transport (1939) dedicated to the heroes of the Soviet railroad system.

 

Platonov published eight more books, fiction and essays, between 1937 and his death in 1951.

 

Stalin's ambivalence and Platonov's son

Stalin was ambivalent about Platonov's worth as a writer. The same informer's report in July 1931 claimed that he also referred to the writer as "brilliant, a prophet". For his part, Platonov made hostile remarks about Trotsky, Rykov, and Bukharin but not about Stalin, to whom he wrote letters on several occasions. "Is Platonov here?" asked Stalin at the meeting with Soviet writers held in Moscow at Gorky's villa in October 1932 when the Soviet leader first called writers "engineers of the human soul".

 

In January 1937, Platonov contributed to an issue of Literaturnaya gazeta in which the accused at the second Moscow Show Trial (Radek, Pyatakov and others) were denounced and condemned by 30 well-known writers, including Boris Pasternak. His short text "To overcome evil" is included in his collected works. It has been suggested that it contains coded criticism of the regime.

 

In May 1938, during the Great Terror, Platonov's son was arrested as a "terrorist" and "spy". Aged 15 years old, Platon was sentenced in September 1938 to ten years imprisonment and was sent to a corrective labour camp, where he contracted tuberculosis. Thanks to efforts by Platonov and his acquaintances (including Mikhail Sholokhov), Platon was released and returned home in October 1940, but he was terminally ill and died in January 1943. Platonov himself contracted the disease while nursing his son.

 

During the Great Patriotic War (1941–1945), Platonov served as a war correspondent for the military newspaper The Red Star and published a number of short stories about what he witnessed at the front. The war marked a slight upturn in Platonov's literary fortunes: he was again permitted to publish in major literary journals, and some of these war stories, notwithstanding Platonov's typical idiosyncratic language and metaphysics, were well received. However, towards the end of the war, Platonov's health worsened, and in 1944 he was diagnosed with tuberculosis. In 1946, his last published short story, "The Return," was slammed in Literaturnaya Gazeta as a "slander" against Soviet culture. His last publications were two collections of folklore. After his death in 1951, Vasily Grossman spoke at his funeral.

 

Platonov's influence on later Russian writers is considerable. Some - but not all - of his work was published or republished during the 1960s' Khrushchev Thaw.

 

In journalism, stories, and poetry written during the first post-revolutionary years (1918–1922), Platonov interwove ideas about human mastery over nature with scepticism about triumphant human consciousness and will, and sentimental and even erotic love of physical things with fear and attendant abhorrence of matter. Platonov viewed the world as embodying at the same time the opposing principles of spirit and matter, reason and emotion, nature and machine.

 

He wrote of factories, machines, and technology as both enticing and dreadful. His aim was to turn industry over to machines, in order to "transfer man from the realm of material production to a higher sphere of life." Thus, in Platonov's vision of the coming "golden age" machines are both enemy and savior. Modern technologies, Platonov asserted paradoxically (though echoing a paradox characteristic of Marxism), would enable humanity to be "freed from the oppression of matter."

 

Platonov's writing, it has also been argued,[by whom?] has strong ties to the works of earlier Russian authors like Fyodor Dostoevsky. He also uses much Christian symbolism, including a prominent and discernible influence from a wide range of contemporary and ancient philosophers, including the Russian philosopher Nikolai Fedorov.

 

His Foundation Pit uses a combination of peasant language with ideological and political terms to create a sense of meaninglessness, aided by the abrupt and sometimes fantastic events of the plot. Joseph Brodsky considers the work deeply suspicious of the meaning of language, especially political language. This exploration of meaninglessness is a hallmark of existentialism and absurdism. Brodsky commented, "Woe to the people into whose language Andrei Platonov can be translated."

 

Elif Batuman ranked Soul as one of her four favorite 20th century Russian works. (Batuman is author of The Possessed: Adventures With Russian Books and the People Who Read Them and was Pulitzer Prize finalist for her novel The Idiot.)

 

Novelist Tatyana Tolstaya wrote, "Andrei Platonov is an extraordinary writer, perhaps the most brilliant Russian writer of the twentieth century".

 

Each year in Voronezh the literature exhibition is held in honour of Platonov, during which people read from the stage some of his works.

 

The style and subject matter

One of the most striking distinguishing features of Platonov's work is the original language, which has no analogues in world literature. It is often called "primitive", "ungainly", "homemade".

 

Platonov actively uses the technique of ostraneny, his prose is replete with lexical and grammatical "errors" characteristic of children's speech.

 

Yuri Levin highlights Platonov's characteristic techniques:

 

syntactically incorrect constructions, such as verb+place circumstance. «Think on head», «answered... from his dry mouth», «recognized the desire to live into this fenced-off distance».

redundancy, pleonasm. «Voschev... opened the door to space», «his body was thin inside the clothes».

extremely generalized vocabulary. "Nature", "place", "space" instead of specific landscape descriptions. «Prushevsky looked around the empty area of the nearest nature», «an old tree grew... in bright weather».

active use of subordinate clauses about the cause (“Nastya ... hovered around the rushing men, because she wanted to”), as well as subordinate clauses about purpose (“It's time to eat for the day's work”). Moreover, they are often superfluous or logically unmotivated.

active use of typical Soviet bureaucracies, often in an ironic way (“confiscate her affection”), but rarely.

According to the researcher Levin, with the help of these turns, Platonov forms a "panteleological" space of the text, where "everything is connected with everything", and all events unfold among a single "nature".

 

In the works of Andrey Platonov, form and content form a single, indissoluble whole, that is, the very language of Platonov's works is their content.

 

Among the key motives of Platonov's work is the theme of death and its overcoming. Anatoly Ryasov writes about Platonov's " metaphysics of death». Platonov in his youth came under the influence of Nikolai Fedorov and repeatedly refers to the idea of raising the dead. In the minds of his characters, it is associated with the coming arrival of communism.

 

Tribute

A planet discovered in 1981 by Soviet astronomer L.G. Karachkina was named after Platonov.

 

Works

Novels

Chevengur – 1928 (1972)

The Foundation Pit – 1930 (1969)

Happy Moscow [de] (unfinished) – 1933–1936 (1991)

Short fiction

"The Motherland of Electricity" – 1926

"The Lunar Bomb" – 1926

The Sluices of Epifany (novella) – 1927

"Meadow Craftsmen" – 1928

"The Innermost Man" – 1928

"Makar the Doubtful" – 1929

For Future Use (novella) – 1930 (1931)

The Sea of Youth (novella) – 1934 (1986)

Soul, or Dzhan (novella) – 1934 (1966)

"The Third Son" – 1936

"Fro" (short story) – 1936

"Among Animals and Plants" (short story) – 1936

"The Fierce and Beautiful World" – 1937

The River Potudan (collection of short stories) – 1937

"Immortality" – 1936, 1939

"The Cow" – 1938 (1965)

"Aphrodite" – 1945

"The Return" or "Homecoming"– 1946

Other

Blue Depths[29] (verse) – 1922

The Barrel Organ (play) – 1930

The Hurdy Gurdy (play) – 1930 (1988)

Fourteen Little Red Huts (play) – 1931 (1988)

Father-Mother (screenplay) – 1936 (1967)

 

English translations

The short story collection The Fierce and Beautiful World, which includes his most famous story, "The Potudan River" (1937), was published in 1970 with an introduction by Yevgeny Yevtushenko and became Platonov's first book published in English translation. During 1970s, Ardis published translations of his major works, such as The Foundation Pit and Chevengur. In 2000, the New York Review Books Classics series republished The Fierce and Beautiful World with an introduction by Tatyana Tolstaya. In 2007, New York Review Books published a collection of newer translations of some of these stories, including the novella Soul (1934), "The Return" (1946) and "The River Potudan". This was followed by a new translation of The Foundation Pit in 2009, in 2012 by Happy Moscow, an unfinished novel (not published in Platonov's lifetime), and in 2023 a new translation of Chevengur.

 

The Fierce and Beautiful World: Stories by Andrei Platonov, introduction by Yevgeny Yevtushenko, E. P. Dutton, 1970 (tr. Joseph Barnes)

The Foundation Pit, a bi-langued edition with preface by Joseph Brodsky, Ardis Publishing, 1973 (tr. Mirra Ginsburg)

Chevengur, Ardis Publishing, 1978 (tr. Anthony Olcott)

Collected Works, Ardis Publishing, 1978 (tr. Thomas P. Whitney, Carl R. Proffer, Alexey A. Kiselev, Marion Jordan and Friederike Snyder)

Fierce, Fine World, Raduga Publishers, 1983 (tr. Laura Beraha and Kathleen Cook)

The River Potudan, Bristol Classical Press, 1998 (tr. Marilyn Minto)

The Foundation Pit, Harvill Press, 1996 (tr. Robert Chandler and Geoffrey Smith)

The Return and Other Stories, Harvill Press, 1999 (tr. Robert Chandler and Angela Livingstone)

The Portable Platonov, New Russian Writing, 1999 (tr. Robert Chandler)

Happy Moscow, introduction by Eric Naiman, Harvill Press, 2001 (tr. Robert Chandler and Elizabeth Chandler)

Happy Moscow, introduction by Robert Chandler, New York Review Books, 2012 (tr. Robert Chandler and Elizabeth Chandler)

Happy Moscow, introduction by Robert Chandler, Vintage Classics, 2013 (tr. Robert Chandler and Elizabeth Chandler)

Soul, Harvill Press, 2003 (tr. Robert Chandler and Elizabeth Chandler)

Russian Short Stories from Pushkin to Buida, Penguin Classics, 2005, (tr. Robert Chandler and others). Includes two important stories by Platonov: "The Third Son" and "The Return"

Soul and Other Stories, New York Review Books, 2007 (tr. Robert Chandler with Katia Grigoruk, Angela Livingstone, Olga Meerson, and Eric Naiman).

The Foundation Pit, New York Review Books 2009 (tr. Robert Chandler, Elizabeth Chandler and Olga Meerson).

Russian Magic Tales from Pushkin to Platonov, Penguin Classics, 2012 (tr. Robert Chandler and others). Includes Platonov's subtle adaptations of traditional Russian folk tales.

Fourteen Little Red Huts and Other Plays, Columbia University Press, 2016 (The Russian Library) (ed. by Robert Chandler; tr. by Robert Chandler, Jesse Irwin, and Susan Larsen; with notes by Robert Chandler and Natalya Duzhina)

Chevengur, trans. Elizabeth Chandler and Robert Chandler (New York Review Books, 2023)

A Subaru Impreza kicking up the dust on the Rally Stage at the Goodwood Festival of Speed. Moments later I had to duck to avoid getting covered

Humpback whales are rorquals (Balaenopteridae, a family that includes the blue, fin, Bryde's, sei, and minke whales). The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene. The sole member of its genus, the humpback was first identified as baleine de la Nouvelle Angleterre off the coast of New England by Mathurin Jacques Brisson in his Regnum Animale of 1756. The common name is derived from the curving of their backs when diving. The generic name Megaptera comes from the Greek mega-/μεγα- ("giant") and ptera/πτερα ("wing") and refers to their large front flippers.

 

Genetic research in mid-2014 by the British Antarctic Survey confirmed that the separate populations in the North Atlantic, North Pacific, and Southern Oceans are more distinct than previously thought. Some biologists believe that these should be regarded as separate, independently evolving subspecies.

 

Humpbacks have a stocky body, obvious hump, and black dorsal colouring. The head and lower jaw are covered in tubercles, knobby hair follicles characteristic of the species. Humpbacks have 270-400 dark baleen plates on each side of their mouths. The plates measure from 46 centimetres in the front to almost a metre in the back. About 14-22 wide ventral grooves run from the lower jaw to the umbilicus. The female has a hemispherical lobe about 15 centimetres in diameter in her genital region. Fully grown males average 13-14 metres and females are slightly larger at 15-16 metres; one large recorded specimen was 19 metres long and had pectoral fins measuring 6 metres each. Body mass is typically around 25-30 metric tons, with large specimens weighing over 40 metric tons.

 

The long black and white tail fin can be up to a third of body length. The varying patterns on the tail flukes distinguish individual animals. During a study using data from 1973 to 1998 on whales in the North Atlantic, a photographic catalogue of all known North Atlantic whales was developed; it's maintained by the College of the Atlantic. Several hypotheses attempt to explain the humpback's pectoral fins, proportionally the longest fins of any cetacean, such as higher maneuverability and increased surface area for temperature control when migrating between warm and cold climates.

 

Whales produce a three-metre-long, heart-shaped blow through the blowholes. They don't generally sleep at the surface but must continue to breathe: it's possible that only half of their brain sleeps at one time, allowing the other half to manage the surface/blow/dive process.

 

The lifespan of rorquals ranges from 45 to 100 years. Females reach sexual maturity at age five, achieving full adult size a little later. Males reach sexual maturity around seven years of age. Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce. Unrelated males, or "escorts," frequently trail single cows and cow-calf pairs. Males gather into "competition groups" around a female and fight for the right to mate with her. Groups shrink and grow as unsuccessful males retreat and others arrive. Behaviors include breaching, spy-hopping, lob-tailing, tail-slapping, pectoral fin-slapping, peduncle throws, charging, and parrying.

 

Both male and female humpback whales vocalize, but only males produce the long, loud, complex song for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency and typically lasting from 10 to 20 minutes. Individuals may sing continuously for more than 24 hours. Cetaceans have no vocal cords, instead forcing air through their massive nasal cavities (blowholes).

 

Whales within a large area sing a single song: all North Atlantic humpbacks sing the same song, while those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating. Many of the whales observed to approach a singer are other males, often resulting in conflict: singing may, therefore, be a challenge to other males as well as a way to impress females. Some scientists have hypothesized the song may serve an echolocative function. During the feeding season, humpbacks make unrelated vocalizations to herd fish into their bubble nets and they use other sounds to communicate, such as grunts, groans, "thwops," snorts, and barks.

 

Females typically breed every two or three years. The gestation period is 11.5 months. The peak months for birth are January, February (northern hemisphere), July, and August (southern hemisphere). Females wait for one to two years before breeding again. Recent research on mitochondrial DNA reveals that groups living in proximity to each other may represent distinct breeding pools.

 

A newborn calf is roughly the length of its mother's head. At birth, calves measure six metres and two tons. They nurse for about six months, then mix nursing and independent feeding for around six months more. Humpback milk is pink and 50% fat.

 

Humpbacks have a loosely knit social structure: individuals usually live alone or in small, transient groups that disband after a few hours. Groups may stay together longer in summer to forage and feed cooperatively. Longer-term relationships of months or even years between pairs or small groups have occasionally been observed, and some females might create lifelong bonds through cooperative feeding.

 

Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude. The four distinct tribes are the North Pacific, Atlantic, Southern Ocean, and Indian Ocean populations. Whales were once uncommon in the eastern Mediterranean or the Baltic Sea but have increased their presence in both waters as global populations have recovered. They have also returned to Scotland, Skagerrak, and Kattegat, as well as Scandinavian fjords such as Kvænangen, where they had not been observed for decades. Since November 2015, Hachijo-jima has been recognized as the northernmost breeding ground in the world.

 

Humpbacks typically migrate up to 25,000 kilometres each year. A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres. Identified by their unique tail patterns, these animals made the longest mammalian migration ever documented.

 

The humpback's range overlaps with other whale and dolphin species. Humpbacks are friendly and interact with other cetaceans such as bottlenose dolphins and right whales. These behaviors have been recorded in all oceans, and humpback whales regularly appear in mixed groups with other species, such as the blue, fin, minke, gray, and sperm whales. Humpback and southern right whales demonstrating what were interpreted to be mating behaviors have been observed off the Mozambique and Brazilian coasts. A male humpback whale was seen singing to a fin whale at Rarotonga in 2014, and another individual was observed playing with a bottlenose dolphin in Hawaiian waters. Incidents of humpback whales protecting other species of animals such as seals and other whales from killer whales have also been documented.

 

Humpbacks feed primarily in summer and live off fat reserves during winter, when they feed only rarely and opportunistically. The humpback is an energetic hunter, taking krill and small schooling fish such as herring, salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic. Pleated grooves in the whale's mouth allow water to easily drain out, filtering out the prey. The humpback has the most diverse hunting repertoire of all baleen whales, sometimes stunning prey by hitting the water with pectoral fins or flukes. Its most inventive technique is known as bubble net feeding, in which a group of up to a dozen whales swims in a shrinking circle below a school of prey and traps it in a cylinder of bubbles. The ring can start out about 30 metres in diameter. Some whales blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the trap by vocalizing. The whales then all suddenly swim up, swallowing thousands of fish.

 

The technique of lobtail feeding, observed in the North Atlantic, involves slapping the surface of the ocean with the tail up to four times before creating the bubble net. Based on network-based diffusion analysis, researchers believe that these whales learned the behavior from other whales in the group over a period of 27 years in response to a change in the primary form of prey.

 

Visible scars indicate that killer whales can prey upon juvenile humpbacks. Mothers and (possibly related) adults escort neonates to deter such predation. It's believed that orcas turned to other prey when humpbacks suffered near-extinction during the whaling era but are now resuming their former practice.

 

Humpback whales were hunted by humans on a commercial level as early as the 18th century. By the 19th century, many nations (the United States in particular) were hunting the animal heavily in the Atlantic and to a lesser extent in the Indian and Pacific oceans. The explosive harpoon introduced in the late 19th century, along with the extension of hunting into the Antarctic ocean from 1904, drastically reduced whale populations. During the 20th century, over 200,000 humpbacks were taken, reducing the global population by over 90%. North Atlantic populations dropped to as low as 700 individuals.

