Reservists from 38 Brigade Group’s Influence Activities Company conduct patrols and execute key leader engagements in the fictional village of Bayan during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.

 

Image By: Private Jordyn Anderson

 

Garrison Wainwright Imaging

 

WT07-2019-0013-0015

Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.

 

With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.

 

Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.

 

Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.

 

HISTORY

ANCIENT

Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.

 

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.

 

Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.

 

Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.

 

The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.

 

PORTUGUESE CONTACTS

The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.

 

DUTCH EAST INDIA

In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

 

In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:

 

I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.

 

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.

 

AFTERWARD THE DUTCH GOVERNORS

exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

 

n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.

 

Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.

 

During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.

 

INDIPENDENCE FROM THE DUTCH

In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

 

CONTEMPORARY

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.

 

The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.

 

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.

 

GEOGRAPHY

The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.

 

Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.

 

The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.

 

The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.

 

Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.

 

To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.

 

CLIMATE

Being just 8 degrees south of the equator, Bali has a fairly even climate year round.

 

Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.

 

ECOLOGY

Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.

 

Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.

 

Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.

 

Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.

 

The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.

 

A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.

 

Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.

 

ENVIRONMENT

Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.

 

From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).

 

Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.

 

ECONOMY

Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.

 

AGRICULTURE

Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.

 

The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.

 

TOURISM

The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.

 

The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.

 

An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.

 

In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.

 

Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.

 

Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.

 

In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.

 

In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.

 

Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.

 

Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.

 

Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.

 

SEX TOURISM

In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.

 

Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.

 

By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.

 

TRANSPORTATION

The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.

 

A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.

 

In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.

 

A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.

 

On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.

 

In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.

 

On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.

 

To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.

 

DEMOGRAPHICS

The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.

 

ETHNIC ORIGINS

A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.

 

CASTE SYSTEM

Bali has a caste system based on the Indian Hindu model, with four castes:

 

- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.

- Wesia (Vaishyas) – the caste of merchants and administrative officials

- Ksatrias (Kshatriyas) – the kingly and warrior caste

- Brahmana (Bramhin) – holy men and priests

 

RELIGION

Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.

 

Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.

 

Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.

 

Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.

 

LANGUAGE

Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.

 

English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.

 

CULTURE

Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.

 

The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

 

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.

 

Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

 

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

 

Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.

 

Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.

 

WIKIPEDIA

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BEYONCÉ, GREEN DAY & LADY GAGA LEAD THE WAY WITH THREE MOONMEN AT THE “2009 VIDEO MUSIC AWARDS”, JANET JACKSON & MADONNA CELEBRATE MICHAEL JACKSON

 

Taylor Swift Wins “Best Female Video”

While Eminem Grabs “Best Hip Hop Video”

 

New York, NY (September 13, 2009) –– MTV turned New York City inside out for the “ 2009 Video Music Awards ” as the network celebrated a legend and brought together the biggest names in music, TV, film and sports. Live from Radio City Music Hall, VMA icon Madonna opened the show and introduced the emotional and heartfelt tribute to Michael Jackson. Janet Jackson was joined onstage by the most renowned choreographers in the world and Michael’s tour dancers, all of whom were influenced by the “King of Pop,” for a memorable and high energy performance. To honor her brother and his illustrious career, the dancers recreated some of his most memorable music videos including “Thriller,” “Bad,” “Smooth Criminal” and “Scream.” The celebration received a standing ovation and set the tone for the most important evening in music and pop culture.

Always controversial, British comedian Russell Brand pushed the envelope as he had fun with a slew of new stars and charmed the ladies. Aerosmith’s Joe Perry and popstar Katy Perry helped Russell kick-off his hosting duties in a big way with a light infused performance of the classic rock anthem by Queen, “We Will Rock You.”

 

Young country-pop superstar Taylor Swift earned “Best Female Video” for “You Belong With Me” in one of the most competitive categories of the evening, causing Kanye West to storm the stage in protest of Beyoncé not winning. In a gracious act, Beyoncé later called Taylor back on stage to rightfully accept her award. Beyoncé did win an outstanding three moonmen including the coveted “Video of the Year” award for her viral video sensation “Single Ladies (Put A Ring On It).” Also landing three statues was Lady Gaga including “Best New Artist ” for her hit single “Poker Face.” Green Day made a triumphant return to the VMAs by claiming three awards including “Best Rock Video ” for “21 Guns.” Eminem walked away victorious in an extremely heated race for “Best Hip Hop Video” with “We Made You.”

 

Adding to her collection of moonmen and accepting her award via satellite while on tour, Britney Spears won “Best Pop Video” for “Womanizer.” After officially premiering at last year’s show, T.I. and Rihanna won “Best Male Video” for their multi-platinum song “Live Your Life.”

 

Eminem once again showcased his comedic chops teaming up with Tracy Morgan and featuring a cameo by Cyndi Lauper to present the “Best New Artist” nominees throughout the show.

 

Drawing on the musical energy and passion of New York City, MTV used the city as a backdrop to showcase the unprecedented and groundbreaking performances from today’s most popular artists. Making her first VMA performance a standout, Taylor Swift sang a never-before-heard version of her single “You Belong With Me.” Taylor fully incorporated all NYC has to offer by transitioning from a subway car to 6th Avenue surrounded by fans and ending her performance on top of a taxi cab.

 

Known for her over the top live performances and fashion forward style, Lady Gaga turned a childhood dream into a reality as she made her grand entrance into VMA history. During her unforgettable performance of “Paparazzi,” the international superstar gives her own interpretation on the price of fame which culminates with her levitating into the air.

 

Surrounded by pyro and using every corner of the VMA stage, fan favorite Green Day made an explosive return to the VMA stage by giving a high energy rock performance of their single “East Jesus Nowhere.”

 

Beyoncé had all of Radio City dancing to “Single Ladies (Put A Ring On It)” with her call and response to the audience as she translated her music video phenomenon to the live stage. The pop diva was backed by an army of dancers as they displayed their incomparable dance moves during her performance.

 

Already a household name across the pond, British rockers Muse gave a breakthrough performance expanding their fan base worldwide. The band performed their latest single “Uprising” from a live remote at the Walter Kerr Theater in the Broadway district of Manhattan in front of hundreds of screaming fans.

 

Determined to top herself and once again raise the bar for live performances, P!nk mastered a jaw-dropping aerial act 30 feet above the stage while performing her single “Sober.” And yes, she sang every single word of it.

 

Bringing the show to a climactic end, JAY-Z and Alicia Keys honored their hometown of New York as they gave a powerful performance of “Empire State of Mind.”

 

As the official VMA house band, hip-hop’s newest challenger Wale and the legendary go go band UCB hyped up the audience as they put their own unique spin on some of the biggest songs of the year, his own material and a few classic covers. They collaborated with a number of artists including Kid Cudi with “Day And Night,” The All-American Rejects with “Gives You Hell, ” Pitbull with “You Know You Want Me” and 3OH!3 with “Don’t Trust Me”. Kid Cudi honored DJ AM during his performance of “Make Her Say.”

 

The star studded show also included appearances by Megan Fox, Jimmy Fallon, Jennifer Lopez, Shakira, Jack Black, Andy Samberg, Kristin Cavallari, Pete Wentz, Gerard Butler, Diddy, Tracy Morgan, Adam Brody, Jamie-Lynn Sigler, Alexa Chung, Gabe Saporta of Cobra Starship and Justin Bieber, Ne-Yo , Nelly Furtado , Robert Pattinson , Kristen Stewart , Taylor Lautner , Chace Crawford , Leighton Meester , Miranda Cosgrove and Serena Williams.

 

The MTV audience was treated to exclusive first looks at fall’s most anticipated films and soundtracks including Michael Jackson's THIS IS IT and The Twilight Saga: New Moon trailers during the show. Viewers were also given a sneak peek at the latest trailer from the upcoming movie Fame during MTV News’ “2009 VMA Preshow.”

 

2009 MTV VIDEO MUSIC AWARDS WINNERS

 

GENERAL CATEGORIES:

 

VIDEO OF THE YEAR

Beyoncé

Title: Single Ladies (Put A Ring On It)

Album: I AM…SASHA FIERCE

Director: Jake Nava

Label: Music World Music/Columbia

Production Company: Anonymous Content

Producer: John Winter

 

BEST NEW ARTIST

Lady Gaga

Title: Poker Face

Album: The Fame

Director: Ray Kay

Label: Streamline/KonLive/Cherrytree/Interscope

Production Company: Rockhard Films

Producer: Jil Hardin/ Nicole Ehrich

 

BEST MALE VIDEO

T.I. featuring Rihanna

Title: Live Your Life

Album: Paper Trail

Director: Anthony Mandler

Label: Atlantic Reords

Production Company: Les Enfants Terribles

Producer: Gina Leonard

 

BEST FEMALE VIDEO

Taylor Swift

Title: You Belong With Me

Album: Fearless

Director: Roman White

Label: Big Machine Records

Production Company: Revolution Pictures

Producer: Randy Brewer

 

BEST HIP HOP VIDEO

Eminem

Title: We Made You

Album: Relapse

Director: Joseph Kahn

Label: Aftermath/Interscope

Production Company: HSI Productions

Producer: Mary Ann Tanedo

 

BEST POP VIDEO

Britney Spears

Title: Womanizer

Album: Circus

Director: Joseph Kahn

Label: Jive/Zomba Label Group

Production Company: HSI Productions

Producer: Mary Ann Tanedo

 

BEST ROCK VIDEO

Green Day

Title: 21 Guns

Album: 21st Century Breakdown

Director: Marc Webb

Label: Reprise Records

Production Company: DNA Inc

Producer: Michael Angelos

 

PROFESSIONAL CATEGORIES:

 

BEST CHOREOGRAPHY

Beyoncé

Title: Single Ladies (Put A Ring On It)

Album: I AM…SASHA FIERCE

Director: Jake Nava

Label: Music World Music/Columbia

Production Company: Anonymous Content

Producer: John Winter

Choreographer: Jaquel Knight & Frank Gatson Jr.

 

BEST DIRECTION

Green Day

Title: 21 Guns

Album: 21st Century Breakdown

Director: Marc Webb

Label: Reprise Records

Production Company: DNA Inc

Producer: Michael Angelos

 

BEST EDITING

 

Beyoncé

Title: Single Ladies (Put A Ring On It)

Album I AM…SASHA FIERCE

Director: Jake Nava

Label: Music World Music/Columbia

Production Company: Anonymous Content

Producer: John Winter

Editor: Jarrett Fijal

 

BEST SPECIAL EFFECTS

Lady Gaga

Title: Paparazzi

Album: The Fame

Director: Jonas Akerlund

Label: Streamline/KonLive/Cherrytree/Interscope

Production Company: Factory Films Ltd.

Producer: Steven Johnson/Nicole Ehrich

 

BEST CINEMATOGRAPHY

Green Day

Title: 21 Guns

Album: 21st Century Breakdown

Director: Marc Webb

Label: Reprise Records

Production Company: DNA Inc

Producer: Michael Angelos

Cinematographer: Jonathan Sela

 

BEST ART DIRECTION

Lady Gaga

Title: Paparazzi

Album: The Fame

Director: Jonas Akerlund

Label: Streamline/KonLive/Cherrytree/Interscope

Production Company: Factory Features

Producer: Steven Johnson/Nicole Ehrich

Art Director: Jason Hamilton

 

ONLINE CATEGORIES:

 

BREAKTHROUGH VIDEO

Matt & Kim

Title: Lessons Learned

Album: Grand

Director: Taylor Cohen & Otto Arsenault

Label: Fader

Production Company: FVNMO

Producer: Taylor Cohen, Otto Arsenault

 

BEST VIDEO (THAT SHOULD HAVE WON A MOONMAN)

Beastie Boys

Title: Sabotage

Album: III Communication

Director: Spike Jonze

Label: Grand Royal/Capitol Records

 

Shugoll Research and Telescope are the Official Business Advisors of the “2009 MTV Video Music Awards” Nominee and Winner Voting periods.

 

Jesse Ignjatovic/Den of Thieves is the Executive Producer for the “2009 MTV Video Music Awards.” Dave Sirulnick is Executive Producer. Garrett English is co-Executive Producer/Executive in Charge of Production. Amy Doyle is co-Executive Producer. Joanna Bomberg is Executive in Charge of Music and Talent. Jen Jones is Producer. Hamish Hamilton is Director. Robin Reinhardt-Locke is Celebrity Talent Executive.

 

Official sponsors of the “2009 MTV Video Music Awards” are 5 ® Gum, Febreze, Pepsi, Rhapsody ®, Sears, Taco Bell ®, U.S. Army and Verizon Wireless.

 

The “2009 MTV Video Music Awards” will be available to a potential viewing audience of more than 1.2 billion people via MTV’s global network of 68 channels reaching 577 million households around the world as well as through syndication. In addition, its convergent programming & content will reach the entire interactive community, via MTV’s more than 200 digital media properties around the world.

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

It is easily crumbled to be added to a lit coal in an incense burner. There are a lot of other scents stored elsewhere.

The frankincense was of good quality.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

A variety of incense cones which thankfully were not overly sweet. I am sad to have likely lost this annual Toronto ON sconce of incense cones.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY:

 

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION:

 

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE:

 

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii) Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

 

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES:

 

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING:

 

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odour.

 

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING:

 

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

 

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION:

 

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

 

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE:

 

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS:

 

ARABIAN:

 

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE:

 

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN:

 

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM:

 

KETORET:

 

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN:

 

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE:

 

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE:

 

PRACTICAL:

 

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC:

 

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS:

 

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE:

 

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

Gautama Buddha, also known as Siddhārtha Gautama, Shakyamuni, or simply the Buddha, was a sage on whose teachings Buddhism was founded. He is believed to have lived and taught mostly in northeastern India sometime between the sixth and fourth centuries BCE.