 

In 1946, the International Whaling Commission (IWC) was founded: they imposed hunting regulations and seasons. To prevent extinction, IWC banned commercial humpback whaling in 1966, by which time the global population had been reduced to around 5,000 animals (around 90% having been exterminated). The Soviet Union deliberately under-recorded its catches; the Soviets reported catching 2,820 whales between 1947 and 1972, but the true number was over 48,000.

 

As of 2004, hunting was restricted to a few animals each year off the Caribbean island of Bequia in the nation of St. Vincent and the Grenadines. The take is not believed to threaten the local population. Japan's announcement that it planned to kill 50 humpbacks in the 2007/08 season under its JARPA II "research" program sparked global protests and a visit to Tokyo by the IWC chair, and the Japanese whaling fleet agreed to take no humpback whales during the two years it would take to reach a formal agreement. In 2010, the IWC authorized Greenland's native population to hunt a few humpback whales for the following three years.

 

In Japan, humpback, minkes, sperm, and many other smaller Odontoceti, including critically endangered species such as North Pacific right, western gray, and northern fin whales, have been targets of illegal captures. Humpback meat can be found on the markets. Harpoons are used to hunt dolphins or intentionally drive whales into nets, reporting them as cases of entanglement. Unknown numbers of humpbacks have been illegally hunted in the Exclusive Economic Zones of anti-whaling nations such as off Mexico and South Africa.

 

Because they're easily approachable, curious, identifiable as individuals, and display many interesting behaviors, they have become the mainstay of whale tourism around the world. Analyses of whale songs in the 1960s led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the anti-whaling advocates. Humpbacks are popular with whale-watchers because of their distinctive surface behaviors: they frequently breach, throwing two-thirds or more of their bodies out of the water and splashing down on their backs. Some humpbacks, referred to as "friendlies," often stay under or near whale-watching boats for many minutes.

 

While whaling no longer threatens the species, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution. Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.

 

The species was listed as vulnerable in 1996 and endangered as recently as 1988. In August 2008, the IUCN changed humpback's status from "vulnerable" to "least concern," although two subpopulations remain endangered. Most monitored stocks have rebounded since the end of commercial whaling and now reach around 80,000 worldwide. Though the North Atlantic stocks are believed to be approaching pre-hunting level, the species is still considered endangered in some countries, including the United States.

 

07/02/16 #1133. The Blackthorns ? are in full blossom at Wood Mill now - out at the same time as the Daffs, Crocuses and Snowdrops

 

Blossom #18 for the treasure hunt

All Things Events

 

November 1-25

 

Designer: moldco

 

Items include:

(mc) Mini Large Fox Tail Animesh/Bento

Stompy Paws

Fox Kit Mod Textures

Puchimono Sweater Scarf and more!

 

Shop these foxy items today at the local Harvest Festival in world. Check out all the other dope designers too or enjoy a cup of smoking hot coffee! Gifts are close by also. Great men's casual fashions as well as for the ladies.

 

maps.secondlife.com/secondlife/Sweet/39/165/23

  

Other great designers include;Follow The White Bunneh, Shamans Hut, Razzles, PRISM, Fnordian, Amis, StoraxTree, GL, +More!!

Japanese food is so neatly presented - from a lunch in a Japanese restaurant in Shanghai

The Miao is an ethnic group recognized by the government of China as one of the 55 official minority groups. Miao is a Chinese term and does not reflect the self-designations of the component groups of people, which include (with some variant spellings) Hmong, Hmub, Xong (Qo-Xiong), and A-Hmao.

 

The Chinese government has grouped these people and other non-Miao peoples together as one group, whose members may not necessarily be either linguistically or culturally related, though the majority are members of Miao-Yao language family, which includes the Hmong, Hmub, Xong, and A-Hmao and the majority do share cultural similarities. Because of the previous given reasons, many Miao peoples cannot communicate with each other in their mother tongues, and have different histories and cultures. A few groups designated as Miao by the PRC do not even agree that they belong to the ethnic group, though most Miao groups, such as the Hmong and Hmub, do agree with the collective grouping as a single ethnic group – Miao.

 

The Miao live primarily in southern China's mountains, in the provinces of Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hainan, Guangdong, and Hubei. Some members of the Miao sub-groups, most notably the Hmong people, have migrated out of China into Southeast Asia (northern Vietnam, Laos, Burma (Myanmar) and Thailand). Following the communist takeover of Laos in 1975, a large group of Hmong refugees resettled in several Western nations, mainly in the United States, France, and Australia. There has been a recent tendency by Hmong Americans to group all Miao peoples together under the term Hmong because of their disdain for the Chinese term Miao. This however fails to recognize that the Hmong are only a subgroup within the broader linguistic and cultural family of Miao people and the vast majority of Miao people do not classify themselves as Hmong and have their own names for themselves.

 

NOMENCLATURE: MIAO AND HMONG

The term "Miao" gained official status in 1949 as a minzu (ethnic group) encompassing a group of linguistically-related ethnic minorities in Southwest China. This was part of a larger effort to identify and classify minority groups to clarify their role in the national government, including establishing autonomous administrative divisions and allocating the seats for representatives in provincial and national government.

 

Historically, the term "Miao" had been applied inconsistently to a variety of non-Han peoples. Early Western writers used Chinese-based names in various transcriptions: Miao, Miao-tse, Miao-tsze, Meau, Meo, mo, miao-tseu etc. In Southeast Asian contexts words derived from the Chinese "Miao" took on a sense which was perceived as derogatory by the Hmong subgroup living in that region. In China, however, the term has no such context and is used by the Miao people themselves, of every group.

 

The later prominence of Hmong people in the West has led to a situation where the entire Miao linguistic/cultural family is sometimes referred to as Hmong in English language sources. Following the recent increased interaction of Hmong in the West with Miao in China it is reported that some upwardly aspiring non-Hmong Miao have even begun to identify themselves as Hmong. However, most non-Hmong Miao in China are unfamiliar with the term as referring to their entire group and continue to use "Miao", or their own separate ethnic self-designations.

 

Though the Miao themselves use various self-designations, the Chinese traditionally classify them according to the most characteristic colour of the women's clothes. The list below contains some of these self-designations, the colour designations, and the main regions inhabited by the four major groups of Miao in China:

 

Ghao Xong/Qo Xiong; Xong; Red Miao; Qo Xiong Miao: west Hunan

Gha Ne/Ka Nao; Hmub; Black Miao; Mhub Miao: southeast Guizhou

A-Hmao; Big Flowery Miao: west Guizhou and northeast Yunnan

Gha-Mu; Hmong, Mong; White Miao, Green/Blue Miao, Small Flowery Miao; south and east Yunnan, south Sichuan and west Guizhou

 

DEMOGRAPHICS

According to the 2000 census, the number of Miao in China was estimated to be about 9.6 million. Outside of China, members of the Miao linguistic/cultural family sub-group or nations of the Hmong live in Thailand, Laos, Vietnam and Burma due to outward migrations starting in the 18th century. As a result of recent migrations in the aftermath of the Indochina and Vietnam Wars from 1949–75, many Hmong people now live in the United States, French Guiana, France and Australia. Altogether, there are approximately 8 million speakers in the Miao language family. This language family, which consists of 6 languages and around 35 dialects (some of which are mutually intelligible) belongs to the Hmong/Miao branch of the Hmong–Mien (Miao–Yao) language family.

 

The Hmong live primarily in the northern mountainous reaches of Southeast Asia including Thailand, Laos and Vietnam, and in far Southwest China mostly in the provinces of Yunnan, Guangxi, and to a very limited extent in Guizhou. There are about 1.5–2 million Hmong in China.

 

Note: The Miao areas of Sichuan province became part of the newly created Chongqing Municipality in 1997.

 

Most Miao currently live in China. Miao population growth in China:

 

1953: 2,510,000

1964: 2,780,000

1982: 5,030,000

1990: 7,390,000

 

3,600,000 Miao, about half of the entire Chinese Miao population, were in Guizhou in 1990. The Guizhou Miao and those in the following six provinces make up over 98% of all Chinese Miao:

 

Hunan: 1,550,000

Yunnan: 890,000

Sichuan: 530,000

Guangxi: 420,000

Hubei: 200,000

Hainan: 50,000 (known as Miao but ethnically Yao and Li)

 

In the above provinces, there are 6 Miao autonomous prefectures (shared officially with one other ethnic minority):

 

Qiandongnan Miao and Dong Autonomous Prefecture (黔东南 : Qiándōngnán), Guizhou

Qiannan Buyei and Miao Autonomous Prefecture (黔南 : Qiánnán), Guizhou

Qianxinan Buyei and Miao Autonomous Prefecture (黔西南 : Qiánxīnán), Guizhou

Xiangxi Tujia and Miao Autonomous Prefecture (湘西 : Xiāngxī), Hunan

Wenshan Zhuang and Miao Autonomous Prefecture (Hmong) (文山 : Wénshān), Yunnan

Enshi Tujia and Miao Autonomous Prefecture (恩施 : Ēnshī), Hubei

 

There are in addition 23 Miao autonomous counties:

 

Hunan:Mayang (麻阳 : Máyáng), Jingzhou (靖州 : Jīngzhōu), and Chengbu (城步 : Chéngbù)

Guizhou: Songtao (松桃 : Sōngtáo), Yingjiang (印江 : Yìnjiāng), Wuchuan (务川 : Wùchuān), Daozhen (道真 : Dǎozhēn), Zhenning (镇宁 : Zhènníng), Ziyun (紫云 : Zǐyún), Guanling (关岭 : Guānlíng), and Weining (威宁 : Wēiníng)

Yunnan: Pingbian (屏边 : Píngbiān), Jinping (金平 : Jīnpíng), and Luquan (禄劝 : Lùquàn)

Chongqing: Xiushan (秀山 : Xiùshān), Youyang (酉阳 : Yǒuyáng), Qianjiang (黔江 : Qiánjiāng), and Pengshui (彭水 : Péngshuǐ)

Guangxi: Rongshui (融水 : Róngshuǐ), Longsheng (龙胜 : Lóngshēng), and Longlin (隆林 : Lōnglín) (including Hmong)

Hainan Province: Qiong (琼中 : Qióngzhōng) and Baoting (保亭 : Bǎotíng)

 

Most Miao reside in hills or on mountains, such as

 

Wuling Mountain by the Qianxiang River (湘黔川边的武陵山 : Xiāngqián Chuān Biān Dí Wǔlíng Shān)

Miao Mountain (苗岭 : Miáo Líng), Qiandongnan

Yueliang Mountain (月亮山 : Yuèliàng Shān), Qiandongnan

Greater and Lesser Ma Mountain (大小麻山 : Dà Xiǎo Má Shān), Qiannan

Greater Miao Mountain (大苗山 : Dà Miáo Shān), Guangxi

Wumeng Mountain by the Tianqian River (滇黔川边的乌蒙山 : Tiánqián Chuān Biān Dí Wūmēng Shān)

 

Several thousands of Miao left their homeland to move to larger cities like Guangzhou and Beijing. There are 2,000,000 Hmong spread throughout northern Vietnam, Laos, Burma, and on other continents. 174,000 live in Thailand, where they are one of the six main hill tribes.

 

HISTORY

History according to Chinese legend and other considerations

According to Chinese legend, the Miao who descended from the Jiuli tribe led by Chiyou (Chinese: 蚩尤 pinyin: Chīyóu) were defeated at the Battle of Zhuolu (Chinese: 涿鹿 pinyin: Zhuōlù, a defunct prefecture on the border of present provinces of Hebei and Liaoning) by the military coalition of Huang Di (Chinese: 黃帝 pinyin: Huángdì) and Yan Di, leaders of the Huaxia (Chinese: 華夏 pinyin: Huáxià) tribe as the two tribes struggled for supremacy of the Yellow River valley.

 

ARCHEOLOGICAL DISCOVERIES

According to André-Georges Haudricourt and David Strecker's claims based on limited secondary data, the Miao were among the first people to settle in present-day China. They claim that the Han borrowed a lot of words from the Miao in regard to rice farming. This indicated that the Miao were among the first rice farmers in China. In addition, some have connected the Miao to the Daxi Culture (5,300 – 6,000 years ago) in the middle Yangtze River region. The Daxi Culture has been credited with being amongst the first cultivators of rice in the Far East by Western scholars. However, in 2006 rice cultivation was found to have existed in the Shandong province even earlier than the Daxi Culture.

 

A western study mention that the Miao (especially the Miao-Hunan) have some DNA from the Northeast people of China, but has origins in southern china. Recent DNA samples of Miao males contradict this theory. The White Hmong have 25% C, 8% D, & 6% N(Tat) yet they have the least contact with the Han population.

 

CHU

In 2002, the Chu language has been identified as perhaps having influence from Tai–Kam and Miao–Yao languages by researchers at University of Massachusetts Amherst.

 

QIN AND HAN DYNASTIES

The term Miao was first used by the Han Chinese in pre-Qin times (in other words, before 221 BC) for designating non-Han Chinese groups in the south. It was often used in combination: "nanmiao", "miaomin", "youmiao" and "sanmiao" (三苗; pinyin: Sānmiáo)

 

MING AND QING DYNASTIES

During the Ming and Qing dynasties (1368–1911) 'miao' and 'man' were both used, the second possibly to designate the Yao (傜 Yáo) people. The Yuan, Ming, and Qing Dynasties could neither fully assimilate nor control the indigenous people.

 

During the Miao Rebellions, when Miao tribes rebelled, Ming troops, including Han Chinese, Hui people, and Uyghurs crushed the rebels, killing thousands of them. Mass castrations of Miao boys also took place.

 

During the Qing Dynasty the Miao fought three wars against the empire. In 1735 in the southeastern province of Guizhou, the Miao rose up against the government's forced assimilation. Eight counties involving 1,224 villages fought until 1738 when the revolt ended. According to Xiangtan University Professor Wu half the Miao population were affected by the war.

 

The second war (1795–1806) involved the provinces of Guizhou and Hunan. Shi Sanbao and Shi Liudeng led this second revolt. Again, it ended in failure, but it took 11 years to quell the uprising.

 

The greatest of the three wars occurred from 1854 to 1873. Zhang Xiu-mei led this revolt in Guizhou until his capture and death in Changsha, Hunan. This revolt affected over one million people and all the neighbouring provinces. By the time the war ended Professor Wu said only 30 percent of the Miao were left in their home regions. This defeat led to the Hmong people migrating out of China.

 

During Qing times, more military garrisons were established in southwest China. Han Chinese soldiers moved into the Taijiang region of Guizhou, married Miao women, and the children were brough up as Miao. In spite of rebellion against the Han, Hmong leaders made allies with Han merchants.

 

Politically and militarily, the Miao continued to be a stone in the shoe of the Chinese empire. The imperial government had to rely on political means to ensnare Hmong people, they created multiple competing positions of substantial prestige for Miao people to participate and assimilate into the Qing government system. During the Ming and Qing times, the official position of Kiatong was created in Indochina. The Miao would employ the use of the Kiatong government structure until the 1900s when they entered into French colonial politics in Indochina.

 

20th CENTURY

During the founding of the People's Republic of China (PRC), the Miao played an important role in its birth when they helped Mao Zedong to escape the Kuomintang in the Long March with supplies and guides through their territory.

 

In Vietnam, a powerful Hmong named Vuong Chinh Duc, dubbed the king of the Hmong, aided Ho Chi Minh's nationalist move against the French, and thus secured the Hmong's position in Vietnam. During the Vietnam War, Miao fought on both sides, the Hmong in Laos primarily for the US, across the border in Vietnam for the North-Vietnam coalition, the Chinese-Miao for the Communists. However, after the war the Vietnamese were very aggressive towards the Hmong who suffered many years of reprisals and genocide. Most Hmong in Thailand also supported a brief Communist uprising during the war.

 

HAN CHINESE ORIGIN MIAO CLANS

A great number of Hmong lineage clans were founded by Chinese men who married Hmong women, these distinct Chinese descended clans practice Chinese burial customs instead of Hmong style burials.

 

The Hmong children of Hmong women who married Chinese men was the origin of numerous China and South East Asia based Hmong lineages and clans, these were called "Chinese Hmong" ("Hmong Sua") in Sichuan, the Hmong were instructed in military tactics by fugitive Chinese rebels.

 

Marriages between Hmong women and Han Chinese men is the origin of a lot of Hmong lineages and clans.

 

Hmong women married Han Chinese men to found new Hmong lineages which use Chinese names.

 

Chinese men who married into Hmong clans have established more Hmong clans than the ritual twelve, Chinese "surname groups" are comparable to the Hmong clans which are patrilineal, and practice exogamy.

 

Hmong women married Han Chinese men who pacified Ah rebels who were fighting against the Ming dynasty, and founded the Wang clan among the Hmong in Gongxian county, of Sichuan's Yibin district.

 

Hmong women who married Chinese men founded a new Xem clan in a Hmong village (among Northern Thailand's Hmong), fifty years later in Chiangmai two of their Hmong boy descendants were Catholics. A Hmong woman and a Chinese man married and founded the Lauj clan in Northern Thailand.

 

A marriage between a Hmong woman and a Chinese man resulted in northern Thailand's Lau2 clan being founded, another Han Chinese with the family name Deng founded another Hmong clan, Han Chinese men's marriages with Hmong women has led some ethnographers to conclude that Hmong clans in the modern era have possible all or partly have been founded in this matter.

 

Jiangxi Han Chinese are claimed by some as the forefathers of the southeast Guizhou Miao, and Miao children were born to the many Miao women married Han Chinese soldiers in Taijiang in Guizhou before the second half of the 19th century.

 

Imperially commissioned Han Chinese chieftancies "gon native", with the Miao and were the ancestors of a part of the Miao population in Guizhou.

 

The Hmong Tian clan in Sizhou began in the seventh century as a migrant Han Chinese clan.

 

Non-han women such as Miao women became wives of Han Chinese male soldiers who fought against the Miao rebellions during the Qing and Ming dynasties since Han women were not available.

 

The Ming dynasty Hongwu Emperor sent troops to Guizhou whose descendants became the Tunbao. The origin of the Tunbao people traces back to when the Ming dynasty sent 300,000 Han Chinese male soldiers in 1381 to conquer Yunnan and the men married Yao and Miao women.

 

The presence of women presiding over weddings was a feature noted in "Southeast Asian" marriages, such as in 1667 when a Miao woman in Yunnan married a Chinese official.

Some Sinicization occurred, in Yunnan a Miao chief's daughter married a scholar in the 1600s who wrote that she could read, write, and listen in Chinese and read Chinese classics.

 

The Sichuan Hmong village of Wangwu was visited by Nicholas Tapp who wrote that the "clan ancestral origin legend" of the Wang Hmong clan, had said that several times they were married into the Han Chinese and possibly one of these was their ancestor Wang Wu, there were two tpes of Hmong, "cooked" who sided with Chinese and "raw" who rebelled against the Chinese, the Chinese were supported by the Wang Hmong clan. A Hmong woman was married by the non-Hmong Wang Wu according to The Story of the Ha Kings in Wangwu village.

 

DISTRIBUTION

The 2000 Chinese census recorded 8,940,116 Miao in mainland China.

 

CUISINE

Miao Fish (苗鱼 miáo yǘ)

Miao fish is a special way of cooking a fish by Miao people. It has been recognized as a local featured cuisine with its tasty flavor: the mixture of fish, green peppers, ginger slices and garlic provided people with great eating experience.

 

WIKIPEDIA

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

Includes teams from Deuel, Hot Springs, Madison, Parkston/Ethan/Hanson/Mt. Vernon. Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting.

©2021 SDPB

 

The whole set

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- Hair accessory: some millinery flowers... mounted on hair clips.

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Into the pits for a driver change during the Kinrara Trophy

Chancellor Michael Harris IU Kokomo with Freshmen students who received laptop computers as part of IU Kokomo merit scholarship programs. Students include, front from left, Lyndsay Christensen, Shayla Elmore, Rebekah Hochstedler and Marlee Sumpter; and back row C

 

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Mt. Desert Island and Ellsworth area, Maine, on July 10, 2018. The island includes the towns of Bar Harbor, Northeast Harbor and more. Just offshore, outside the Mt Desert harbor, is Bear Island. Ferries and water taxis transport mail, supplies, residents and tourists to the nearby Cranberry Isles (Great Cranberry, Islesford (Little Cranberry), and Sutton. Cranberry Isles are the five islands of Great Cranberry, Islesford (Little Cranberry), Sutton, Baker and Bear. Buoys dot the surrounding waters where lobster fisherman haul their catch in the morning and afternoons. The communities on these islands are home to many of the fishermen. Cranberry Isles received a U.S. Department of Agriculture (USDA) Rural Development (RD) Community Connect Grant in the amount of $1,320,370. This is the first Community Connect Grant a Maine community has received in over a decade. Rural Development funds will be used to construct a combination fiber-to-the-premises (FTTP) and fixed wireless system providing service to the unserved islands of Great Cranberry, Islesford (FTTP service) and Sutton (fixed wireless), Maine. Approximately 141 year-round residents will benefit from the funded system, though in the summer population increases to 1,260. The proposed system will bring increased economic, educational, and health care opportunities to the island. Residents will be able to access a Community Center with Internet service for a period of at least two years. On Islesford the Cranberry Isles Fishermen’s Co-op who rely on stable computer connections pay the fishermen for their catch and sell the products in their stores. Islesford Artisans, operated by Katy Fernald, displays and sells art work from her family of Danny and Malcolm; and the community of more than 30 artisans on the island. The faster and reliable internet connection makes it easy to update and maintain their web site for online sales. A recent sell went to a buyer in England. Residents such as Dr. Ralph ‘Skip’ Stevens, can now can grade his university students’ work from home. In the past, especially in winter he would have to make his way through the snow to the island’s library “Neighborhood House” to do his work. For years the library had been then only high speed connection with a wifi router so people could be in or near the building and get connected. On February, 2018, Dr. Stevens can now stay at home to communicate with his students and grade their work. USDA Photo by Lance Cheung.

The Castle has been fully assembled. The Castle is opened up to show the interior. Flags and various other accessories have been added. They include the furniture, staircase, platform, and bridge. Tinker Bell has been attached to the flagpole of the highest tower. The other figures have been placed in various spots in and around the Castle.

 

The Disneyland Resort 60th Anniversary Diamond Celebration Sleeping Beauty Castle Playset. Disneyland purchase on Sunday May 31, 2015, from the World of Disney store. It was released in Disneyland on May 20, 2015. Detailed photos boxed, during deboxing, and fully deboxed, in various configurations.

 

The Castle is in a large box, requires assembly, and costs $84.95.

 

The Castle has lights and sounds, powered by included batteries. Pressing the left button on the steps of the entrance causes a light show with various towers being lit up in white and blue. Pressing the right button causes one of four short musical segments to be played.

 

There are 10 mini figures included, all of which can free stand (some more stably than others). Prince Phillip also comes with separate sword and shield, both of which attach to him. I had difficulty getting the sword to stay in his hand, and broke the handle off the sword in trying. But I super glued the handle to his hand, then the blade to the handle, and the fix worked. Tinker Bell comes with a transparent post that looks like a long double sided wrench, which enables her to hang in the air off one of the tower flag poles. Some of the mini figure's faces are a bit off, especially their eyes, but overall they are good representations of the animated characters.

 

The Castle can be displayed closed (as it comes in the box), or can be opened up to be able to use the interior spaces. The gate of the front entrance can slide up and down. Two of the doors in the towers can open and close. Included is a tall staircase, a low platform. and a bridge, all of which are sturdy. The eight flags are made of wavy vinyl with poles that stick into the towers. Then decals are applied to the flags that say Disneyland on one side, and have the D60 logo on the other side.

 

The Castle was fun and easy to put together. The sound and light show is short but impressive up close. This is a very good value with the quality of construction and the number and variety of figures and accessories included. It is on a par with the Frozen Arendelle Castle playset, which was $15 more expensive.

Greater Manchester Police (GMP) welcomed 125 new recruits to the force on Monday 29 October.

 

From their previous backgrounds across the world of work, the new recruits will be bringing a variety of experiences and expertise to GMP.

 

The officers include 50 recruits that have been funded by an increase in the policing precept which was announced by the Mayor of Greater Manchester, Andy Burnham, in January this year.

 

Mayor of Greater Manchester Andy Burnham proposed a rise in the police element of council tax to fund additional neighbourhood policing across Greater Manchester.

 

All the new recruits have experience, talent and a passion for policing communities in Greater Manchester. They also reflect the communities of Greater Manchester, which is something we are working hard to improve.

 

Officers were officially sworn into their roles at a formal ceremony at Manchester Grammar School and affirmed by GMP Chief Constable Ian Hopkins.

 

New recruits all complete a two year probation period which includes classroom based learning and a year of active patrolling.

 

During this period, they have the same role as that of a regular officer, including the power of arrest.

 

Chief Constable Ian Hopkins said: “I am delighted to welcome the new officers to GMP. The 50 that have been funded through the precept increase are particularly welcome as this is the first time we have had a growth in officer numbers since 2010.

 

“The Force faces continued financial challenges and I appreciate that the increase in the policing element of the precept is challenging for many across Greater Manchester, but it is vital for us in trying to maintain policing services across the Force area.

 

Deputy Mayor for Policing and Crime Beverley Hughes said: “The additional money raised through the policing council tax has enabled us to provide a much-needed boost to neighbourhood police officers at a time when demand is at an all-time high, as they deal with ever more serious cases with a level of complexity we could not have predicted even a few years ago.”

 

To find out more about Greater Manchester Police please visit www.gmp.police.uk

 

You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

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Wikipedia, Lavandula angustifolia, formerly L. officinalis, is a flowering plant in the family Lamiaceae, native to the Mediterranean (Spain, France, Italy, Croatia etc.). Its common names include lavender, true lavender and English lavender[2] (though it is not native to England); also garden lavender,[3] common lavender and narrow-leaved lavender.

 

Description

It is a strongly aromatic shrub growing as high as 1 to 2 metres (3+1⁄2 to 6+1⁄2 ft) tall. The leaves are evergreen, 2–6 centimetres (1–2+1⁄2 inches) long, and 4–6 millimetres (3⁄16–1⁄4 in) broad. The flowers are typically purple (lavender-coloured), produced on spikes 2–8 cm (1–3 in) long at the top of slender, leafless stems 10–30 cm (4–12 in) long.

 

Stems and flowers

Stems and flowers

 

Flower spike before the petals emerge

Flower spike before the petals emerge

Calyx (purple) and flower bracts (light brown)

Calyx (purple) and flower bracts (light brown)

 

Calyx and corolla

Calyx and corolla

Corolla (petals)

Corolla (petals)

 

Calyx and corolla (side view)

Calyx and corolla (side view)

Etymology

The species name angustifolia is Latin for "narrow leaf". Previously, it was known as Lavandula officinalis, referring to its medicinal properties.

 

Cultivation

English lavender is commonly grown as an ornamental plant. It is popular for its colourful flowers, its fragrance, and its ability to survive with low water consumption. It does not grow well in continuously damp soil and may benefit from increased drainage provided by inorganic mulches, such as gravel. It does best in Mediterranean climates similar to its native habitat, characterised by wet winters and dry summers. It is fairly tolerant of low temperatures, and is generally considered hardy to Royal Horticultural Society zone H6, or USDA zone 5.[4] It tolerates acid soils, but favours neutral to alkaline soils, and in some conditions it may be short-lived.[5]

 

Cultivars

AGM cultivars

The following cultivars of L. angustifolia and its hybrids have gained the Royal Horticultural Society's Award of Garden Merit:-[6]

 

L. × intermedia 'Alba'[7] (large white)

L. angustifolia 'Beechwood Blue' [8]

L. angustifolia 'Hidcote' [9]

L. × intermedia 'Hidcote Giant' [10]

L. angustifolia 'Imperial Gem' [11]

L. angustifolia Little Lottie='Clarmo'[12]

L. angustifolia 'Miss Katherine' [13]

L. angustifolia Miss Muffet='Scholmis'[14]

L. angustifolia 'Nana Alba'[15] (dwarf white)

L. × intermedia Olympia='Downoly' [16]

L × chaytoriae 'Richard Gray'[17]

L. × chaytoriae 'Sawyers'[18]

L. × intermedia 'Sussex'[19]

Dwarf cultivars

Compacta, Folgate, Dwarf Blue, Dwarf White, Hidcote Pink, Hidcote Superior, Munstead, Nana Atropurpurea, Nana Rosea, Sarah, Summerland Supreme, Lady Lavender

 

'Hidcote Superior', a compact evergreen shrub 40 cm × 45 cm (16 in × 18 in) with fragrant gray-green foliage and deep violet-blue flowers in summer, prefers full sun, well drained soil, low water, hardy to −30 °C (−20 °F), western Mediterranean species

'Munstead' (syn. Dwarf Munstead, Munstead Blue and Munstead Variety) L. angustifolia variety, 30 cm (12 in) tall, having pink-purple to lavender-blue inflorescences that are slightly fragrant,[20] named after Munstead Wood in Surrey, which was the home of Gertrude Jekyll

'Sarah', grows to 15–60 cm (6–24 in), the flowers are petite, as is the plant, used as a short edging, or as a very fragrant addition to the window box, dark violet flowers

'Lady Lavender', grows to 45 cm (18 in), fragrant, gray-green foliage and lavender-blue flowers in summer, prefers full sun, well-drained soil, low water, hardy to −30 °C (–20 °F)

Semi-dwarf cultivars

Bowles Early, Hidcote Variety, Loddon Blue, Martha Roderick, Jean Davis, Twickle Purple, Pink Perfume

 

'Hidcote' (syn. Hidcote Variety, Hidcote Blue, Hidcote Purple) L. angustifolia variety. 40 to 50 cm (15 in to 20 in) tall, with silver-gray foliage and deep violet-blue inflorescences, named after Hidcote Manor in England as it was cultivated there by Lawrence Johnston

'Jean Davis' 50–60 cm (20–24 in) tall, up to 1 m (3 ft). A pale pink flowered lavender with exceptionally fruity taste

'Pink Perfume' 60 cm × 45 cm (24 in × 18 in)

Giant cultivars

Alba, Backhouse Purple, Biostos, Bridestowe, Graves, Gray Lady, Gwendolyn Anley, Hidcote Giant, Irene Doyle, Mailette, Middachten

 

'Hidcote Giant'. A Lavandula × intermedia lavandin. Very vigorous grower (90 to 100 cm; 36–40 in) with a lovely strong fragrance. This has large deep lavender-purple flowers on very long 60 cm (24 in) stems.

'Vera' 75 to 90 cm (30–36 in). Thought to be the original species lavender, harvested for its oil.

Uses

 

Dried Lavandulae flos as used in herbal teas

The flowers and leaves are applied in herbal medicine.[21] Commercially, the plant is used to produce lavender essential oil used in balms, salves, perfumes, cosmetics, and topical applications.[22] Lavender essential oil, when diluted with a carrier oil, is commonly used for massage therapy or aromatherapy.[22]

 

The flowers are also used as a culinary herb, most often as part of the North American version of the French herb blend called herbes de Provence.

 

Lavandula angustifolia is included in the Tasmanian Fire Service's list of low flammability plants, indicating that it is suitable for growing within a building protection zone.[23]

 

Subspecies

Lavandula angustifolia subsp. angustifolia[1]

Lavandula angustifolia subsp. pyrenaica[1]

Hybrids

Lavandula hybrids are referred to as lavandins. Hybrids between L. angustifolia and L. latifolia (spike lavender) are called Lavandula × intermedia. They bloom later than the ordinary English lavenders.The sweet smell of lavender, Lavandula (common name lavender) is a genus of 47 known species of perennial flowering plants in the mints family, Lamiaceae.[1] It is native to the Old World, primarily found across the drier, warmer regions of mainland Eurasia, with an affinity for maritime breezes.[2]

 

Lavender is found on the Iberian Peninsula and around the entirety of the Mediterranean coastline (including the Adriatic coast, the Balkans, the Levant, and coastal North Africa), in parts of Eastern and Southern Africa and the Middle East, as well as in South Asia and on the Indian subcontinent.[3]

 

Many members of the genus are cultivated extensively in temperate climates as ornamental plants for garden and landscape use, for use as culinary herbs, and also commercially for the extraction of essential oils.[4] Lavender is used in traditional medicine and as an ingredient in cosmetics.

 

Description

Plant and leaves

The genus includes annual or short-lived herbaceous perennial plants, and shrub-like perennials, subshrubs or small shrubs.[5]

 

Leaf shape is diverse across the genus. They are simple in some commonly cultivated species; in other species, they are pinnately toothed, or pinnate, sometimes multiple pinnate and dissected. In most species, the leaves are covered in fine hairs or indumentum, which normally contain essential oils.[5]

 

Flowers

Flowers are contained in whorls, held on spikes rising above the foliage, the spikes being branched in some species. Some species produce colored bracts at the tips of the inflorescences. The flowers may be blue, violet, or lilac in the wild species, occasionally blackish purple or yellowish. The sepal calyx is tubular. The corolla is also tubular, usually with five lobes (the upper lip often cleft, and the lower lip has two clefts).[6]

 

Nomenclature and taxonomy

Lavandula stoechas, L. pedunculata, and L. dentata were known in Roman times.[7]: 51  From the Middle Ages onwards, the European species were considered two separate groups or genera, Stoechas (L. stoechas, L. pedunculata, L. dentata) and Lavandula (L. spica and L. latifolia), until Linnaeus combined them. He recognised only five species in Species Plantarum (1753), L. multifida and L. dentata (Spain) and L. stoechas and L. spica from Southern Europe. L. pedunculata was included within L. stoechas.

 

By 1790, L. pinnata and L. carnosa were recognised. The latter was subsequently transferred to Anisochilus. By 1826, Frédéric Charles Jean Gingins de la Sarraz listed 12 species in three sections, and by 1848 eighteen species were known.[7]: 51 

 

One of the first modern major classifications was that of Dorothy Chaytor in 1937 at Kew. The six sections she proposed for 28 species still left many intermediates that could not easily be assigned. Her sections included Stoechas, Spica, Subnudae, Pterostoechas, Chaetostachys, and Dentatae. However, all the major cultivated and commercial forms resided in the Stoechas and Spica sections. There were four species within Stoechas (Lavandula stoechas, L. dentata, L. viridis, and L. pedunculata) while Spica had three (L. officinalis (now L. angustifolia), L. latifolia and L. lanata). She believed that the garden varieties were hybrids between true lavender L. angustifolia and spike lavender (L. latifolia).[8]

 

Lavandula has three subgenera:[9][10][11]

 

Subgenus Lavandula is mainly of woody shrubs with entire leaves. It contains the principal species grown as ornamental plants and for oils. They are found across the Mediterranean region to northeast Africa and western Arabia.