 

The word Buddha means "awakened one" or "the enlightened one". "Buddha" is also used as a title for the first awakened being in a Yuga era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha (Pali sammāsambuddha, Sanskrit samyaksaṃbuddha) of the present age. Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the śramaṇa movement common in his region. He later taught throughout regions of eastern India such as Magadha and Kosala.

 

Gautama is the primary figure in Buddhism and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later.

 

CONTENTS

HISTORICAL SIDDHARTA GAUTAMA

Scholars are hesitant to make unqualified claims about the historical facts of the Buddha's life. Most accept that he lived, taught and founded a monastic order during the Mahajanapada era during the reign of Bimbisara, the ruler of the Magadha empire, and died during the early years of the reign of Ajasattu, who was the successor of Bimbisara, thus making him a younger contemporary of Mahavira, the Jain tirthankara. Apart from the Vedic Brahmins, the Buddha's lifetime coincided with the flourishing of other influential śramaṇa schools of thoughts like Ājīvika, Cārvāka, Jainism, and Ajñana. It was also the age of influential thinkers like Mahavira, Pūraṇa Kassapa , Makkhali Gosāla, Ajita Kesakambalī, Pakudha Kaccāyana, and Sañjaya Belaṭṭhaputta, whose viewpoints the Buddha most certainly must have been acquainted with and influenced by. Indeed, Sariputta and Moggallāna, two of the foremost disciples of the Buddha, were formerly the foremost disciples of Sañjaya Belaṭṭhaputta, the skeptic. There is also evidence to suggest that the two masters, Alara Kalama and Uddaka Ramaputta, were indeed historical figures and they most probably taught Buddha two different forms of meditative techniques. While the general sequence of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" is widely accepted, there is less consensus on the veracity of many details contained in traditional biographies.

 

The times of Gautama's birth and death are uncertain. Most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE. More recently his death is dated later, between 411 and 400 BCE, while at a symposium on this question held in 1988, the majority of those who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death. These alternative chronologies, however, have not yet been accepted by all historians.

 

The evidence of the early texts suggests that Siddhārtha Gautama was born into the Shakya clan, a community that was on the periphery, both geographically and culturally, of the northeastern Indian subcontinent in the 5th century BCE. It was either a small republic, in which case his father was an elected chieftain, or an oligarchy, in which case his father was an oligarch. According to the Buddhist tradition, Gautama was born in Lumbini, nowadays in modern-day Nepal, and raised in the Shakya capital of Kapilavastu, which may have been in either present day Tilaurakot, Nepal or Piprahwa, India. He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, and died in Kushinagar.

 

No written records about Gautama have been found from his lifetime or some centuries thereafter. One Edict of Asoka, who reigned from circa 269 BCE to 232 BCE, commemorates the Emperor's pilgrimage to the Buddha's birthplace in Lumbini. Another one of his edicts mentions several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Maurya era and which may be the precursors of the Pāli Canon. The oldest surviving Buddhist manuscripts are the Gandhāran Buddhist texts, reported to have been found in or around Haḍḍa near Jalalabad in eastern Afghanistan and now preserved in the British Library. They are written in the Gāndhārī language using the Kharosthi script on twenty-seven birch bark manuscripts and date from the first century BCE to the third century CE.

 

TRADITIONAL BIOGRAPHIES

BIOGRAPHICAL SOURCES

The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā. Of these, the Buddhacarita is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE. The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE. The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra, and various Chinese translations of this date between the 3rd and 6th century CE. The Nidānakathā is from the Theravada tradition in Sri Lanka and was composed in the 5th century by Buddhaghoṣa.

 

From canonical sources, the Jataka tales, the Mahapadana Sutta (DN 14), and the Achariyabhuta Sutta (MN 123) which include selective accounts that may be older, but are not full biographies. The Jātakas retell previous lives of Gautama as a bodhisattva, and the first collection of these can be dated among the earliest Buddhist texts. The Mahāpadāna Sutta and Achariyabhuta Sutta both recount miraculous events surrounding Gautama's birth, such as the bodhisattva's descent from the Tuṣita Heaven into his mother's womb.

 

NATURE OF TRADITIONAL DEPICTIONS

In the earliest Buddhists texts, the nikāyas and āgamas, the Buddha is not depicted as possessing omniscience (sabbaññu) nor is he depicted as being an eternal transcendent (lokottara) being. According to Bhikkhu Analayo, ideas of the Buddha's omniscience (along with an increasing tendency to deify him and his biography) are found only later, in the Mahayana sutras and later Pali commentaries or texts such as the Mahāvastu. In the Sandaka Sutta, the Buddha's disciple Ananda outlines an argument against the claims of teachers who say they are all knowing while in the Tevijjavacchagotta Sutta the Buddha himself states that he has never made a claim to being omniscient, instead he claimed to have the "higher knowledges" (abhijñā). The earliest biographical material from the Pali Nikayas focuses on the Buddha's life as a śramaṇa, his search for enlightenment under various teachers such as Alara Kalama and his forty five year career as a teacher.

 

Traditional biographies of Gautama generally include numerous miracles, omens, and supernatural events. The character of the Buddha in these traditional biographies is often that of a fully transcendent (Skt. lokottara) and perfected being who is unencumbered by the mundane world. In the Mahāvastu, over the course of many lives, Gautama is said to have developed supra-mundane abilities including: a painless birth conceived without intercourse; no need for sleep, food, medicine, or bathing, although engaging in such "in conformity with the world"; omniscience, and the ability to "suppress karma". Nevertheless, some of the more ordinary details of his life have been gathered from these traditional sources. In modern times there has been an attempt to form a secular understanding of Siddhārtha Gautama's life by omitting the traditional supernatural elements of his early biographies.

 

Andrew Skilton writes that the Buddha was never historically regarded by Buddhist traditions as being merely human:

It is important to stress that, despite modern Theravada teachings to the contrary (often a sop to skeptical Western pupils), he was never seen as being merely human. For instance, he is often described as having the thirty-two major and eighty minor marks or signs of a mahāpuruṣa, "superman"; the Buddha himself denied that he was either a man or a god; and in the Mahāparinibbāna Sutta he states that he could live for an aeon were he asked to do so.The ancient Indians were generally unconcerned with chronologies, being more focused on philosophy. Buddhist texts reflect this tendency, providing a clearer picture of what Gautama may have taught than of the dates of the events in his life. These texts contain descriptions of the culture and daily life of ancient India which can be corroborated from the Jain scriptures, and make the Buddha's time the earliest period in Indian history for which significant accounts exist. British author Karen Armstrong writes that although there is very little information that can be considered historically sound, we can be reasonably confident that Siddhārtha Gautama did exist as a historical figure. Michael Carrithers goes a bit further by stating that the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true.

 

BIOGRAPHY

CONCEPTION AND BIRTH

The Buddhist tradition regards Lumbini, in present-day Nepal to be the birthplace of the Buddha. He grew up in Kapilavastu. The exact site of ancient Kapilavastu is unknown. It may have been either Piprahwa, Uttar Pradesh, present-day India, or Tilaurakot, present-day Nepal. Both places belonged to the Sakya territory, and are located only 15 miles apart from each other.