Subgenus Fabricia consists of shrubs and herbs, and it has a wide distribution from the Atlantic to India. It contains some ornamental plants.

Subgenus Sabaudia constitutes two species in the southwest Arabian peninsula and Eritrea, which are rather distinct from the other species, and are sometimes placed in their own genus Sabaudia.

In addition, there are numerous hybrids and cultivars in commercial and horticultural usage.[5]

 

The first major clade corresponds to subgenus Lavandula, and the second Fabricia. The Sabaudia group is less clearly defined. Within the Lavandula clade, the subclades correspond to the existing sections but place Dentatae separately from Stoechas, not within it. Within the Fabricia clade, the subclades correspond to Pterostoechas, Subnudae, and Chaetostachys.

 

Thus the current classification includes 39 species distributed across 8 sections (the original 6 of Chaytor and the two new sections of Upson and Andrews), in three subgenera (see table below). However, since lavender cross-pollinates easily, countless variations present difficulties in classification.

 

Etymology

The English word lavender came into use in the 13th century, and is generally thought to derive from Old French lavandre,[12] ultimately from Latin lavare from lavo (to wash),[13] referring to the use of blue infusions of the plants for bathing.[7]: 35  The botanic name Lavandula as used by Linnaeus is considered to be derived from this and other European vernacular names for the plants.[14]

 

The names widely used for some of the species, "English lavender", "French lavender" and "Spanish lavender" are all imprecisely applied. "English lavender" is commonly used for L. angustifolia, though some references say the proper term is "Old English lavender".[15] The name "French lavender" may refer to either L. stoechas or to L. dentata. "Spanish lavender" may refer to L. pedunculata,[16] L. stoechas,[17] or L. lanata.

 

Cultivation

 

Honey bee on flower

The most common form in cultivation is the common or English lavender Lavandula angustifolia (formerly named L. officinalis). A wide range of cultivars can be found. Other commonly grown ornamental species are L. stoechas, L. dentata, and L. multifida (Egyptian lavender).

 

Because the cultivated forms are planted in gardens worldwide, they are occasionally found growing wild as garden escapes, well beyond their natural range. Such spontaneous growth is usually harmless, but in some cases, Lavandula species have become invasive. For example, in Australia, L. stoechas has become a cause for concern; it occurs widely throughout the continent and has been declared a noxious weed in Victoria since 1920.[18] It is regarded as a weed in parts of Spain.[19]

 

Lavenders flourish best in dry, well-drained, sandy or gravelly soils in full sun.[20] English lavender has a long germination process (14–28 days) and matures within 100–110 days.[21] All types need little or no fertilizer and good air circulation. In areas of high humidity, root rot due to fungus infection can be a problem. Organic mulches can trap moisture around the plants' bases, encouraging root rot. Gravelly materials such as crushed rocks give better results.[22] It grows best in soils with a pH between 6 and 8.[23] Most lavender is hand-harvested, and harvest times vary depending on intended use.[23]

 

Lavender oil

"Lavandin" redirects here. For the racehorse, see Lavandin (horse).

Main article: Lavender oil

Commercially, the plant is grown mainly for the production of lavender essential oil. English lavender (Lavandula angustifolia) yields an oil with sweet overtones and can be used in balms, salves, perfumes, cosmetics, and topical applications.[24]

 

Lavandula × intermedia, also known as lavandin or Dutch lavender, hybrids of L. angustifolia and L. latifolia.[25] are widely cultivated for commercial use since their flowers tend to be bigger than those of English lavender and the plants tend to be easier to harvest.[26] They yield a similar essential oil, but with higher levels of terpenes including camphor, which add a sharper overtone to the fragrance, regarded by some as of lower quality than that of English lavender.

 

The US Food and Drug Administration considers lavender as generally recognized as safe (GRAS) for human consumption.[27] The essential oil was used in hospitals during World War I.[20]

 

Phytochemicals

Some 100 individual phytochemicals have been identified in lavender oil, including major contents of linalyl acetate (30–55%), linalool (20–35%), tannins (5–10%), and caryophyllene (8%), with lesser amounts of sesquiterpenoids, perillyl alcohols, esters, oxides, ketones, cineole, camphor, beta-ocimene, limonene, caproic acid, and caryophyllene oxide.[24][27][28] The relative amounts of these compounds vary considerably among lavender species.[24]

 

Culinary use

 

Lavender-flavored cupcakes

Culinary lavender is usually English lavender, the most commonly used species in cooking (L. angustifolia 'Munstead'). As an aromatic, it has a sweet fragrance with lemon or citrus notes.[29] It is used as a spice or condiment in pastas, salads and dressings, and desserts.[30][31] Their buds and greens are used in teas, and their buds, processed by bees, are the essential ingredient of a monofloral honey.[32]

 

Use of buds

For most cooking applications the dried buds, which are also referred to as flowers, are used. Lavender greens have a more subtle flavor when compared to rosemary.[33]

 

The potency of the lavender flowers increases with drying which necessitates more sparing use to avoid a heavy, soapy aftertaste. Chefs note to reduce by two-thirds the dry amount in recipes that call for fresh lavender buds.[29][34][better source needed]

 

Lavender buds can amplify both sweet and savory flavors in dishes and are sometimes paired with sheep's milk and goat's milk cheeses. Lavender flowers are occasionally blended with black, green, or herbal teas. Lavender flavors baked goods and desserts, pairing especially well with chocolate. In the United States, both lavender syrup and dried lavender buds are used to make lavender scones and marshmallows.[35][36]

 

Lavender buds are put into sugar for two weeks to allow the essential oils and fragrance to transfer; then the sugar itself is used in baking. Lavender can be used in breads where recipes call for rosemary. Lavender can be used decoratively in dishes or spirits, or as a decorative and aromatic in a glass of champagne. Lavender is used in savory dishes, giving stews and reduced sauces aromatic flair. It is also used to scent flans, custards, and sorbets.[29]

 

In honey

The flowers yield abundant nectar, from which bees make a high-quality honey. Monofloral honey is produced primarily around the Mediterranean Sea, and is marketed worldwide as a premium product. Flowers can be candied and are sometimes used as cake decorations. It is also used to make "lavender sugar".[32]

 

Other uses

 

Soaps scented with lavender.

 

Lavender products for sale at the San Francisco Farmers Market.

Flower spikes are used for dried flower arrangements. The fragrant, pale purple flowers and flower buds are used in potpourris. Lavender is also used as herbal filler inside sachets used to freshen linens. Dried and sealed in pouches, lavender flowers are placed among stored items of clothing to give a fresh fragrance and to deter moths.[37] Dried lavender flowers may be used for wedding confetti. Lavender is also used in scented waters, soaps, and sachets.

 

In history and culture

See also: Spikenard

The ancient Greeks called the lavender herb νάρδος: nárdos, Latinized as nardus, after the Syrian city of Naarda (possibly the modern town of Duhok, Iraq). It was also commonly called nard.[38] The species originally grown was L. stoechas.[5]

 

During Roman times, flowers were sold for 100 denarii per pound, which was about the same as a month's wages for a farm laborer, or fifty haircuts from the local barber. Its late Latin name was lavandārius, from lavanda (things to be washed), from lavāre from the verb lavo (to wash).[13][39]

 

Since the late 19th century, lavenders have been associated with the queer community.[40]

 

Culinary history

Spanish nard (Old French: "spykenard de spayn le pays"), referring to L. stoechas, is listed as an ingredient in making a spiced wine, namely hippocras, in The Forme of Cury.[41]

 

Lavender was introduced into England in the 1600s. It is said that Queen Elizabeth prized a lavender conserve (jam) at her table, so lavender was produced as a jam at that time, as well as used in teas both medicinally and for its taste.[29]

 

Lavender was not used in traditional southern French cooking at the turn of the 20th century. It does not appear at all in the best-known compendium of Provençal cooking, J.-B. Reboul's Cuisinière Provençale.[42] French lambs have been allowed to graze on lavender as it is alleged to make their meat more tender and fragrant.[29] In the 1970s, a blend of herbs called herbes de Provence was invented by spice wholesalers. Culinary lavender is added to the mixture in the North American version.[43]

 

In the 21st century, lavender is used in many world regions to flavor tea, vinegar, jellies, baked goods, and beverages.[44]

  

Bunches of lavender for sale, intended to repel insects

Herbalism

The German scientific committee on traditional medicine, Commission E, reported uses of lavender flower in practices of herbalism, including its use for restlessness or insomnia, Roemheld syndrome, intestinal discomfort, and cardiovascular diseases, among others.[45]

 

Health precautions

The U.S. National Center for Complementary and Integrative Health (NCCIH) states that lavender is considered likely safe in food amounts, and that topical uses may cause allergic reactions.[46] NCCIH does not recommend the use of lavender while pregnant or breastfeeding because of lack of knowledge of its effects.[46] It recommends caution if young boys use lavender oil because of possible hormonal effects leading to gynecomastia.[46][47][48]

 

A 2007 study examined the relationship between various fragrances and photosensitivity, stating that lavender is known "to elicit cutaneous photo-toxic reactions", but does not induce photohaemolysis.[49]

 

Adverse effects

Some people experience contact dermatitis, allergic eczema, or facial dermatitis from the use of lavender oil on skin.[24][46]

 

Taxonomic table

 

Different lavender cultivars growing at Snowshill, the Cotswolds, UK.

This is based on the classification of Upson and Andrews, 2004.

  

Lavender field in Carshalton, in the London Borough of Sutton.

 

Lavender field in Hitchin, UK.

 

Lavender field in Çuxur Qəbələ, Qabala District, Azerbaijan.

I. Subgenus Lavendula Upson & S.Andrews

 

i. Section Lavandula (3 species)

Lavandula angustifolia Mill.

subsp. angustifolia — Catalonia and the Pyrenees.

subsp. pyrenaica — SE France and nearby Mediterranean coastal regions of Croatia, Italy, Spain.

Lavandula latifolia Medik — central Portugal, east-central Spain, southern France, northern Italy.

Lavandula lanata Boiss. — southern Spain.

Hybrids:

Lavandula × chaytorae Upson & S.Andrews (L. angustifolia subsp. angustifolia × L. lanata)

Lavandula × intermedia Emeric ex Loisel. (L. angustifolia subsp. angustifolia × L. latifolia)

ii. Section Dentatae Suarez-Cerv. & Seoane-Camba (1 species)

Lavandula dentata L. — east Spain, coastal Algeria, and northern and SW Morocco.

var. dentata (rosea, albiflora), candicans (persicina) [Batt.]

iii. Section Stoechas Ging. (3 species)

Lavandula stoechas L.

subsp. stoechas — mostly coastal regions of east Spain, southern France, west Italy, Greece, Bulgaria, southern coastal Turkey, Levantine coast, and many Mediterranean islands.

subsp. luisieri — coastal and inland Portugal and border regions of Spain.

Lavandula pedunculata Mill.(Cav.)

subsp. pedunculata — Spain and Portugal.

subsp. cariensis — western Turkey and southern Bulgaria.

subsp. atlantica — montane Morocco.

subsp. lusitanica — southern Portugal and SW Spain.

subsp. sampaiana — from Portugal and SW Spain.

Lavandula viridis L'Her. — SW Spain, Portugal, and possibly also on Madeira.

Intersectional hybrids (Dentatae and Lavendula)

Lavandula × heterophylla Viv. (L. dentata × L. latifolia )

Lavandula × allardii

Lavandula × ginginsii Upson & S.Andrews (L. dentata × L. lanata )

II. Subgenus Fabricia (Adams.) Upson & S.Andrews

 

iv. Section Pterostoechas Ging. (16 species)

Lavandula multifida L. — Morocco, southern Portugal, Spain, northern Algeria, Tunisia, Tripolitania, Calabria and Sicily, with isolated Nile valley populations.

Lavandula canariensis Mill. — the Canary Islands.

subsp. palmensis – La Palma.

subsp. hierrensis – El Hierro.

subsp. canariensis – Tenerife.

subsp. canariae – Gran Canaria.

subsp. fuerteventurae – Fuerteventura.

subsp. gomerensis – La Gomera.

subsp. lancerottensis – Lanzarote.

Lavandula minutolii Bolle — Canary Islands.

subsp. minutolii

subsp. tenuipinna

Lavandula bramwellii Upson & S.Andrews — Gran Canaria.

Lavandula pinnata L. — Canarias and Madeira.

Lavandula buchii Webb & Berthel. — Tenerife.

Lavandula rotundifolia Benth. — Cape Verde.

Lavandula maroccana Murb. — Atlas Mountains, Morocco.

Lavandula tenuisecta Coss. ex Ball — Atlas Mtns., Morocco.

Lavandula rejdalii Upson & Jury — Morocco.

Lavandula mairei Humbert — Morocco.

Lavandula coronopifolia Poir. — Cape Verde, Northern Africa, NE Western Africa, Arabia to East Iran.

Lavandula saharica Upson & Jury — southern Algeria and nearby regions.

Lavandula antineae Maire — central Sahara.

subsp. antinae

subsp. marrana

subsp. tibestica

Lavandula pubescens Decne. — Egypt, Eritrea, Sinai, Israel, Palestine, Jordan, western Saudi Arabia to Yemen.

Lavandula citriodora A.G. Mill. – SW Arabian peninsula.

Hybrids:

Lavandula × christiana Gattef. & Maire (L. pinnata × L. canariensis)

v. Section Subnudae Chaytor (10 species)

Lavandula subnuda Benth. — mountains of Oman and the United Arab Emirates.

Lavandula macra Baker – southern Arabian peninsula and Somaliland.

Lavandula dhofarensis A.G. Mill. – from Dhofar, Oman.

subsp. dhofarensis

subsp. ayunensis

Lavandula samhanensis Upson & S.Andrews – Dhofar, Oman.

Lavandula setifera T. Anderson – coastal Yemen and Somaliland.

Lavandula qishnensis Upson & S.Andrews – southern Yemen.

Lavandula nimmoi Benth. – Socotra.

Lavandula galgalloensis A.G. Mill. – Somaliland.

Lavandula aristibracteata A.G. Mill. – Somaliland.

Lavandula somaliensis Chaytor – Somaliland.

vi. Section Chaetostachys Benth. (2 species)

Lavandula bipinnata (Roth) Kuntze — Deccan peninsula and north-central India.

Lavandula gibsonii J. Graham – Western Ghats, South India.

vii. Section Hasikenses Upson & S.Andrews (2 species)

Lavandula hasikensis A.G. Mill. – Oman.

Lavandula sublepidota Rech. f. – Far, Iran.

III. Subgenus Sabaudia (Buscal. & Muschl.) Upson & S.Andrews

 

viii. Section Sabaudia (Buscal. & Muschl.) Upson & S.Andrews (2 species)

Lavandula atriplicifolia Benth. – western Arabian peninsula, Egypt.

Lavandula erythraeae (Chiov.) Cufod. – Eritrea. Wikipedia

 

SPORTS604 VOLLEYBALL PLAYOFFS 2010

 

Sponsored by Red Bull & Terracotta Modern Chinese Restaurant

 

photos by Ron Sombion Gallery & PacBlue Printing

 

www.Sports604.com

www.RedBull.ca

www.TerracottaVancouver.com

 

www.PacBluePrinting.com

www.RonSombilonGallery.com

  

About Sports604 -Basketball-Bowling, Dodgeball-Volleyball-California Kickball

 

"Vancouver's Fastest Growing Recreational Sports League"

 

Sports604 leagues aim to cover all the fundamentals of league play: structure, competitiveness, recreation, exercise and fun!

 

Levels range from beginners to seasoned vets. Not to mention, we do it with a bit of style. Not only do we include team t-shirts as a part of the registration fee, we love to rock in our socks to music! Yup, we crank up the volume when the whistle blows so everyone can get hyped before they play and groove while they play

     

.

The history of railways goes back in the UK well over 200 years, longer if you include wagonways.

 

The industrial revolution saw the invention of the locomotive, and this was used to move freight, more of it, quicker than ever before.

 

Passengers were an afterthought.

 

There is a website which is trying to map every railway there has ever been in the UK, and looking at it, you can see lines criss-crossing the country, most are freight lines leading to and from mones or ports, to factories or cities.

 

Moving people by rail came as an afterthought, but enabled social and geographical mobility on a scale not seen before.

 

Globalisation and the exhaustion of resources has been many frieght lines close, but some still exisit, and some were opened to exploit new discoveries.

 

A railtour was announced to Baulby Potash Mine, situated on the North Sea cost just south of Teesside, along a private branch, and as the line features what is possible the most spectacular clifftop views of any line remaining, the chance to ride this proved irristable to me. I booked us on the tour in 1st class dining, but we had to join it at Potters Bar, north of London, as rail services from Dover would not have got us there in time.

 

So, an early start was needed. Even earlier as there were jams still in and around Dover, and Google Maps was telling me the Dartford Tunnels were closed until half eight.

 

The A2 was blocked at The Duke of Yorks, but going through Guston we got on our way, and had no trouble, and found the Dartford crossing fully up and flowing well.

 

We got there with 50 minutes to spare, but registering on the parking app took a good twenty minutes. So, enough time to stand on the platforms and watch trains hammer by on the ECML.