 

Gautama was born as a Kshatriya, the son of Śuddhodana, "an elected chief of the Shakya clan", whose capital was Kapilavastu, and who were later annexed by the growing Kingdom of Kosala during the Buddha's lifetime. Gautama was the family name. His mother, Maya (Māyādevī), Suddhodana's wife, was a Koliyan princess. Legend has it that, on the night Siddhartha was conceived, Queen Maya dreamt that a white elephant with six white tusks entered her right side, and ten months later Siddhartha was born. As was the Shakya tradition, when his mother Queen Maya became pregnant, she left Kapilvastu for her father's kingdom to give birth. However, her son is said to have been born on the way, at Lumbini, in a garden beneath a sal tree.

 

The day of the Buddha's birth is widely celebrated in Theravada countries as Vesak. Buddha's Birthday is called Buddha Purnima in Nepal and India as he is believed to have been born on a full moon day. Various sources hold that the Buddha's mother died at his birth, a few days or seven days later. The infant was given the name Siddhartha (Pāli: Siddhattha), meaning "he who achieves his aim". During the birth celebrations, the hermit seer Asita journeyed from his mountain abode and announced that the child would either become a great king (chakravartin) or a great sadhu. By traditional account, this occurred after Siddhartha placed his feet in Asita's hair and Asita examined the birthmarks. Suddhodana held a naming ceremony on the fifth day, and invited eight Brahmin scholars to read the future. All gave a dual prediction that the baby would either become a great king or a great holy man. Kondañña, the youngest, and later to be the first arhat other than the Buddha, was reputed to be the only one who unequivocally predicted that Siddhartha would become a Buddha.

 

While later tradition and legend characterized Śuddhodana as a hereditary monarch, the descendant of the Suryavansha (Solar dynasty) of Ikṣvāku (Pāli: Okkāka), many scholars think that Śuddhodana was the elected chief of a tribal confederacy.

 

Early texts suggest that Gautama was not familiar with the dominant religious teachings of his time until he left on his religious quest, which is said to have been motivated by existential concern for the human condition. The state of the Shakya clan was not a monarchy, and seems to have been structured either as an oligarchy, or as a form of republic. The more egalitarian gana-sangha form of government, as a political alternative to the strongly hierarchical kingdoms, may have influenced the development of the śramanic Jain and Buddhist sanghas, where monarchies tended toward Vedic Brahmanism.

 

EARLY LIFE AND MARRIAGE

Siddhartha was brought up by his mother's younger sister, Maha Pajapati. By tradition, he is said to have been destined by birth to the life of a prince, and had three palaces (for seasonal occupation) built for him. Although more recent scholarship doubts this status, his father, said to be King Śuddhodana, wishing for his son to be a great king, is said to have shielded him from religious teachings and from knowledge of human suffering.

 

When he reached the age of 16, his father reputedly arranged his marriage to a cousin of the same age named Yaśodharā (Pāli: Yasodharā). According to the traditional account, she gave birth to a son, named Rāhula. Siddhartha is said to have spent 29 years as a prince in Kapilavastu. Although his father ensured that Siddhartha was provided with everything he could want or need, Buddhist scriptures say that the future Buddha felt that material wealth was not life's ultimate goal.

 

RENUNCIATION AND ASCETIC LIFE

At the age of 29, the popular biography continues, Siddhartha left his palace to meet his subjects. Despite his father's efforts to hide from him the sick, aged and suffering, Siddhartha was said to have seen an old man. When his charioteer Channa explained to him that all people grew old, the prince went on further trips beyond the palace. On these he encountered a diseased man, a decaying corpse, and an ascetic. These depressed him, and he initially strove to overcome aging, sickness, and death by living the life of an ascetic.

 

Accompanied by Channa and riding his horse Kanthaka, Gautama quit his palace for the life of a mendicant. It's said that, "the horse's hooves were muffled by the gods" to prevent guards from knowing of his departure.

 

Gautama initially went to Rajagaha and began his ascetic life by begging for alms in the street. After King Bimbisara's men recognised Siddhartha and the king learned of his quest, Bimbisara offered Siddhartha the throne. Siddhartha rejected the offer, but promised to visit his kingdom of Magadha first, upon attaining enlightenment.

 

He left Rajagaha and practised under two hermit teachers of yogic meditation. After mastering the teachings of Alara Kalama (Skr. Ārāḍa Kālāma), he was asked by Kalama to succeed him. However, Gautama felt unsatisfied by the practice, and moved on to become a student of yoga with Udaka Ramaputta (Skr. Udraka Rāmaputra). With him he achieved high levels of meditative consciousness, and was again asked to succeed his teacher. But, once more, he was not satisfied, and again moved on.

 

Siddhartha and a group of five companions led by Kaundinya are then said to have set out to take their austerities even further. They tried to find enlightenment through deprivation of worldly goods, including food, practising self-mortification. After nearly starving himself to death by restricting his food intake to around a leaf or nut per day, he collapsed in a river while bathing and almost drowned. Siddhartha was rescued by a village girl named Sujata and she gave him some payasam (a pudding made from milk and jaggery) after which Siddhartha got back some energy. Siddhartha began to reconsider his path. Then, he remembered a moment in childhood in which he had been watching his father start the season's ploughing. He attained a concentrated and focused state that was blissful and refreshing, the jhāna.

 

AWAKENING

According to the early Buddhist texts, after realizing that meditative dhyana was the right path to awakening, but that extreme asceticism didn't work, Gautama discovered what Buddhists call the Middle Way - a path of moderation away from the extremes of self-indulgence and self-mortification, or the Noble Eightfold Path, as was identified and described by the Buddha in his first discourse, the Dhammacakkappavattana Sutta. In a famous incident, after becoming starved and weakened, he is said to have accepted milk and rice pudding from a village girl named Sujata. Such was his emaciated appearance that she wrongly believed him to be a spirit that had granted her a wish.

 

Following this incident, Gautama was famously seated under a pipal tree - now known as the Bodhi tree - in Bodh Gaya, India, when he vowed never to arise until he had found the truth. Kaundinya and four other companions, believing that he had abandoned his search and become undisciplined, left. After a reputed 49 days of meditation, at the age of 35, he is said to have attained Enlightenment. According to some traditions, this occurred in approximately the fifth lunar month, while, according to others, it was in the twelfth month. From that time, Gautama was known to his followers as the Buddha or "Awakened One" ("Buddha" is also sometimes translated as "The Enlightened One").

 

According to Buddhism, at the time of his awakening he realized complete insight into the cause of suffering, and the steps necessary to eliminate it. These discoveries became known as the "Four Noble Truths", which are at the heart of Buddhist teaching. Through mastery of these truths, a state of supreme liberation, or Nirvana, is believed to be possible for any being. The Buddha described Nirvāna as the perfect peace of a mind that's free from ignorance, greed, hatred and other afflictive states, or "defilements" (kilesas). Nirvana is also regarded as the "end of the world", in that no personal identity or boundaries of the mind remain. In such a state, a being is said to possess the Ten Characteristics, belonging to every Buddha.