 

On the platform, a large group of men of a certain age was gathering. And it seems I am doomed to join them, but I also realise that when these fine gentlemen can no longer go on these trips, who will? There are a few women, like Jools accompanying their partners, though I don't have notebooks.

 

Already, I recognise faces from previous trips, does this mean I am now one of them?

 

67007 lead the tour, and is in a bright purple colour scheme to celebrate the Queen's Jubilee. I stand at the end of the platform to snap it coming up the slow line from London.

 

We get into coach B, find our seats and settle into the armchair like seats. We can smell breakfast cooking. We were offered some fruit to start.

  

Coffee is brought round at regular intervals, and soon cooked breakfast is brought round, though I skip the fried egg, there is really nothing like eating on a train whilst the countryside rolls by the large carriage windows for our entertainment.

  

It took us op the main line to Northallerton, picking up more passengers as we went, but for rare track fans, we took the freight avoiding line at York.

 

From Northallerton, we headed to Middlesbrough, where we swapped Locos at Tees Yard and 60066 took over to lead us on.

 

That took nearly an hour. Lunch of quiche was served while we looked at flatbed trucks loaded with recently rolled steel bars.

 

then through the post-industrial landscape of the South Tees hellscape to Saltburn, then on the private branch to Bouldby.

 

We passed small stations used to two carriage DMUs, so a double loco hauled eleven carriage train was something of a surprise for those waiting. They waved at us, and we waved back.

 

Highlight is the line nearing the edge of the cliffs with views to the rocks below and along the rugged coastline. There was barely enough room for the coastal path between the line and the cliff-edge, just wide enough for one person, fences on either side stopped people getting onto the line or going over the cliffs.

 

A few photographers had taken positions to record our progress, so rare is a passenger train on this line. We waved at them too.

  

We crossed over the Saltburn Viaduct, an impressive structure, which once carried trains down the coast to Whitby and beyond, but now is on the freight only branch.

 

There was passage through the delightfully named Grinkle Tunnel before we emerged from the woods into the freight yard at the mine.

 

We went all the way to the buffer stops, paused, then began to long journey back.

 

I took shots. Don't lean out of the windows they said, so I waved the camera out of the window and clicked the shutter.

In the future, all Fast Food restaurants will limit their drive-thrus to two vehicles at a time and all fast food drive-thrus will include electric stop sign gates to warn drivers that the drive-thru is at its limited capacity and this will help to save the environment and reduce litter and keep the whole world nice and clean and fast food restaurants like McDonald's will have more dinning tables and will have arcade games in the playplaces in the future which is the 1997 My McDonald's rebrand to limit down the drive-thrus too stop from pollution and everybody who uses drive-thrus must wait until they get to their designated areas to eat their food instead of eating in the vehicles for safety and that will be the new law for the future. Pear-shaped wrecking balls MUST BE BANNED and NEVER EVER get restored and revived in the future and Pear-shaped Wrecking Balls also MUST GET BURNED INTO ASHES AND GET SHATTERED INTO TINY PIECES and get replaced by new modern spherical wrecking balls forever because pear-shaped wrecking balls are trash and very ineffective and makes people upset. This is why Tom and Jerry: The Movie (1992) MUST BE BANNED and NEVER EVER get revived in the future I am glad the new Tom and Jerry movie that is coming out this year is replacing the old Tom and Jerry Movie from 1992 which is the movie this pear-shaped wrecking ball that destroyed a good house is from this movie which abused Blue's Clues Steve Fans. Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences and even polluting andhaving Eastern cottontail rabbits extinct. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.

 

. Similar to modern Simpsons (seasons 19 and Later) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie.

Humpback whales are rorquals (Balaenopteridae, a family that includes the blue, fin, Bryde's, sei, and minke whales). The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene. The sole member of its genus, the humpback was first identified as baleine de la Nouvelle Angleterre off the coast of New England by Mathurin Jacques Brisson in his Regnum Animale of 1756. The common name is derived from the curving of their backs when diving. The generic name Megaptera comes from the Greek mega-/μεγα- ("giant") and ptera/πτερα ("wing") and refers to their large front flippers.

 

Genetic research in mid-2014 by the British Antarctic Survey confirmed that the separate populations in the North Atlantic, North Pacific, and Southern Oceans are more distinct than previously thought. Some biologists believe that these should be regarded as separate, independently evolving subspecies.

 

Humpbacks have a stocky body, obvious hump, and black dorsal colouring. The head and lower jaw are covered in tubercles, knobby hair follicles characteristic of the species. Humpbacks have 270-400 dark baleen plates on each side of their mouths. The plates measure from 46 centimetres in the front to almost a metre in the back. About 14-22 wide ventral grooves run from the lower jaw to the umbilicus. The female has a hemispherical lobe about 15 centimetres in diameter in her genital region. Fully grown males average 13-14 metres and females are slightly larger at 15-16 metres; one large recorded specimen was 19 metres long and had pectoral fins measuring 6 metres each. Body mass is typically around 25-30 metric tons, with large specimens weighing over 40 metric tons.

 

The long black and white tail fin can be up to a third of body length. The varying patterns on the tail flukes distinguish individual animals. During a study using data from 1973 to 1998 on whales in the North Atlantic, a photographic catalogue of all known North Atlantic whales was developed; it's maintained by the College of the Atlantic. Several hypotheses attempt to explain the humpback's pectoral fins, proportionally the longest fins of any cetacean, such as higher maneuverability and increased surface area for temperature control when migrating between warm and cold climates.

 

Whales produce a three-metre-long, heart-shaped blow through the blowholes. They don't generally sleep at the surface but must continue to breathe: it's possible that only half of their brain sleeps at one time, allowing the other half to manage the surface/blow/dive process.

 

The lifespan of rorquals ranges from 45 to 100 years. Females reach sexual maturity at age five, achieving full adult size a little later. Males reach sexual maturity around seven years of age. Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce. Unrelated males, or "escorts," frequently trail single cows and cow-calf pairs. Males gather into "competition groups" around a female and fight for the right to mate with her. Groups shrink and grow as unsuccessful males retreat and others arrive. Behaviors include breaching, spy-hopping, lob-tailing, tail-slapping, pectoral fin-slapping, peduncle throws, charging, and parrying.

 

Both male and female humpback whales vocalize, but only males produce the long, loud, complex song for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency and typically lasting from 10 to 20 minutes. Individuals may sing continuously for more than 24 hours. Cetaceans have no vocal cords, instead forcing air through their massive nasal cavities (blowholes).

 

Whales within a large area sing a single song: all North Atlantic humpbacks sing the same song, while those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating. Many of the whales observed to approach a singer are other males, often resulting in conflict: singing may, therefore, be a challenge to other males as well as a way to impress females. Some scientists have hypothesized the song may serve an echolocative function. During the feeding season, humpbacks make unrelated vocalizations to herd fish into their bubble nets and they use other sounds to communicate, such as grunts, groans, "thwops," snorts, and barks.

 

Females typically breed every two or three years. The gestation period is 11.5 months. The peak months for birth are January, February (northern hemisphere), July, and August (southern hemisphere). Females wait for one to two years before breeding again. Recent research on mitochondrial DNA reveals that groups living in proximity to each other may represent distinct breeding pools.

 

A newborn calf is roughly the length of its mother's head. At birth, calves measure six metres and two tons. They nurse for about six months, then mix nursing and independent feeding for around six months more. Humpback milk is pink and 50% fat.

 

Humpbacks have a loosely knit social structure: individuals usually live alone or in small, transient groups that disband after a few hours. Groups may stay together longer in summer to forage and feed cooperatively. Longer-term relationships of months or even years between pairs or small groups have occasionally been observed, and some females might create lifelong bonds through cooperative feeding.

 

Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude. The four distinct tribes are the North Pacific, Atlantic, Southern Ocean, and Indian Ocean populations. Whales were once uncommon in the eastern Mediterranean or the Baltic Sea but have increased their presence in both waters as global populations have recovered. They have also returned to Scotland, Skagerrak, and Kattegat, as well as Scandinavian fjords such as Kvænangen, where they had not been observed for decades. Since November 2015, Hachijo-jima has been recognized as the northernmost breeding ground in the world.

 

Humpbacks typically migrate up to 25,000 kilometres each year. A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres. Identified by their unique tail patterns, these animals made the longest mammalian migration ever documented.

 

The humpback's range overlaps with other whale and dolphin species. Humpbacks are friendly and interact with other cetaceans such as bottlenose dolphins and right whales. These behaviors have been recorded in all oceans, and humpback whales regularly appear in mixed groups with other species, such as the blue, fin, minke, gray, and sperm whales. Humpback and southern right whales demonstrating what were interpreted to be mating behaviors have been observed off the Mozambique and Brazilian coasts. A male humpback whale was seen singing to a fin whale at Rarotonga in 2014, and another individual was observed playing with a bottlenose dolphin in Hawaiian waters. Incidents of humpback whales protecting other species of animals such as seals and other whales from killer whales have also been documented.

 

Humpbacks feed primarily in summer and live off fat reserves during winter, when they feed only rarely and opportunistically. The humpback is an energetic hunter, taking krill and small schooling fish such as herring, salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic. Pleated grooves in the whale's mouth allow water to easily drain out, filtering out the prey. The humpback has the most diverse hunting repertoire of all baleen whales, sometimes stunning prey by hitting the water with pectoral fins or flukes. Its most inventive technique is known as bubble net feeding, in which a group of up to a dozen whales swims in a shrinking circle below a school of prey and traps it in a cylinder of bubbles. The ring can start out about 30 metres in diameter. Some whales blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the trap by vocalizing. The whales then all suddenly swim up, swallowing thousands of fish.

 

The technique of lobtail feeding, observed in the North Atlantic, involves slapping the surface of the ocean with the tail up to four times before creating the bubble net. Based on network-based diffusion analysis, researchers believe that these whales learned the behavior from other whales in the group over a period of 27 years in response to a change in the primary form of prey.

 

Visible scars indicate that killer whales can prey upon juvenile humpbacks. Mothers and (possibly related) adults escort neonates to deter such predation. It's believed that orcas turned to other prey when humpbacks suffered near-extinction during the whaling era but are now resuming their former practice.

 

Humpback whales were hunted by humans on a commercial level as early as the 18th century. By the 19th century, many nations (the United States in particular) were hunting the animal heavily in the Atlantic and to a lesser extent in the Indian and Pacific oceans. The explosive harpoon introduced in the late 19th century, along with the extension of hunting into the Antarctic ocean from 1904, drastically reduced whale populations. During the 20th century, over 200,000 humpbacks were taken, reducing the global population by over 90%. North Atlantic populations dropped to as low as 700 individuals.

 

In 1946, the International Whaling Commission (IWC) was founded: they imposed hunting regulations and seasons. To prevent extinction, IWC banned commercial humpback whaling in 1966, by which time the global population had been reduced to around 5,000 animals (around 90% having been exterminated). The Soviet Union deliberately under-recorded its catches; the Soviets reported catching 2,820 whales between 1947 and 1972, but the true number was over 48,000.

 

As of 2004, hunting was restricted to a few animals each year off the Caribbean island of Bequia in the nation of St. Vincent and the Grenadines. The take is not believed to threaten the local population. Japan's announcement that it planned to kill 50 humpbacks in the 2007/08 season under its JARPA II "research" program sparked global protests and a visit to Tokyo by the IWC chair, and the Japanese whaling fleet agreed to take no humpback whales during the two years it would take to reach a formal agreement. In 2010, the IWC authorized Greenland's native population to hunt a few humpback whales for the following three years.

 

In Japan, humpback, minkes, sperm, and many other smaller Odontoceti, including critically endangered species such as North Pacific right, western gray, and northern fin whales, have been targets of illegal captures. Humpback meat can be found on the markets. Harpoons are used to hunt dolphins or intentionally drive whales into nets, reporting them as cases of entanglement. Unknown numbers of humpbacks have been illegally hunted in the Exclusive Economic Zones of anti-whaling nations such as off Mexico and South Africa.

 

Because they're easily approachable, curious, identifiable as individuals, and display many interesting behaviors, they have become the mainstay of whale tourism around the world. Analyses of whale songs in the 1960s led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the anti-whaling advocates. Humpbacks are popular with whale-watchers because of their distinctive surface behaviors: they frequently breach, throwing two-thirds or more of their bodies out of the water and splashing down on their backs. Some humpbacks, referred to as "friendlies," often stay under or near whale-watching boats for many minutes.

 

While whaling no longer threatens the species, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution. Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.

 

The species was listed as vulnerable in 1996 and endangered as recently as 1988. In August 2008, the IUCN changed humpback's status from "vulnerable" to "least concern," although two subpopulations remain endangered. Most monitored stocks have rebounded since the end of commercial whaling and now reach around 80,000 worldwide. Though the North Atlantic stocks are believed to be approaching pre-hunting level, the species is still considered endangered in some countries, including the United States.

 

Hagerstown, Indiana (September 10, 2012) The new Model T Ford Museum is slated to hold its grand opening during Richmond’s Octoberfest on September 28 at 6 p.m. The museum which was previously located in Centerville, Indiana near the Warm Glow Candle Factory for 5 years moved just a few miles east to Richmond, Indiana’s Historical Depot District this past spring.

 

Since the move to Richmond volunteers have been steadily preparing the museum’s new home, displays and vehicles for the event.

Today, a photo shoot for the Model T Museum’s newly acquired 1930 Pietenpol Sky Scout was held at the Hagerstown Airport.

 

The plan arrived at the airport around 10:00 a.m. this morning and was assembled by Model T enthusiasts and many of them brought their own Model Ts to use during the photo shoot.

 

One of the people there today was Mr. Jay Klehfoth who is the CEO and publisher of the Vintage Ford Magazine.

 

Jay is a walking encyclopedia when it comes to all things Model T. I was to learn he’s pretty knowledgeable in a lot of areas too. During our walk around of the plane Jay pointed out one of the parts for the engine had been made by a former factory in Richmond of all places. And there are many other special things about this airplane I’m sure he’ll be writing about in the next issue of the the Vintage Ford Magazine. He not only knew a lot about the Pietenpol Sky Scout plane that was being photographed for the magazine cover. He’s pretty sharp when it comes to airports too. He said that the Hagerstown airport were today’s photo shoot was done has the longest grass landing strip in the United States which to me made it the perfect place for today’s event.

 

This Pietenpol that will be on display at the museum is powered by a 20 HP Model T engine which was modified to include dual-ignition which is used in aviation. According to an article in the AntiqueAirfield.com website from September 10, 2012 there was only one original Pietenpol Sky Scout built by Bernard Pietenpol himself, and just two replicas. The article also said that all 3 were still flying.

 

The new Model T Ford Museum is going to be an exciting addition to what is one of Indiana’s grandest historical areas and a must in this part of the Midwest.

 

Richmond is a perfect place for any day trip. But, if you want to see all that Richmond has to offer you’ll need to plan on staying several days.

 

The Model T Ford Museum is located in Richmond’s Historic Depot District at 309 N 8th St, Richmond, IN 47374 - 765-488-0026.

Model T Ford Museum website: www.mtfca.com/clubpages/museum.htm

 

Additional Information:

The Model T Ford Club of America has nearly 8,000 families worldwide. Members are from all 50 states and 41 other countries.

The Vintage Ford Magazine is published bimonthly by the Model T Ford Club of America, 119 W. Main Street, Centerville, Indiana and is mailed to all members. Subscription rates are $35.00 per year (six issues) in the United States ($42.00 Canada and $44.00 elsewhere) and include member ship in the club.

All correspondence should be ad dressed to:

THE MODEL T FORD CLUB

OF AMERICA

P.O. Box 126

Centerville, IN 47330-0126

765-855-5248 fax 765-855-3428

e-mail: admin@mtfca.com

 

Raw Video: Prepping Pietenpol Sky Scout For Photo Shoot youtu.be/7_JnszAF8GA

 

Video: Pietenpol Sky Scout Photo Shoot youtu.be/h3m6ZWgNJMg

 

Video: Model T Ford Museum Grand Opening Set youtu.be/OwIiE5O1UQk

INCLUDES:

 

ICE AGE:

Year Released: 2002

Studio: 20th Century Fox

Aspect Ratio: 1.85:1

 

AUDIO:

- English (DTS-HD 5.1)

- Spanish (Dolby 5.1)

- French (Dolby 5.1)

 

SUBTITLES:

English SDH, Spanish, Cantonese Chinese, Korean

  

GHOSTBUSTERS (2016):

Year Released: 2016

Studio: Sony (Columbia)

Aspect Ratio: 2.35:1 SCOPE

 

AUDIO & SUBTITLES:

- English (DTS-HD 5.1)

- Spanish (Dolby 5.1)

  

SPY:

Year Released: 2015

Studio: 20th Century Fox

Aspect Ratio: 2.35:1 SCOPE

 

AUDIO & SUBTITLES:

- English (DTS-HD 7.1)

- Spanish (Dolby 5.1)

- French (Dolby 5.1)

SEE OTHER PICTURES IN ALBUM.AIRCRAFT ON GROUND INCLUDE U.S. AIR FORCE B-1B 85-0073,C-17A 93-0604,C-130J 03-8154,F-15C 86-0154,F-15E 01-2004,A-10A 81-0954,F-16 89-2127,U.S. NAVY E2C 163694,S-3B 160143,SH-60 164454,UAE A/F F-16E 3050,3056,C-130 311,EGYPT A/F CH-47D 3002,RUSSIA A/F MIG 29 777,918,PC12 ZS-YEA,A319 F-OHJY,P180 I-RAIL,ITALY A/F P180 MM62213,C208 N8HZ,LET 410 OK-WDC,RAF MERLIN HC3 ZJ124,M346 CMX616,FRENCH A/F RAFALE B 302,T-50 ROKAF 05-001,06-003,SAAB GRIPPEN 39816,39227,AERO L-159 6073,PAKISTAN A/F K8 03-02-812,03-02-810,AN74TK UR-YVA,UR-74038,747-400 A6-HRM,7377BBJ A6-AIN,HB-HZC PC21,N6066Z 777 BOEING,F-WWDD A380 AIB/EK,PP-XJG E175,5R-MJF ATR72 AIR MADAGASCAR,C-FGRE CRJ700 UA EXPRESS,ZS-POT BE400,ZS-ULT LJ45,F-GUDC F2000,F-GSNA F900,A6-RJM BD300,A6-RJA G300,HB-JEX BD700,JY-AW1 C560XL,HB-VOB H800XP,N517LR BAE 125-1000,N238CX C750X,N6128Y BEECH 390,N232LJ LJ60,N606GA G200,N142HC G450,N571GA G550,N604CD CL604,N300BZ BD300,N900UD C650,N132SV C680,N140AE G5000,074 AH-64 UAE A/F

 

Tucker Torpedo brochure, c. 1947. This concept drawing includes a centrally positioned steering wheel, doors that wrap up into the roof, and front fenders that turn when the car is cornering. These features did not reach production.