 

According to a story in the Āyācana Sutta (Samyutta Nikaya VI.1) - a scripture found in the Pāli and other canons - immediately after his awakening, the Buddha debated whether or not he should teach the Dharma to others. He was concerned that humans were so overpowered by ignorance, greed and hatred that they could never recognise the path, which is subtle, deep and hard to grasp. However, in the story, Brahmā Sahampati convinced him, arguing that at least some will understand it. The Buddha relented, and agreed to teach.

 

FORMATION OF THE SANGHA

After his awakening, the Buddha met Taphussa and Bhallika — two merchant brothers from the city of Balkh in what is currently Afghanistan - who became his first lay disciples. It is said that each was given hairs from his head, which are now claimed to be enshrined as relics in the Shwe Dagon Temple in Rangoon, Burma. The Buddha intended to visit Asita, and his former teachers, Alara Kalama and Udaka Ramaputta, to explain his findings, but they had already died.

 

He then travelled to the Deer Park near Varanasi (Benares) in northern India, where he set in motion what Buddhists call the Wheel of Dharma by delivering his first sermon to the five companions with whom he had sought enlightenment. Together with him, they formed the first saṅgha: the company of Buddhist monks.

 

All five become arahants, and within the first two months, with the conversion of Yasa and fifty four of his friends, the number of such arahants is said to have grown to 60. The conversion of three brothers named Kassapa followed, with their reputed 200, 300 and 500 disciples, respectively. This swelled the sangha to more than 1,000.

 

TRAVELS AND TEACHING

For the remaining 45 years of his life, the Buddha is said to have traveled in the Gangetic Plain, in what is now Uttar Pradesh, Bihar and southern Nepal, teaching a diverse range of people: from nobles to servants, murderers such as Angulimala, and cannibals such as Alavaka. Although the Buddha's language remains unknown, it's likely that he taught in one or more of a variety of closely related Middle Indo-Aryan dialects, of which Pali may be a standardization.

 

The sangha traveled through the subcontinent, expounding the dharma. This continued throughout the year, except during the four months of the Vāsanā rainy season when ascetics of all religions rarely traveled. One reason was that it was more difficult to do so without causing harm to animal life. At this time of year, the sangha would retreat to monasteries, public parks or forests, where people would come to them.

 

The first vassana was spent at Varanasi when the sangha was formed. After this, the Buddha kept a promise to travel to Rajagaha, capital of Magadha, to visit King Bimbisara. During this visit, Sariputta and Maudgalyayana were converted by Assaji, one of the first five disciples, after which they were to become the Buddha's two foremost followers. The Buddha spent the next three seasons at Veluvana Bamboo Grove monastery in Rajagaha, capital of Magadha.

 

Upon hearing of his son's awakening, Suddhodana sent, over a period, ten delegations to ask him to return to Kapilavastu. On the first nine occasions, the delegates failed to deliver the message, and instead joined the sangha to become arahants. The tenth delegation, led by Kaludayi, a childhood friend of Gautama's (who also became an arahant), however, delivered the message.

 

Now two years after his awakening, the Buddha agreed to return, and made a two-month journey by foot to Kapilavastu, teaching the dharma as he went. At his return, the royal palace prepared a midday meal, but the sangha was making an alms round in Kapilavastu. Hearing this, Suddhodana approached his son, the Buddha, saying:

 

"Ours is the warrior lineage of Mahamassata, and not a single warrior has gone seeking alms."

 

The Buddha is said to have replied:

 

"That is not the custom of your royal lineage. But it is the custom of my Buddha lineage. Several thousands of Buddhas have gone by seeking alms."

 

Buddhist texts say that Suddhodana invited the sangha into the palace for the meal, followed by a dharma talk. After this he is said to have become a sotapanna. During the visit, many members of the royal family joined the sangha. The Buddha's cousins Ananda and Anuruddha became two of his five chief disciples. At the age of seven, his son Rahula also joined, and became one of his ten chief disciples. His half-brother Nanda also joined and became an arahant.

 

Of the Buddha's disciples, Sariputta, Maudgalyayana, Mahakasyapa, Ananda and Anuruddha are believed to have been the five closest to him. His ten foremost disciples were reputedly completed by the quintet of Upali, Subhoti, Rahula, Mahakaccana and Punna.

 

In the fifth vassana, the Buddha was staying at Mahavana near Vesali when he heard news of the impending death of his father. He is said to have gone to Suddhodana and taught the dharma, after which his father became an arahant.The king's death and cremation was to inspire the creation of an order of nuns. Buddhist texts record that the Buddha was reluctant to ordain women. His foster mother Maha Pajapati, for example, approached him, asking to join the sangha, but he refused. Maha Pajapati, however, was so intent on the path of awakening that she led a group of royal Sakyan and Koliyan ladies, which followed the sangha on a long journey to Rajagaha. In time, after Ananda championed their cause, the Buddha is said to have reconsidered and, five years after the formation of the sangha, agreed to the ordination of women as nuns. He reasoned that males and females had an equal capacity for awakening. But he gave women additional rules (Vinaya) to follow.

 

MAHAPARINIRVANA

According to the Mahaparinibbana Sutta of the Pali canon, at the age of 80, the Buddha announced that he would soon reach Parinirvana, or the final deathless state, and abandon his earthly body. After this, the Buddha ate his last meal, which he had received as an offering from a blacksmith named Cunda. Falling violently ill, Buddha instructed his attendant Ānanda to convince Cunda that the meal eaten at his place had nothing to do with his passing and that his meal would be a source of the greatest merit as it provided the last meal for a Buddha. Mettanando and Von Hinüber argue that the Buddha died of mesenteric infarction, a symptom of old age, rather than food poisoning. The precise contents of the Buddha's final meal are not clear, due to variant scriptural traditions and ambiguity over the translation of certain significant terms; the Theravada tradition generally believes that the Buddha was offered some kind of pork, while the Mahayana tradition believes that the Buddha consumed some sort of truffle or other mushroom. These may reflect the different traditional views on Buddhist vegetarianism and the precepts for monks and nuns.

 

Waley suggests that Theravadin's would take suukaramaddava (the contents of the Buddha's last meal), which can translate as pig-soft, to mean soft flesh of a pig. However, he also states that pig-soft could mean "pig's soft-food", that is, after Neumann, a soft food favoured by pigs, assumed to be a truffle. He argues (also after Neumann) that as Pali Buddhism was developed in an area remote to the Buddha's death, the existence of other plants with suukara- (pig) as part of their names and that "(p)lant names tend to be local and dialectical" could easily indicate that suukaramaddava was a type of plant whose local name was unknown to those in the Pali regions. Specifically, local writers knew more about their flora than Theravadin commentator Buddhaghosa who lived hundreds of years and kilometres remote in time and space from the events described. Unaware of an alternate meaning and with no Theravadin prohibition against eating animal flesh, Theravadins would not have questioned the Buddha eating meat and interpreted the term accordingly.