The Tucker 48 (named after its model year) is an automobile conceived by Preston Tucker and briefly produced in Chicago in 1948. Only 51 cars were made before the company ceased operations on March 3, 1949, due to negative publicity initiated by the news media, a Securities and Exchange Commission investigation and a heavily publicized stock fraud trial (in which the allegations were proven baseless and led to a full acquittal). Speculation exists that the Big Three automakers and Michigan Senator Homer S. Ferguson also had a role in the Tucker Corporation's demise.[citation needed] The 1988 movie Tucker: The Man and His Dream is based on the saga surrounding the car's production. The film's director, Francis Ford Coppola, is a Tucker owner and displays his vehicle on the grounds of his winery.[2] The 48's original proposed price was said to be $1,000, but the actual selling price was closer to $4,000.[3] A 1948 Tucker sedan was featured in the July 26, 2011, installment of NBC's It's Worth What? television show. The car's estimated value at that time was US$1,200,000. The car is commonly referred to as the "Tucker Torpedo". This name was never used in conjunction with the actual production car, and its name was officially "Tucker 48".

 

from Wikipedia, the free encyclopedia

 

Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette, Michigan

906-2285494

magnusonx2@charter.net

www.earthkeepersup.org

www.cedartreeinstitute.org

 

EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.

 

The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.

 

An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community

 

10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "

 

EK II website

EarthKeepersUP.org

 

Nonprofit Cedar Tree Institute

Marquette, MI

www.CedarTreeInstitute.org

 

Great Lakes Restoration Initiative

www.greatlakesrestoration.us

www.epa.gov

 

Deborah Lamberty

Program Analyst

U.S. Environmental Protection Agency

Great Lakes National Program Office

Chicago, IL

 

Lamberty.Deborah@epa.gov

312-886-6681

 

Pastor Albert Valentine II

Manistique, MI

Manistique Presbyterian Church of the Redeemer

Gould City Community Presbyterian Church

Presbytery of Mackinac

www.presbymac.org

 

Rev. Christine Bergquist

Bark River United Methodist Church

First UMC of Hermansville

United Methodist Church Marquette District

www.mqtdistrict.com

 

Rev. Elisabeth Zant

Eden Evangelical Lutheran Church

Munising, MI

www.edenevangelical.org

Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod

www.nglsynod.org

 

Heidi Gould

Marquette, MI

Marquette Unitarian Universalist Congregation

www.mqtuu.org

twitter.com/Heidi_Gould

 

Rev. Pete Andersen

Marquette, MI

ELCA

 

Helen Grossman

Temple Beth Sholom

Jewish Synagogue

 

Rev. Stephen Gauger

Calvary Lutheran Church

Rapid River, MI

ELCA

 

Jan Schultz, Botanist

U.S. Forest Service (USFS)

Eastern Region 9

EK II Technical Advisor for Community Gardens

Milwaukee, WI

 

USFS

www.fs.fed.us/wildflowers/nativegardening

www.fs.fed.us/wildflowers

www.wildlifeforever.org

 

Pollinator photos by Nancy Parker Hill

www.nancyhillphoto.com

 

Rev. David Van Kley, Senior Pastor

Rev. Amanda Kossow, Associate Pastor

www.marquettelutherans.org

 

Messiah Lutheran Church

Evangelical Lutheran Church in America

Marquette, Michigan

 

Rev. David Van Kley, Senior Pastor

Rev. Amanda Kossow, Associate Pastor

www.marquettelutherans.org

  

NMU EK II Student Team

Katelin Bingner

Tom Merkel

Adam Magnuson

 

EK II social sites

www.youtube.com/EarthKeepersII

vimeo.com/EarthKeepersII

EarthKeepersII.blogspot.com

EarthKeepersII.wordpress.com

www.facebook.com/EarthKeepersII

www.twitter.com/EarthKeeperTeam

pinterest.com/EarthKeepersII

pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...

pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...

Lake Superior Zendo

Zen Buddhist Temple

Marquette, Michigan

 

Rev. Tesshin Paul Lehmberg

906 226-6407

plehmber@nmu.edu

 

Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI

Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI

906-475-4009 (hm)

906-475-4127 (wk)

www.templebethsholom-ishpeming.org

www.templebethsholom-ishpeming.org/tikkun

www.templebethsholom-ishpeming.org/aboutus

 

Wild Rice: 8 videos

www.learningfromtheearth.org/video-interviews/wild-rice-m...

 

Birch – 2 videos

www.learningfromtheearth.org/video-interviews/paper-birch...

 

Photos (click on each name or topic to see the respective photo galleries):

www.learningfromtheearth.org/photo-gallery

 

www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...

www.picasaweb.google.com/100329402090002004302/JonReport?...

 

“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”

the late Todd Warner, KBIC Natural Resource Director

 

Links:

 

Zaagkii Wings and Seeds Project website:

www.wingsandseeds.org

 

Cedar Tree Institute: Zaagkii Project

www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...

www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...

 

Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):

www.youtube.com/ZaagkiiTV

 

KBIC Pollinator Preservation

www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...

Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...

 

Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse

www.youtube.com/watch?v=Hoq5xXHDF4E

United States Forest Service sponsored Zaagkii Project featured on Pollinator Live

www.youtube.com/watch?v=8P3DPfxx7Jw

 

2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan

www.youtube.com/watch?v=QIIV6jrlT20

 

2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses

www.youtube.com/watch?v=c3MBfV7ION8

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service

www.youtube.com/watch?v=hGQScEI9x7Q

 

2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs

www.youtube.com/watch?v=JlIgsuTFSuM

 

2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects

www.youtube.com/watch?v=JqlFCHwW30o

 

2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward

www.youtube.com/watch?v=U2B4MEzM7w4

 

2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters

www.youtube.com/watch?v=dqfWeEgDxTY

 

2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators

www.youtube.com/watch?v=vg8H5nhvzzc

 

2009 Zaagkii Project #1: Students make bee houses, plant native species plants

www.youtube.com/watch?v=E8jqJAQyXwE

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:

www.youtube.com/watch?v=hGQScEI9x7Q

 

Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators

www.youtube.com/watch?v=VoPJOXHt7pI

 

Zaagkii Project – Northern Michigan University:

www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...

 

Native Village stories: Beautiful Layout by Owner Gina Boltz:

Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

NMU Students Join Pollinator Protection Initiative

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

KBIC Tribal youth protect pollinators

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

Teens Help with Sweet Nature Project

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

USFS Success Stories:

Restoring Native Plants on the Enchanted Island

www.fs.fed.us/r9/ssrs/story?id=6274

 

Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop

www.fs.fed.us/r9/ssrs/story?id=5499

  

Intertribal Nursery Council Annual Meeting a Success

www.fs.fed.us/r9/ssrs/story?id=6276

 

New Greenhouse for KBIC Restoration

www.fs.fed.us/r9/ssrs/story?id=5336

  

Zaagkii Wings & Seeds - An Update

www.fs.fed.us/r9/ssrs/story?id=5076

 

Zaagkii Wings & Seeds Project

www.fs.fed.us/r9/ssrs/story?id=4025

 

News Stories:

U.P. teens build butterfly houses, grow 26,000 indigenous plants

www.miningjournal.net/page/content.detail/id/519835.html?...

 

Effort to protect pollinators launched

www.miningjournal.net/page/content.detail/id/512810.html

 

Marquette Monthly (Sept. 2009):

www.mmnow.com/mm_archive_folder/09/0909/feature.html

 

As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators

www.nativetimes.com/index.php?option=com_content&view...

 

Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project

www.treehugger.com/culture/michigan-teens-build-butterfly...

 

Examples of numerous Gather.com articles with lots of photos/videos:

 

Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants

www.gather.com/viewArticle.action?articleId=281474977550233

 

Zaagkii Wings & Seeds Project: Protecting Pollinators

www.gather.com/viewArticle.action?articleId=281474977428640

 

2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.

www.gather.com/viewArticle.action?articleId=281474978040745

 

2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants

www.gather.com/viewArticle.action?articleId=281474978040729

 

Zaagkii Project Internet sites – blogs, photos, videos etc.:

 

ZaagkiiProject on flickr

www.flickr.com/photos/zaagkiiproject

www.flickr.com/people/zaagkiiproject

 

Zaagkii on youtube:

www.youtube.com/ZaagkiiTV

 

Zaagkii on bliptv:

www.zaagkiitv.blip.tv

 

Zaagkii on word press:

www.zaagkiiproject.wordpress.com

 

Zaagkii on Blogger:

www.zaagkiiproject.blogspot.com

 

Zaagkii on Photobucket:

www.photobucket.com/ZaagkiiProjectWingsSeeds

www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all

 

Zaagkii Wings and Seeds Project website:

wingsandseeds.org

 

Cedar Tree Institute: Zaagkii Project

cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project

cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...

 

Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):

www.youtube.com/ZaagkiiTV

 

KBIC Pollinator Preservation

indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...

Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...

 

Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse

www.youtube.com/watch?v=Hoq5xXHDF4E

United States Forest Service sponsored Zaagkii Project featured on Pollinator Live

www.youtube.com/watch?v=8P3DPfxx7Jw

 

2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan

www.youtube.com/watch?v=QIIV6jrlT20

 

2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses

www.youtube.com/watch?v=c3MBfV7ION8

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service

www.youtube.com/watch?v=hGQScEI9x7Q

 

2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs

www.youtube.com/watch?v=JlIgsuTFSuM

 

2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects

www.youtube.com/watch?v=JqlFCHwW30o

 

2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward

www.youtube.com/watch?v=U2B4MEzM7w4

 

2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters

www.youtube.com/watch?v=dqfWeEgDxTY

 

2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators

www.youtube.com/watch?v=vg8H5nhvzzc

 

2009 Zaagkii Project #1: Students make bee houses, plant native species plants

www.youtube.com/watch?v=E8jqJAQyXwE

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:

www.youtube.com/watch?v=hGQScEI9x7Q

 

Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators

www.youtube.com/watch?v=VoPJOXHt7pI

 

Zaagkii Project – Northern Michigan University:

webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...

 

Native Village stories: Beautiful Layout by Owner Gina Boltz:

Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

NMU Students Join Pollinator Protection Initiative

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

KBIC Tribal youth protect pollinators

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

Teens Help with Sweet Nature Project

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

USFS Success Stories:

Restoring Native Plants on the Enchanted Island

www.fs.fed.us/r9/ssrs/story?id=6274

 

Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop

www.fs.fed.us/r9/ssrs/story?id=5499

 

Intertribal Nursery Council Annual Meeting a Success

www.fs.fed.us/r9/ssrs/story?id=6276

 

New Greenhouse for KBIC Restoration

www.fs.fed.us/r9/ssrs/story?id=5336

 

Zaagkii Wings & Seeds - An Update

www.fs.fed.us/r9/ssrs/story?id=5076

 

Zaagkii Wings & Seeds Project

www.fs.fed.us/r9/ssrs/story?id=4025

 

News Stories:

U.P. teens build butterfly houses, grow 26,000 indigenous plants

www.miningjournal.net/page/content.detail/id/519835.html?...

 

Effort to protect pollinators launched

www.miningjournal.net/page/content.detail/id/512810.html

 

Marquette Monthly (Sept. 2009):

mmnow.com/mm_archive_folder/09/0909/feature.html

 

As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators

nativetimes.com/index.php?option=com_content&view=art...

 

Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project

www.treehugger.com/culture/michigan-teens-build-butterfly...

 

Examples of numerous Gather.com articles with lots of photos/videos:

 

Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants

www.gather.com/viewArticle.action?articleId=281474977550233

 

Zaagkii Wings & Seeds Project: Protecting Pollinators

www.gather.com/viewArticle.action?articleId=281474977428640

 

2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.

www.gather.com/viewArticle.action?articleId=281474978040745

 

2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants

www.gather.com/viewArticle.action?articleId=281474978040729

 

Zaagkii Project Internet sites – blogs, photos, videos etc.:

 

ZaagkiiProject on flickr

www.flickr.com/photos/zaagkiiproject

www.flickr.com/people/zaagkiiproject

 

Zaagkii on youtube:

www.youtube.com/ZaagkiiTV

 

Zaagkii on bliptv:

www.zaagkiitv.blip.tv

 

Zaagkii on word press:

zaagkiiproject.wordpress.com

 

Zaagkii on Blogger:

zaagkiiproject.blogspot.com

 

Zaagkii on Photobucket:

photobucket.com/ZaagkiiProjectWingsSeeds

photobucket.com/ZaagkiiProjectWingsSeeds/?start=all

did this last week -- it's some stuff i've gotten hold of lately - -all over the place genre-wise, but the second half is quite Bolly-heavy. It is also the most amount of tracks i've managed to cram into a hour!!!

Includes tracks from Poland, France, Turkey, Brazil, Peru, India, Greece, Spain etc...

 

www.sendspace.com/file/i3ojbh

 

TRACKLIST:

1. BAYETE UMBRA - "don't need nobody" (Prestige LP)

2. THEO SCHUMANN COMBO - "luchs" (Amiga LP)

3. POLANIE - "i'll not return" (Muza LP)

4. CHICO ARNEZ - "reggae deck" (Gemini 45)

5. LES SURFS - "clac tape" (Festival 45)

6. CLAUDIA MORI - "chi non lavora non fa l'amore" (Clan 45)

7. TRAVIS WAMMACK - "scratchy" (Ara 45)

8. LOS RELAMPAGOS - "danza del fuego" (Zafiro 45)

9. THE SUN - "soul sync" (UA 45)

10. GARNELL COOPER - "long distance" (Jubilee 45)

11. HAROLD JOHNSON SEXTET - "sorry 'bout that" (Revue 45)

12. SOUL SURVIVOR - "jump back" (EMI 45)

13. SCOTT BRADFORD - "samsara" (Probe LP)

14. NORMAN CONNORS snippet

15. IRON VIRGIN - "rebels rule" (Deram 445)

16. DUMP - "annabella" (Fontana 45)

17. PRIMITIVE MAN - "animal love" (Decca 445)

18. THE TROLL - "satin city news" (Smash LP)

19. ALCEU VALENCA - "retrato 3x4" (Som Livre LP)

20. ANTONI CARLOS & JOCAFI - "glorioso santo antonio" (RCA LP)

21. OS NOVOS BAHIANOS - "baby consuelo" (Premier LP)

22. BARIS MANCO - "lambaya puf de" (Yavuz 45)

23. SAKIR ONER - "macir mahallesi" (Guven 45)

24. SELCUK ALAGOZ - "malabadi koprusu" (Polydor 45)

25. LES LUTINS - "la junglomanie" (Carousel LP)

26. ELPIDA - *greek title* (Pan-Vox LP)

27. ABACO DREAM - "cat woman" (A&M 45)

28. SILVER APPLES - "program" (Kapp LP)

29. LATA MANGESHKAR & ASHA BHOSLE - "pyar zindagi hai" (EMI LP)

30. LATA MANGESHKAR - "too kya jane o bewafa" (EMI LP)

31. ASHA BHOSLE & R.D. BURMAN - "piya tu ab to aja" (Odeon LP)

32. TORNADOS snippet

33. THE SIMONSOUND - "tour de mars" (Project Blue Book 45)

34. ROD HUNTER - "apache" (Decca 45)

35. ANTOINE - "popcorn" (Vogue 45)

36. BAPPI LAHIRI - "everybody dance with me" (Polydor LP)

37. ASHA BHOSLE & CHORUS - "aankh ladti hai" (EMI 45)

38. ASHA BHOSLE - "ae naujawan hai sub kuchh yahan" (Odeon 45)

39. ASHA BHOSLE - "chhup chhup" (EMI LP)

40. MOHD. RAFI - "jan pahechan ho" (EMI LP)

41. KALYANJI ANANDJI - "dance music" (HMV LP)

42. LOS COMANDOS - "moby dick" (Odeon 45)

43. ORANGE GROOVE - "troubled people" (Somerset LP)

44. CONJ. EL OPIO - "una bruja en el cuzco" (Odeon 45)

45. CLOCK - "hang on" (Dimension 45)

46. HAYSTACKS BALBOA - "spoiler" (Polydor 45)

47. THREE MAN ARMY - "polecat woman" (Reprise 45)

END

 

Includes High Commander Culln with his Honour guard and eight of the Red Scorpions Commanders.

The Miao is an ethnic group recognized by the government of China as one of the 55 official minority groups. Miao is a Chinese term and does not reflect the self-designations of the component groups of people, which include (with some variant spellings) Hmong, Hmub, Xong (Qo-Xiong), and A-Hmao.

 

The Chinese government has grouped these people and other non-Miao peoples together as one group, whose members may not necessarily be either linguistically or culturally related, though the majority are members of Miao-Yao language family, which includes the Hmong, Hmub, Xong, and A-Hmao and the majority do share cultural similarities. Because of the previous given reasons, many Miao peoples cannot communicate with each other in their mother tongues, and have different histories and cultures. A few groups designated as Miao by the PRC do not even agree that they belong to the ethnic group, though most Miao groups, such as the Hmong and Hmub, do agree with the collective grouping as a single ethnic group – Miao.

 

The Miao live primarily in southern China's mountains, in the provinces of Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hainan, Guangdong, and Hubei. Some members of the Miao sub-groups, most notably the Hmong people, have migrated out of China into Southeast Asia (northern Vietnam, Laos, Burma (Myanmar) and Thailand). Following the communist takeover of Laos in 1975, a large group of Hmong refugees resettled in several Western nations, mainly in the United States, France, and Australia. There has been a recent tendency by Hmong Americans to group all Miao peoples together under the term Hmong because of their disdain for the Chinese term Miao. This however fails to recognize that the Hmong are only a subgroup within the broader linguistic and cultural family of Miao people and the vast majority of Miao people do not classify themselves as Hmong and have their own names for themselves.

 

NOMENCLATURE: MIAO AND HMONG

The term "Miao" gained official status in 1949 as a minzu (ethnic group) encompassing a group of linguistically-related ethnic minorities in Southwest China. This was part of a larger effort to identify and classify minority groups to clarify their role in the national government, including establishing autonomous administrative divisions and allocating the seats for representatives in provincial and national government.

 

Historically, the term "Miao" had been applied inconsistently to a variety of non-Han peoples. Early Western writers used Chinese-based names in various transcriptions: Miao, Miao-tse, Miao-tsze, Meau, Meo, mo, miao-tseu etc. In Southeast Asian contexts words derived from the Chinese "Miao" took on a sense which was perceived as derogatory by the Hmong subgroup living in that region. In China, however, the term has no such context and is used by the Miao people themselves, of every group.

 

The later prominence of Hmong people in the West has led to a situation where the entire Miao linguistic/cultural family is sometimes referred to as Hmong in English language sources. Following the recent increased interaction of Hmong in the West with Miao in China it is reported that some upwardly aspiring non-Hmong Miao have even begun to identify themselves as Hmong. However, most non-Hmong Miao in China are unfamiliar with the term as referring to their entire group and continue to use "Miao", or their own separate ethnic self-designations.

 

Though the Miao themselves use various self-designations, the Chinese traditionally classify them according to the most characteristic colour of the women's clothes. The list below contains some of these self-designations, the colour designations, and the main regions inhabited by the four major groups of Miao in China:

 

Ghao Xong/Qo Xiong; Xong; Red Miao; Qo Xiong Miao: west Hunan

Gha Ne/Ka Nao; Hmub; Black Miao; Mhub Miao: southeast Guizhou

A-Hmao; Big Flowery Miao: west Guizhou and northeast Yunnan

Gha-Mu; Hmong, Mong; White Miao, Green/Blue Miao, Small Flowery Miao; south and east Yunnan, south Sichuan and west Guizhou

 

DEMOGRAPHICS

According to the 2000 census, the number of Miao in China was estimated to be about 9.6 million. Outside of China, members of the Miao linguistic/cultural family sub-group or nations of the Hmong live in Thailand, Laos, Vietnam and Burma due to outward migrations starting in the 18th century. As a result of recent migrations in the aftermath of the Indochina and Vietnam Wars from 1949–75, many Hmong people now live in the United States, French Guiana, France and Australia. Altogether, there are approximately 8 million speakers in the Miao language family. This language family, which consists of 6 languages and around 35 dialects (some of which are mutually intelligible) belongs to the Hmong/Miao branch of the Hmong–Mien (Miao–Yao) language family.

 

The Hmong live primarily in the northern mountainous reaches of Southeast Asia including Thailand, Laos and Vietnam, and in far Southwest China mostly in the provinces of Yunnan, Guangxi, and to a very limited extent in Guizhou. There are about 1.5–2 million Hmong in China.

 

Note: The Miao areas of Sichuan province became part of the newly created Chongqing Municipality in 1997.

 

Most Miao currently live in China. Miao population growth in China:

 

1953: 2,510,000

1964: 2,780,000

1982: 5,030,000

1990: 7,390,000

 

3,600,000 Miao, about half of the entire Chinese Miao population, were in Guizhou in 1990. The Guizhou Miao and those in the following six provinces make up over 98% of all Chinese Miao:

 

Hunan: 1,550,000

Yunnan: 890,000

Sichuan: 530,000

Guangxi: 420,000

Hubei: 200,000

Hainan: 50,000 (known as Miao but ethnically Yao and Li)

 

In the above provinces, there are 6 Miao autonomous prefectures (shared officially with one other ethnic minority):

 

Qiandongnan Miao and Dong Autonomous Prefecture (黔东南 : Qiándōngnán), Guizhou

Qiannan Buyei and Miao Autonomous Prefecture (黔南 : Qiánnán), Guizhou

Qianxinan Buyei and Miao Autonomous Prefecture (黔西南 : Qiánxīnán), Guizhou

Xiangxi Tujia and Miao Autonomous Prefecture (湘西 : Xiāngxī), Hunan

Wenshan Zhuang and Miao Autonomous Prefecture (Hmong) (文山 : Wénshān), Yunnan

Enshi Tujia and Miao Autonomous Prefecture (恩施 : Ēnshī), Hubei

 

There are in addition 23 Miao autonomous counties:

 

Hunan:Mayang (麻阳 : Máyáng), Jingzhou (靖州 : Jīngzhōu), and Chengbu (城步 : Chéngbù)

Guizhou: Songtao (松桃 : Sōngtáo), Yingjiang (印江 : Yìnjiāng), Wuchuan (务川 : Wùchuān), Daozhen (道真 : Dǎozhēn), Zhenning (镇宁 : Zhènníng), Ziyun (紫云 : Zǐyún), Guanling (关岭 : Guānlíng), and Weining (威宁 : Wēiníng)

Yunnan: Pingbian (屏边 : Píngbiān), Jinping (金平 : Jīnpíng), and Luquan (禄劝 : Lùquàn)

Chongqing: Xiushan (秀山 : Xiùshān), Youyang (酉阳 : Yǒuyáng), Qianjiang (黔江 : Qiánjiāng), and Pengshui (彭水 : Péngshuǐ)

Guangxi: Rongshui (融水 : Róngshuǐ), Longsheng (龙胜 : Lóngshēng), and Longlin (隆林 : Lōnglín) (including Hmong)

Hainan Province: Qiong (琼中 : Qióngzhōng) and Baoting (保亭 : Bǎotíng)

 

Most Miao reside in hills or on mountains, such as

 

Wuling Mountain by the Qianxiang River (湘黔川边的武陵山 : Xiāngqián Chuān Biān Dí Wǔlíng Shān)

Miao Mountain (苗岭 : Miáo Líng), Qiandongnan

Yueliang Mountain (月亮山 : Yuèliàng Shān), Qiandongnan

Greater and Lesser Ma Mountain (大小麻山 : Dà Xiǎo Má Shān), Qiannan

Greater Miao Mountain (大苗山 : Dà Miáo Shān), Guangxi

Wumeng Mountain by the Tianqian River (滇黔川边的乌蒙山 : Tiánqián Chuān Biān Dí Wūmēng Shān)

 

Several thousands of Miao left their homeland to move to larger cities like Guangzhou and Beijing. There are 2,000,000 Hmong spread throughout northern Vietnam, Laos, Burma, and on other continents. 174,000 live in Thailand, where they are one of the six main hill tribes.

 

HISTORY

History according to Chinese legend and other considerations

According to Chinese legend, the Miao who descended from the Jiuli tribe led by Chiyou (Chinese: 蚩尤 pinyin: Chīyóu) were defeated at the Battle of Zhuolu (Chinese: 涿鹿 pinyin: Zhuōlù, a defunct prefecture on the border of present provinces of Hebei and Liaoning) by the military coalition of Huang Di (Chinese: 黃帝 pinyin: Huángdì) and Yan Di, leaders of the Huaxia (Chinese: 華夏 pinyin: Huáxià) tribe as the two tribes struggled for supremacy of the Yellow River valley.

 

ARCHEOLOGICAL DISCOVERIES

According to André-Georges Haudricourt and David Strecker's claims based on limited secondary data, the Miao were among the first people to settle in present-day China. They claim that the Han borrowed a lot of words from the Miao in regard to rice farming. This indicated that the Miao were among the first rice farmers in China. In addition, some have connected the Miao to the Daxi Culture (5,300 – 6,000 years ago) in the middle Yangtze River region. The Daxi Culture has been credited with being amongst the first cultivators of rice in the Far East by Western scholars. However, in 2006 rice cultivation was found to have existed in the Shandong province even earlier than the Daxi Culture.

 

A western study mention that the Miao (especially the Miao-Hunan) have some DNA from the Northeast people of China, but has origins in southern china. Recent DNA samples of Miao males contradict this theory. The White Hmong have 25% C, 8% D, & 6% N(Tat) yet they have the least contact with the Han population.

 

CHU

In 2002, the Chu language has been identified as perhaps having influence from Tai–Kam and Miao–Yao languages by researchers at University of Massachusetts Amherst.

 

QIN AND HAN DYNASTIES

The term Miao was first used by the Han Chinese in pre-Qin times (in other words, before 221 BC) for designating non-Han Chinese groups in the south. It was often used in combination: "nanmiao", "miaomin", "youmiao" and "sanmiao" (三苗; pinyin: Sānmiáo)

 

MING AND QING DYNASTIES

During the Ming and Qing dynasties (1368–1911) 'miao' and 'man' were both used, the second possibly to designate the Yao (傜 Yáo) people. The Yuan, Ming, and Qing Dynasties could neither fully assimilate nor control the indigenous people.

 

During the Miao Rebellions, when Miao tribes rebelled, Ming troops, including Han Chinese, Hui people, and Uyghurs crushed the rebels, killing thousands of them. Mass castrations of Miao boys also took place.

 

During the Qing Dynasty the Miao fought three wars against the empire. In 1735 in the southeastern province of Guizhou, the Miao rose up against the government's forced assimilation. Eight counties involving 1,224 villages fought until 1738 when the revolt ended. According to Xiangtan University Professor Wu half the Miao population were affected by the war.

 

The second war (1795–1806) involved the provinces of Guizhou and Hunan. Shi Sanbao and Shi Liudeng led this second revolt. Again, it ended in failure, but it took 11 years to quell the uprising.

 

The greatest of the three wars occurred from 1854 to 1873. Zhang Xiu-mei led this revolt in Guizhou until his capture and death in Changsha, Hunan. This revolt affected over one million people and all the neighbouring provinces. By the time the war ended Professor Wu said only 30 percent of the Miao were left in their home regions. This defeat led to the Hmong people migrating out of China.

 

During Qing times, more military garrisons were established in southwest China. Han Chinese soldiers moved into the Taijiang region of Guizhou, married Miao women, and the children were brough up as Miao. In spite of rebellion against the Han, Hmong leaders made allies with Han merchants.

 

Politically and militarily, the Miao continued to be a stone in the shoe of the Chinese empire. The imperial government had to rely on political means to ensnare Hmong people, they created multiple competing positions of substantial prestige for Miao people to participate and assimilate into the Qing government system. During the Ming and Qing times, the official position of Kiatong was created in Indochina. The Miao would employ the use of the Kiatong government structure until the 1900s when they entered into French colonial politics in Indochina.

 

20th CENTURY

During the founding of the People's Republic of China (PRC), the Miao played an important role in its birth when they helped Mao Zedong to escape the Kuomintang in the Long March with supplies and guides through their territory.

 

In Vietnam, a powerful Hmong named Vuong Chinh Duc, dubbed the king of the Hmong, aided Ho Chi Minh's nationalist move against the French, and thus secured the Hmong's position in Vietnam. During the Vietnam War, Miao fought on both sides, the Hmong in Laos primarily for the US, across the border in Vietnam for the North-Vietnam coalition, the Chinese-Miao for the Communists. However, after the war the Vietnamese were very aggressive towards the Hmong who suffered many years of reprisals and genocide. Most Hmong in Thailand also supported a brief Communist uprising during the war.

 

HAN CHINESE ORIGIN MIAO CLANS

A great number of Hmong lineage clans were founded by Chinese men who married Hmong women, these distinct Chinese descended clans practice Chinese burial customs instead of Hmong style burials.

 

The Hmong children of Hmong women who married Chinese men was the origin of numerous China and South East Asia based Hmong lineages and clans, these were called "Chinese Hmong" ("Hmong Sua") in Sichuan, the Hmong were instructed in military tactics by fugitive Chinese rebels.

 

Marriages between Hmong women and Han Chinese men is the origin of a lot of Hmong lineages and clans.

 

Hmong women married Han Chinese men to found new Hmong lineages which use Chinese names.

 

Chinese men who married into Hmong clans have established more Hmong clans than the ritual twelve, Chinese "surname groups" are comparable to the Hmong clans which are patrilineal, and practice exogamy.

 

Hmong women married Han Chinese men who pacified Ah rebels who were fighting against the Ming dynasty, and founded the Wang clan among the Hmong in Gongxian county, of Sichuan's Yibin district.

 

Hmong women who married Chinese men founded a new Xem clan in a Hmong village (among Northern Thailand's Hmong), fifty years later in Chiangmai two of their Hmong boy descendants were Catholics. A Hmong woman and a Chinese man married and founded the Lauj clan in Northern Thailand.

 

A marriage between a Hmong woman and a Chinese man resulted in northern Thailand's Lau2 clan being founded, another Han Chinese with the family name Deng founded another Hmong clan, Han Chinese men's marriages with Hmong women has led some ethnographers to conclude that Hmong clans in the modern era have possible all or partly have been founded in this matter.

 

Jiangxi Han Chinese are claimed by some as the forefathers of the southeast Guizhou Miao, and Miao children were born to the many Miao women married Han Chinese soldiers in Taijiang in Guizhou before the second half of the 19th century.

 

Imperially commissioned Han Chinese chieftancies "gon native", with the Miao and were the ancestors of a part of the Miao population in Guizhou.

 

The Hmong Tian clan in Sizhou began in the seventh century as a migrant Han Chinese clan.

 

Non-han women such as Miao women became wives of Han Chinese male soldiers who fought against the Miao rebellions during the Qing and Ming dynasties since Han women were not available.

 

The Ming dynasty Hongwu Emperor sent troops to Guizhou whose descendants became the Tunbao. The origin of the Tunbao people traces back to when the Ming dynasty sent 300,000 Han Chinese male soldiers in 1381 to conquer Yunnan and the men married Yao and Miao women.

 

The presence of women presiding over weddings was a feature noted in "Southeast Asian" marriages, such as in 1667 when a Miao woman in Yunnan married a Chinese official.

Some Sinicization occurred, in Yunnan a Miao chief's daughter married a scholar in the 1600s who wrote that she could read, write, and listen in Chinese and read Chinese classics.

 

The Sichuan Hmong village of Wangwu was visited by Nicholas Tapp who wrote that the "clan ancestral origin legend" of the Wang Hmong clan, had said that several times they were married into the Han Chinese and possibly one of these was their ancestor Wang Wu, there were two tpes of Hmong, "cooked" who sided with Chinese and "raw" who rebelled against the Chinese, the Chinese were supported by the Wang Hmong clan. A Hmong woman was married by the non-Hmong Wang Wu according to The Story of the Ha Kings in Wangwu village.

 

DISTRIBUTION

The 2000 Chinese census recorded 8,940,116 Miao in mainland China.

 

CUISINE

Miao Fish (苗鱼 miáo yǘ)

Miao fish is a special way of cooking a fish by Miao people. It has been recognized as a local featured cuisine with its tasty flavor: the mixture of fish, green peppers, ginger slices and garlic provided people with great eating experience.

 

WIKIPEDIA

The king cobra (Ophiophagus hannah) is a venomous snake endemic to Asia. The sole member of the genus Ophiophagus, it is not taxonomically a true cobra, despite its common name and some resemblance. With an average length of 3.18 to 4 m (10.4 to 13.1 ft) and a record length of 5.85 m (19.2 ft), it is the world's longest venomous snake. The species has diversified colouration across habitats, from black with white stripes to unbroken brownish grey. The king cobra is widely distributed albeit not commonly seen, with a range spanning from the Indian Subcontinent through Southeastern Asia to Southern China. It preys chiefly on other snakes, including those of its own kind. This is the only ophidian that constructs an above-ground nest for its eggs, which are purposefully and meticulously gathered and protected by the female throughout the incubation period.