 

Ananda protested the Buddha's decision to enter Parinirvana in the abandoned jungles of Kuśināra (present-day Kushinagar, India) of the Malla kingdom. The Buddha, however, is said to have reminded Ananda how Kushinara was a land once ruled by a righteous wheel-turning king that resounded with joy:

 

44. Kusavati, Ananda, resounded unceasingly day and night with ten sounds - the trumpeting of elephants, the neighing of horses, the rattling of chariots, the beating of drums and tabours, music and song, cheers, the clapping of hands, and cries of "Eat, drink, and be merry!"

 

The Buddha then asked all the attendant Bhikkhus to clarify any doubts or questions they had. They had none. According to Buddhist scriptures, he then finally entered Parinirvana. The Buddha's final words are reported to have been: "All composite things (Saṅkhāra) are perishable. Strive for your own liberation with diligence" (Pali: 'vayadhammā saṅkhārā appamādena sampādethā'). His body was cremated and the relics were placed in monuments or stupas, some of which are believed to have survived until the present. For example, The Temple of the Tooth or "Dalada Maligawa" in Sri Lanka is the place where what some believe to be the relic of the right tooth of Buddha is kept at present.

 

According to the Pāli historical chronicles of Sri Lanka, the Dīpavaṃsa and Mahāvaṃsa, the coronation of Emperor Aśoka (Pāli: Asoka) is 218 years after the death of the Buddha. According to two textual records in Chinese (十八部論 and 部執異論), the coronation of Emperor Aśoka is 116 years after the death of the Buddha. Therefore, the time of Buddha's passing is either 486 BCE according to Theravāda record or 383 BCE according to Mahayana record. However, the actual date traditionally accepted as the date of the Buddha's death in Theravāda countries is 544 or 545 BCE, because the reign of Emperor Aśoka was traditionally reckoned to be about 60 years earlier than current estimates. In Burmese Buddhist tradition, the date of the Buddha's death is 13 May 544 BCE. whereas in Thai tradition it is 11 March 545 BCE.

 

At his death, the Buddha is famously believed to have told his disciples to follow no leader. Mahakasyapa was chosen by the sangha to be the chairman of the First Buddhist Council, with the two chief disciples Maudgalyayana and Sariputta having died before the Buddha.

 

While in the Buddha's days he was addressed by the very respected titles Buddha, Shākyamuni, Shākyasimha, Bhante and Bho, he was known after his parinirvana as Arihant, Bhagavā/Bhagavat/Bhagwān, Mahāvira, Jina/Jinendra, Sāstr, Sugata, and most popularly in scriptures as Tathāgata.

 

BUDDHA AND VEDAS

Buddha's teachings deny the authority of the Vedas and consequently [at least atheistic] Buddhism is generally viewed as a nāstika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.

 

RELICS

After his death, Buddha's cremation relics were divided amongst 8 royal families and his disciples; centuries later they would be enshrined by King Ashoka into 84,000 stupas. Many supernatural legends surround the history of alleged relics as they accompanied the spread of Buddhism and gave legitimacy to rulers.

 

PHYSICAL CHARACTERISTICS

An extensive and colorful physical description of the Buddha has been laid down in scriptures. A kshatriya by birth, he had military training in his upbringing, and by Shakyan tradition was required to pass tests to demonstrate his worthiness as a warrior in order to marry. He had a strong enough body to be noticed by one of the kings and was asked to join his army as a general. He is also believed by Buddhists to have "the 32 Signs of the Great Man".

 

The Brahmin Sonadanda described him as "handsome, good-looking, and pleasing to the eye, with a most beautiful complexion. He has a godlike form and countenance, he is by no means unattractive." (D, I:115)

 

"It is wonderful, truly marvellous, how serene is the good Gotama's appearance, how clear and radiant his complexion, just as the golden jujube in autumn is clear and radiant, just as a palm-tree fruit just loosened from the stalk is clear and radiant, just as an adornment of red gold wrought in a crucible by a skilled goldsmith, deftly beaten and laid on a yellow-cloth shines, blazes and glitters, even so, the good Gotama's senses are calmed, his complexion is clear and radiant." (A, I:181)

 

A disciple named Vakkali, who later became an arahant, was so obsessed by the Buddha's physical presence that the Buddha is said to have felt impelled to tell him to desist, and to have reminded him that he should know the Buddha through the Dhamma and not through physical appearances.

 

Although there are no extant representations of the Buddha in human form until around the 1st century CE (see Buddhist art), descriptions of the physical characteristics of fully enlightened buddhas are attributed to the Buddha in the Digha Nikaya's Lakkhaṇa Sutta (D, I:142). In addition, the Buddha's physical appearance is described by Yasodhara to their son Rahula upon the Buddha's first post-Enlightenment return to his former princely palace in the non-canonical Pali devotional hymn, Narasīha Gāthā ("The Lion of Men").

 

Among the 32 main characteristics it is mentioned that Buddha has blue eyes.

 

NINE VIRTUES

Recollection of nine virtues attributed to the Buddha is a common Buddhist meditation and devotional practice called Buddhānusmṛti. The nine virtues are also among the 40 Buddhist meditation subjects. The nine virtues of the Buddha appear throughout the Tipitaka, and include:

 

- Buddho – Awakened

- Sammasambuddho – Perfectly self-awakened

- Vijja-carana-sampano – Endowed with higher knowledge and ideal conduct.

- Sugato – Well-gone or Well-spoken.

- Lokavidu – Wise in the knowledge of the many worlds.

- Anuttaro Purisa-damma-sarathi – Unexcelled trainer of untrained people.

- Satthadeva-Manussanam – Teacher of gods and humans.

- Bhagavathi – The Blessed one

- Araham – Worthy of homage. An Arahant is "one with taints destroyed, who has lived the holy life, done what had to be done, laid down the burden, reached the true goal, destroyed the fetters of being, and is completely liberated through final knowledge."

 

TEACHINGS

TRACING THE OLDEST TEACHINGS

Information of the oldest teachings may be obtained by analysis of the oldest texts. One method to obtain information on the oldest core of Buddhism is to compare the oldest extant versions of the Theravadin Pali Canon and other texts. The reliability of these sources, and the possibility to draw out a core of oldest teachings, is a matter of dispute. According to Vetter, inconsistencies remain, and other methods must be applied to resolve those inconsistencies.

 

According to Schmithausen, three positions held by scholars of Buddhism can be distinguished:

 

"Stress on the fundamental homogeneity and substantial authenticity of at least a considerable part of the Nikayic materials;"

"Scepticism with regard to the possibility of retrieving the doctrine of earliest Buddhism;"

"Cautious optimism in this respect."