 

The threat display of this elapid includes spreading its neck-flap, raising its head upright, making eye contact, puffing, hissing and occasionally charging. Given the size of the snake, it is capable of striking at a considerable range and height, sometimes sustaining a bite. Envenomation from this species is medically significant and may result in a rapid fatality unless antivenom is administered in time. Despite the species' fearsome reputation, altercations usually only arise from an individual inadvertently exposing itself or being cornered.

 

Threatened by habitat destruction, it has been listed as Vulnerable on the IUCN Red List since 2010. Regarded as the national reptile of India, it has an eminent position in the mythology and folk traditions of India, Bangladesh, Sri Lanka and Myanmar.

 

Taxonomy

The king cobra is also referred to by the common name "hamadryad", especially in older literature. Hamadryas hannah was the scientific name used by Danish naturalist Theodore Edward Cantor in 1836 who described four king cobra specimens, three captured in the Sundarbans and one in the vicinity of Kolkata. Naja bungarus was proposed by Hermann Schlegel in 1837 who described a king cobra zoological specimen from Java. In 1838, Cantor proposed the name Hamadryas ophiophagus for the king cobra and explained that it has dental features intermediate between the genera Naja and Bungarus. Naia vittata proposed by Walter Elliot in 1840 was a king cobra caught offshore near Chennai that was floating in a basket. Hamadryas elaps proposed by Albert Günther in 1858 were king cobra specimens from the Philippines and Borneo. Günther considered both N. bungarus and N. vittata a variety of H. elaps. The genus Ophiophagus was proposed by Günther in 1864. The name is derived from its propensity to eat snakes.

 

Naja ingens proposed by Alexander Willem Michiel van Hasselt in 1882 was a king cobra captured near Tebing Tinggi in northern Sumatra.

 

Ophiophagus hannah was accepted as the valid name for the king cobra by Charles Mitchill Bogert in 1945 who argued that it differs significantly from Naja species. A genetic analysis using cytochrome b, and a multigene analysis showed that the king cobra was an early offshoot of a genetic lineage giving rise to the mambas, rather than the Naja cobras.

 

A phylogenetic analysis of mitochondrial DNA showed that specimens from Surattani and Nakhon Si Thammarat Provinces in southern Thailand form a deeply divergent clade from those from northern Thailand, which grouped with specimens from Myanmar and Guangdong in southern China.

 

Description

 

Scales of the king cobra

 

A baby king cobra showing its chevron pattern on the back

The king cobra's skin is olive green with black and white bands on the trunk that converge to the head. The head is covered by 15 drab coloured and black edged shields. The muzzle is rounded, and the tongue black. It has two fangs and 3–5 maxillar teeth in the upper jaw, and two rows of teeth in the lower jaw. The nostrils are between two shields. The large eyes have a golden iris and round pupils. Its hood is oval shaped and covered with olive green smooth scales and two black spots between the two lowest scales. Its cylindrical tail is yellowish green above and marked with black. It has a pair of large occipital scales on top of the head, 17 to 19 rows of smooth oblique scales on the neck, and 15 rows on the body. Juveniles are black with chevron shaped white, yellow or buff bars that point towards the head. Adult king cobras are 3.18 to 4 m (10.4 to 13.1 ft) long. The longest known individual measured 5.85 m (19.2 ft). Ventral scales are uniformly oval shaped. Dorsal scales are placed in an oblique arrangement.

 

The king cobra is sexually dimorphic, with males being larger and paler in particular during the breeding season. Males captured in Kerala measured up to 3.75 m (12.3 ft) and weighed up to 10 kg (22 lb). Females captured had a maximum length of 2.75 m (9 ft 0 in) and a weight of 5 kg (11 lb). The largest known king cobra was 5.59 m (18 ft 4 in) long and captured in Thailand. It differs from other cobra species by size and hood. It is larger, has a narrower and longer stripe on the neck.

 

Distribution and habitat

The king cobra has a wide distribution in South and Southeast Asia. It occurs up to an elevation of 2,000 m (6,600 ft) from the Terai in India and southern Nepal to the Brahmaputra River basin in Bhutan and northeast India, Bangladesh and to Myanmar, southern China, Cambodia, Thailand, Laos, Vietnam, Malaysia, Singapore, Indonesia and the Philippines.

 

In northern India, it has been recorded in Garhwal and Kumaon, and in the Shivalik and terai regions of Uttarakhand and Uttar Pradesh. In northeast India, the king cobra has been recorded in northern West Bengal, Sikkim, Assam, Meghalaya, Arunachal Pradesh, Nagaland, Manipur and Mizoram. In the Eastern Ghats, it occurs from Tamil Nadu and Andhra Pradesh to coastal Odisha, and also in Bihar and southern West Bengal, especially the Sundarbans. In the Western Ghats, it was recorded in Kerala, Karnataka and Maharashtra, and also in Gujarat. It also occurs on Baratang Island in the Great Andaman chain.

 

Behaviour and ecology

  

Captive king cobras with their hoods extended

Like other snakes, a king cobra receives chemical information via its forked tongue, which picks up scent particles and transfers them to a sensory receptor (Jacobson's organ) located in the roof of its mouth. When it detects the scent of prey, it flicks its tongue to gauge the prey's location, with the twin forks of the tongue acting in stereo. It senses earth-borne vibration and detects moving prey almost 100 m (330 ft) away.

 

Following envenomation, it swallows its prey whole. Because of its flexible jaws, it can swallow prey much larger than its head. It is considered diurnal because it hunts during the day, but has also been seen at night, rarely.

 

Diet

King cobra in Pune

King cobra in Pune, India

The king cobra is an apex predator and dominant over all other snakes except large pythons. Its diet consists primarily of other snakes and lizards, including Indian cobra, banded krait, rat snake, pythons, green whip snake, keelback, banded wolf snake and Blyth's reticulated snake. It also hunts Malabar pit viper and hump-nosed pit viper by following their odour trails. In Singapore, one was observed swallowing a clouded monitor. When food is scarce, it also feeds on other small vertebrates, such as birds, and lizards. In some cases, the cobra constricts its prey using its muscular body, though this is uncommon. After a large meal, it lives for many months without another one because of its slow metabolic rate.

 

Defence

 

A king cobra in its defensive posture (mounted specimen at the Royal Ontario Museum)

The king cobra is not considered aggressive. It usually avoids humans and slinks off when disturbed, but is known to aggressively defend incubating eggs and attack intruders rapidly. When alarmed, it raises the front part of its body, extends the hood, shows the fangs and hisses loudly. Wild king cobras encountered in Singapore appeared to be placid, but reared up and struck in self defense when cornered.

 

The king cobra can be easily irritated by closely approaching objects or sudden movements. When raising its body, the king cobra can still move forward to strike with a long distance, and people may misjudge the safe zone. It can deliver multiple bites in a single attack.

 

Growling hiss

The hiss of the king cobra is a much lower pitch than many other snakes and many people thus liken its call to a "growl" rather than a hiss. While the hisses of most snakes are of a broad-frequency span ranging from roughly 3,000 to 13,000 Hz with a dominant frequency near 7,500 Hz, king cobra growls consist solely of frequencies below 2,500 Hz, with a dominant frequency near 600 Hz, a much lower-sounding frequency closer to that of a human voice. Comparative anatomical morphometric analysis has led to a discovery of tracheal diverticula that function as low-frequency resonating chambers in king cobra and its prey, the rat snake, both of which can make similar growls.

 

Reproduction

 

A captive juvenile king cobra in its defensive posture

The female is gravid for 50 to 59 days.The king cobra is the only snake that builds a nest using dry leaf litter, starting from late March to late May. Most nests are located at the base of trees, are up to 55 cm (22 in) high in the centre and 140 cm (55 in) wide at the base. They consist of several layers and have mostly one chamber, into which the female lays eggs. Clutch size ranges from 7 to 43 eggs, with 6 to 38 eggs hatching after incubation periods of 66 to 105 days. Temperature inside nests is not steady but varies depending on elevation from 13.5 to 37.4 °C (56.3 to 99.3 °F). Females stay by their nests between two and 77 days. Hatchlings are between 37.5 and 58.5 cm (14.8 and 23.0 in) long and weigh 9 to 38 g (0.32 to 1.34 oz).

 

The venom of hatchlings is as potent as that of the adults. They may be brightly marked, but these colours often fade as they mature. They are alert and nervous, being highly aggressive if disturbed.

 

The average lifespan of a wild king cobra is about 20 years.

 

Venom

Venom of the king cobra, produced by the postorbital venom glands, consists primarily of three-finger toxins (3FTx) and snake venom metalloproteinases (SVMPs).

 

Of all the 3FTx, alpha-neurotoxins are the predominant and most lethal components when cytotoxins and beta-cardiotoxins also exhibit toxicological activities. It is reported that cytotoxicity of its venom varies significantly, depending upon the age and locality of an individual. Clinical cardiotoxicity is not widely observed, nor is nephrotoxicity present among patients bitten by this species, presumably due to the low abundance of the toxins.

 

SVMPs are the second most protein family isolated from the king cobra's venom, accounting from 11.9% to 24.4% of total venom proteins. The abundance is much higher than that of most cobras which is usually less than 1%. This protein family includes principal toxins responsible for vasculature damage and interference with haemostasis, contributing to bleeding and coagulopathy caused by envenomation of vipers. While there are such haemorrhagins isolated from the king cobra's venom, they only induce species-sensitive haemorrhagic and lethal activities on rabbits and hares, but with minimal effects on mice. Clinical pathophysiology of the king cobra's SVMPs has yet to be well studied, although its substantial quantity suggests involvement in tissue damage and necrosis as a result of inflammatory and proteolytic activities, which are instrumental for foraging and digestive purposes.

 

Ohanin, a minor vespryn protein component specific to this species, causes hypolocomotion and hyperalgesia in experimental mice. It is believed that it contributes to neurotoxicity on the central nervous system of the victim.

 

Clinical Management

King cobra's envenomation may result in a rapid fatality, as soon as 30 minutes following a bite. Local symptoms include dusky discolouration of skin, edema and pain; in severe cases swelling extends proximally with necrosis and tissue sloughing that may require amputation. Onset of general symptoms follows while the venom is targeting the victim's central nervous system, resulting in blurred vision, vertigo, drowsiness, and eventually paralysis. If not treated promptly, it may progress to cardiovascular collapse and subsequently coma. Death soon follows due to respiratory failure.

 

Polyvalent antivenom of equine origin is produced by Haffkine Institute and King Institute of Preventive Medicine and Research in India. A polyvalent antivenom produced by the Thai Red Cross Society can effectively neutralise venom of the king cobra. In Thailand, a concoction of turmeric root has been clinically shown to create a strong resilience against the venom of the king cobra when ingested. Proper and immediate treatments are critical to avoid death. Successful precedents include a client who recovered and was discharged in 10 days after being treated by accurate antivenom and inpatient care.

 

It can deliver up to 420 mg venom in dry weight (400–600 mg overall) per bite, with a LD50 toxicity in mice of 1.28 mg/kg through intravenous injection, 1.5 to 1.7 mg/kg through subcutaneous injection, and 1.644 mg/kg through intraperitoneal injection. For research purposes, up to 1 g of venom was obtained through milking

 

Threats

In Southeast Asia, the king cobra is threatened foremost by habitat destruction owing to deforestation and expansion of agricultural land. It is also threatened by poaching for its meat, skin and for use in traditional Chinese medicine.

 

Conservation

The king cobra is listed in CITES Appendix II. It is protected in China and Vietnam. In India, it is placed under Schedule II of Wildlife Protection Act, 1972. Killing a king cobra is punished with imprisonment of up to six years. In the Philippines, king cobras (locally known as banakon) are included under the list of threatened species in the country. It is protected under the Wildlife Resources Conservation and Protection Act (Republic Act No. 9147), which criminalises the killing, trade, and consumption of threatened species with certain exceptions (like indigenous subsistence hunting or immediate threats to human life), with a maximum penalty of two years imprisonment and a fine of ₱20,000.

 

Cultural significance

The king cobra has an eminent position in the mythology and folklore of India, Bangladesh, Sri Lanka and Myanmar. A ritual in Myanmar involves a king cobra and a female snake charmer. The charmer is a priestess who is usually tattooed with three pictograms and kisses the snake on the top of its head at the end of the ritual. Members of the Pakokku clan tattoo themselves with ink mixed with cobra venom on their upper bodies in a weekly inoculation that they believe would protect them from the snake, though no scientific evidence supports this.

 

It is regarded as the national reptile of India.

A multi-image panoramic stitch of the British Museum

Best of greetin's from the pristine waters of the Arabian/Persian Gulf! Several years ago, I wrote to you to help bring some piratical pleasures to the desert in Iraq-- nows I find meself on some real pirate-infested waters a little further south, on the coast (almost) of former pearl-harvesting glory.

 

Avast, but it seems that it's time to plot ponderous pirating pleasures again, and introducing more souls to your watery world-- to INCLUDE a crew of Navy swabbies of the "papa-PIRATES" rotation--hearty-harr-harr! WITH, I might add, a loverly piratical pavilion right up front (I'm sorry to say I'm a little out of character in the black shirt toward the port side of the pic).-- CH(MAJ) James Lewis ("a little out o' character in the black shirt...:),

A cigarette break for the kitchen staff in the nearby and aptly named "Bela Vista" Restaurant.

Canon EOS Rebel T3i : includes the EOS Rebel T3i Digital SLR Camera and EF-S 18-55mm f/3.5-5.6 IS type II Lens. This camera and lens will help photographers who are looking for an easy-to-use camera to create their next masterpiece. The next in a long Read More...

 

Also includes the forthcoming Fixtures for Manchester City, Salford & Broughton Rangers Rugby League Clubs. What is particularly interesting is the fact all the results from 1912-13 have been printed too.

The actual card measures just 6 x 11cm when closed.

The Philco PT-69 includes a Sessions self-starting clock which runs separately and does not turn the radio on or off.

 

The cabinet is finished in walnut veneers with maple inlays. The original purchase price was around $24.95.

soup-like dish made with sundae: pig's intestines stuffed with cellophane noodles - dangmyeon, barley, and pork blood. It includes pieces of intestine (gopchang), liver, lungs, bits of cartilage, and meat, onions, sesame leaves, and many other vegetables. It’s served in a milky broth in a black ceramics bowl (ddukbaegi) with a separate bowl of steam white rice (bop) which can be added into the broth for an even heartier meal.

 

When I ordered that stew, I saw concerned looks and some heated talk between the cooks. I don't speak Korean , and couldn't understand why they suddenly are commenting on my order. They even pointed on the menu and asked if that's what I want.

I said "yes" - I love their cooking, and so far loved all their dishes.

Later on I found out that they were concerned that I would not like it, because of the ingredients.

Boy, were they wrong!! The steam smelled of heaven. The little nasty treasures made this soup special:

there was, of course, the sundae, and this was the best way I have ever had this dark savory gelatinous sausage. Its little friends included strips of pork belly, some liver, crunchy yet tasty bits of cartilage, and the forbidden but irresistible gobchang, intestines. Yum!!!

 

Seoul Cafe, San Antonio, TX

 

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

 

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

We had a 3 hour guided tour of The Alhambra in Granada.

 

The site includes the Nasrite palaces and the Generalife pleasure palace. Also here is the Alcazaba, gardens and the Palace of Charles V.

 

It is a World Heritage Site. Alhambra, Generalife and Albayzín, Granada.

 

Nasrid Palaces

 

Mohammed ben Al-Hamar (Mohammed I) was the first king to move to the Alcazaba and no records about a new palace being built are kept until those of Abu l-Walid Ismail (fifth king of the dynasty). A palace was built near the Great Mosque (Gran Mezquita) but only the Mexuar is now left because Yusuf I destroyed it completely. He started some improvements in the Comares Tower (Torre de Comares), the Court of the Myrtles (Patio de los Arrayanes) and the Baths (Baños). These improvements were finished by Mohammed V, who added them all to the Mexuar, extended the gallery that would later be called Machuca and constructed the Palace of the Lions (Palacio de los Leones). These two kings were the most important ones as regards the construction, reconstruction, and decoration of the Alhambra.

 

The Palace of the Lions

 

The Palace of the Lions (Palacio de los Leones) comprised the private chambers of the royal family and it was built in the angle formed by the Baths (Baños) and the Court of the Myrtles (Patio de los Arrayanes).

The palace comprises a central patio surrounded by several galleries with columns in the way a Christian cloister would be. From the central patio you may access the different halls: the Hall of the Mocarabes (Sala de los Mocárabes) to the west, the Hall of the Kings (Sala de los Reyes) to the east, the Hall of the Two Sisters (Sala de Dos Hermanas), the Hall of the Ajimeces (Sala de los Ajimeces) and Daraxa's Mirador (Mirador de Daraxa) to the north and the Hall of the Abencerrajes (Sala de los Abencerrajes) and the Harem (Harén) to the south.

 

Arabic Baths

 

The vaults of the Arabic Baths

 

To enter the “Comares” Baths you have to pass the “Lindaraja” Courtyard. These baths were constructed by “Yusuf I”, and still today they keep the original structure of the Arab baths. Nowadays, these baths are not open to the public, and only a small part of them can be seen through a window.

These baths (“Comares” Baths) were constructed on the east side of the “Palacio de Comares” (the “Comares” Palace), and they are built in the classical layout of the Roman hot-bath — at La Alhambra.

I spotted this Blue Tit nest when I stopped by the Church at Botolphs last week. I went back this evening with my big camera, to try capture the comings and goings of the adults. Tricky as they move so fast.