 

DHYANA AND INSIGHT

A core problem in the study of early Buddhism is the relation between dhyana and insight. Schmithausen, in his often-cited article On some Aspects of Descriptions or Theories of 'Liberating Insight' and 'Enlightenment' in Early Buddhism notes that the mention of the four noble truths as constituting "liberating insight", which is attained after mastering the Rupa Jhanas, is a later addition to texts such as Majjhima Nikaya 36

 

CORE TEACHINGS

According to Tilmann Vetter, the core of earliest Buddhism is the practice of dhyāna. Bronkhorst agrees that dhyana was a Buddhist invention, whereas Norman notes that "the Buddha's way to release [...] was by means of meditative practices." Discriminating insight into transiency as a separate path to liberation was a later development.

 

According to the Mahāsaccakasutta, from the fourth jhana the Buddha gained bodhi. Yet, it is not clear what he was awakened to. "Liberating insight" is a later addition to this text, and reflects a later development and understanding in early Buddhism. The mentioning of the four truths as constituting "liberating insight" introduces a logical problem, since the four truths depict a linear path of practice, the knowledge of which is in itself not depicted as being liberating:

 

[T]hey do not teach that one is released by knowing the four noble truths, but by practicing the fourth noble truth, the eightfold path, which culminates in right samadhi.

 

Although "Nibbāna" (Sanskrit: Nirvāna) is the common term for the desired goal of this practice, many other terms can be found throughout the Nikayas, which are not specified.

 

According to Vetter, the description of the Buddhist path may initially have been as simple as the term "the middle way". In time, this short description was elaborated, resulting in the description of the eightfold path.

 

According to both Bronkhorst and Anderson, the four truths became a substitution for prajna, or "liberating insight", in the suttas in those texts where "liberating insight" was preceded by the four jhanas. According to Bronkhorst, the four truths may not have been formulated in earliest Buddhism, and did not serve in earliest Buddhism as a description of "liberating insight". Gotama's teachings may have been personal, "adjusted to the need of each person."

 

The three marks of existence may reflect Upanishadic or other influences. K.R. Norman supposes that these terms were already in use at the Buddha's time, and were familiar to his listeners.

 

The Brahma-vihara was in origin probably a brahmanic term; but its usage may have been common to the Sramana traditions.

  

LATER DEVELOPMENTS

In time, "liberating insight" became an essential feature of the Buddhist tradition. The following teachings, which are commonly seen as essential to Buddhism, are later formulations which form part of the explanatory framework of this "liberating insight":

 

- The Four Noble Truths: that suffering is an ingrained part of existence; that the origin of suffering is craving for sensuality, acquisition of identity, and fear of annihilation; that suffering can be ended; and that following the Noble Eightfold Path is the means to accomplish this;

- The Noble Eightfold Path: right view, right intention, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration;

- Dependent origination: the mind creates suffering as a natural product of a complex process.

 

OTHER RELIGIONS

Some Hindus regard Gautama as the 9th avatar of Vishnu. The Buddha is also regarded as a prophet by the Ahmadiyya Muslims and a Manifestation of God in the Bahá'í Faith. Some early Chinese Taoist-Buddhists thought the Buddha to be a reincarnation of Lao Tzu.

 

The Christian Saint Josaphat is based on the Buddha. The name comes from the Sanskrit Bodhisattva via Arabic Būdhasaf and Georgian Iodasaph. The only story in which St. Josaphat appears, Barlaam and Josaphat, is based on the life of the Buddha. Josaphat was included in earlier editions of the Roman Martyrology (feast day 27 November) — though not in the Roman Missal — and in the Eastern Orthodox Church liturgical calendar (26 August).

 

Disciples of the Cao Đài religion worship the Buddha as a major religious teacher. His image can be found in both their Holy See and on the home altar. He is revealed during communication with Divine Beings as son of their Supreme Being (God the Father) together with other major religious teachers and founders like Jesus, Laozi, and Confucius.

 

In the ancient Gnostic sect of Manichaeism the Buddha is listed among the prophets who preached the word of God before Mani.

 

WIKIPEDIA

Christianity’s influence permeates western civilization, reaching into every nook and cranny of our history and culture. The Bible, Christianity’s scripture, is likely the best-selling book of all time. Even as American society has become more secular and many Americans turn away from organized religion, the Bible itself is available in an ever-expanding variety of languages, translations, and editions with all manner of supplements for its readers.

 

This exhibit explores not the history of the Bible itself but the history of the printing of the Bible. It begins with Gutenberg and other early printers in continental Europe, then moves across the English Channel to examine the publication of Bibles in England, Wales, and Scotland. The exhibit then turns its attention to Bibles and related scriptures, some in English, some not, in the American colonies and later the United States.

 

All of the Bibles in this exhibit are the property of Swem Library, except the Aitken Bible of 1782, which is the property of Bruton Parish Church but is normally stored at Swem. We thank Bruton Parish for permission to display it.

 

EARLY PRINTED BIBLES IN EUROPE

 

Johannes Gutenberg revolutionized the world of Bible reading when he printed Bibles in the mid-1450s. On his heels came numerous editions of printed Bibles, some the work of entrepreneurial printers and others the work of scholars. Their efforts enabled laypeople to read the Bible in their native languages and study it in its original languages, helping spark the Protestant Reformation.

 

Johannes Gutenberg and the First Printed Bible

 

Up until the mid-1400s, producing a new Bible typically took a scribe at least a year, copying the text by hand. That changed when Johannes Gutenberg (?-1468), a goldsmith and printer in Mainz, Germany, developed a printing press using movable type. He spent several years creating his masterpiece, a double-folio edition of the Latin Vulgate Bible used by the Catholic Church, then completely dominant throughout much of western Europe. By 1455, Gutenberg had printed approximately 180 copies, some on paper, some on vellum. Costing three years’ wages for an ordinary worker, the book was less expensive than scribes’ copies, but still not affordable for ordinary people. Most copies likely ended up in monasteries and other institutions rather than in private hands. An amazing 47 or 48 survive today, mostly in research libraries, a tribute to the key role the Gutenberg Bible and movable type played in spreading both the Renaissance and the Protestant Reformation.

 

The copy on display here is a facsimile printed in 1961. Note how the blackletter text resembles that of the small manuscript Dutch Book of Hours (a medieval devotional book for laypeople). Gutenberg deliberately made his type to resemble manuscript letters in hopes of gaining acceptance for the movable type.

 

Anton Koberger, Modern Entrepreneur

 

These leaves are a fragment from the ninth Germanic Bible printed by Anton Koberger (ca. 1440-1513) in 1483 in Nuremburg. Koberger in the late 1400s printed about 1500 Bibles at a time. An excellent businessman, he ran an international printing empire, employing a network of printers in other cities and sold his books through agents and correspondents around Europe.

 

Scholarly Editions: The Complutensian Polyglot Bible

 

The more widespread availability of the Bible and the religious ideas swirling around Europe in the late 1400s and early 1500s stimulated interest in studying the Bible in its original languages and early translations. Cardinal Francisco Jiménez de Cisneros (1436-1517) personally organized and financed a project at the University of Alcalá in Spain to produce a polyglot Bible, a Bible in which text in several languages would appear in parallel columns. The scholars worked from 1502 to 1517, creating what is known today as the Complutensian Polyglot Bible. The columns on the original leaf presented here have text from Hebrew, Latin Vulgate, and Greek Septuagint manuscripts. The columns on the bottom are Aramaic and a Latin translation produced by the project.

 

Scholarly Editions: Robert Estienne

 

Robert Estienne (1503-1559), also known as Robert Stephani, of Paris was a printer with a very scholarly mind. To make sure that the editions of the Bible that he published were as accurate as possible, he collected earlier manuscripts and compared them, studying carefully the changes in the text. His editions are known for annotations and margin notes with variants of the texts, citing his sources. To be able to connect the notes with the appropriate text, Estienne divided the Bible into chapters and verses, an innovation that gained widespread acceptance. On display here is his two-volume 1545 edition of the Latin Vulgate and Zurich texts in parallel columns; one volume is still in its original binding. The Zurich translation was associated with Ulrich Zwingli (1484-1531), a Protestant reformer. Though raised a Catholic, Estienne increasingly favored Protestantism. Theologians at the University of Paris forced him to leave the city, and he relocated in 1550 to Geneva, one of the great centers of Protestantism.

 

Artistic Edition: Hans Holbein

 

This beautiful Bible includes woodcuts by Hans Holbein the Younger (1497-1543), some reproductions of which are displayed in this case. Holbein was a German artist from Augsburg who did much of his early work in Basel, where the Reformation spirit was strong. It likely was in Basel in the 1520s that he created a series of 90+ woodcuts of Biblical scenes. He painted the great humanist Erasmus, who recommended him to his friend Sir Thomas More. Holbein went to England from 1526 to 1530, painting More and the humanist circles in which More moved. After a brief visit to Basel, he returned to England in 1532. Holbein abandoned his former patron, who incurred the wrath of Henry VIII for opposing his divorce and was executed. Instead, Holbein gained the sponsorship of Anne Boleyn and Sir Thomas Cromwell, who themselves eventually fell out of favor and were executed. Holbein nonetheless became the great portrait painter of Henry VIII’s court. Over his career, Holbein worked for both Protestants and Catholics, and his religious views are unclear. This Bible, from Lyon in 1544, was one of a series of Bibles featuring Holbein’s woodcuts printed in the late 1530s and 1540s.

 

From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.

this is what happens when you let your sister and niece pick the color for you.... pink toes! with flowers, no less.

Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.

 

With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.

 

Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.

 

Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.

 

HISTORY

ANCIENT

Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.

 

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.

 

Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.

 

Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.

 

The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.

 

PORTUGUESE CONTACTS

The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.

 

DUTCH EAST INDIA

In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

 

In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:

 

I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.

 

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.

 

AFTERWARD THE DUTCH GOVERNORS

exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

 

n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.

 

Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.

 

During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.

 

INDIPENDENCE FROM THE DUTCH

In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

 

CONTEMPORARY

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.

 

The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.

 

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.

 

GEOGRAPHY

The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.

 

Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.

 

The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.

 

The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.

 

Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.

 

To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.

 

CLIMATE

Being just 8 degrees south of the equator, Bali has a fairly even climate year round.

 

Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.

 

ECOLOGY

Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.

 

Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.

 

Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.

 

Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.

 

The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.

 

A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.

 

Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.

 

ENVIRONMENT

Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.

 

From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).

 

Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.

 

ECONOMY

Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.

 

AGRICULTURE

Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.

 

The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.

 

TOURISM

The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.

 

The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.

 

An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.

 

In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.

 

Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.

 

Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.

 

In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.

 

In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.

 

Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.

 

Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.

 

Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.

 

SEX TOURISM

In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.

 

Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.

 

By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.

 

TRANSPORTATION

The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.

 

A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.

 

In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.

 

A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.

 

On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.

 

In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.

 

On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.

 

To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.

 

DEMOGRAPHICS

The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.

 

ETHNIC ORIGINS

A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.

 

CASTE SYSTEM

Bali has a caste system based on the Indian Hindu model, with four castes:

 

- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.

- Wesia (Vaishyas) – the caste of merchants and administrative officials

- Ksatrias (Kshatriyas) – the kingly and warrior caste

- Brahmana (Bramhin) – holy men and priests

 

RELIGION

Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.

 

Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.

 

Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.

 

Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.

 

LANGUAGE

Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.

 

English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.

 

CULTURE

Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.

 

The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

 

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.

 

Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

 

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

 

Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.

 

Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.

 

WIKIPEDIA

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Fashion design is the art of the application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social latitudes, and has varied over time and place. Fashion designers work in a number of ways in designing clothing and accessories such as bracelets and necklace, because of the time required to bring a garment onto the market, must at times anticipate changing consumer tastes.

 

Fashion designers attempt to design clothes which are functional as well as aesthetically pleasing. They must consider who is likely to wear a garment and the situations in which it will be worn. They have a wide range and combinations of materials to work with and a wide range of colors, patterns and styles to choose from. Though most clothing worn for everyday wear falls within a narrow range of conventional styles, unusual garments are usually sought for special occasions such as evening wear or party dresses.

 

Some clothes are made specifically for an individual, as in the case of haute couture or bespoke tailoring. Today, most clothing is designed for the mass market, especially casual and every-day wear.

Structure[edit]

Fashion designers can work in a number of many ways. Fashion designers may work full-time for one fashion as 'in-house designers' which owns the designs. They may work alone or as part of a team. Freelance designers work for themselves, selling their designs to fashion houses, directly to shops, or to clothing manufacturers. The garments bear the buyer's label. Some fashion designers set up their own labels, under which their designs are marketed. Some fashion designers are self-employed and design for individual clients. Other high-fashion designers cater to specialty stores or high-fashion department stores. These designers create original garments, as well as those that follow established fashion trends. Most fashion designers, however, work for apparel manufacturers, creating designs of men’s, women’s, and children’s fashions for the mass market. Large designer brands which have a 'name' as their brand such as Abercrombie & Fitch, Justice, or Juicy are likely to be designed by a team of individual designers under the direction of a designer director.

 

Designing a garment[edit]

Fashion designers work in different ways. Some sketch their ideas on paper, while others drape fabric on a dress form. When a designer is completely satisfied with the fit of the toile (or muslin), he or she will consult a professional pattern maker who then makes the finished, working version of the pattern out of card or via a computerized system. The pattern maker's job is very precise and painstaking. The fit of the finished garment depends on their accuracy. Finally, a sample garment is made up and tested on a model to make sure it is an operational outfit.

Fashion design is generally considered to have started in the 19th century with Charles Frederick Worth who was the first designer to have his label sewn into the garments that he created. Before the former draper set up his maison couture (fashion house) in Paris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from that worn at royal courts. Worth's success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him. While all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1858 are considered as fashion design.

 

It was during this period that many design houses began to hire artists to sketch or paint designs for garments. The images were shown to clients, which was much cheaper than producing an actual sample garment in the workroom. If the client liked their design, they ordered it and the resulting garment made money for the house. Thus, the tradition of designers sketching out garment designs instead of presenting completed garments on models to customers began as an economy.

The garments produced by clothing manufacturers fall into three main categories, although these may be split up into additional, more specific categories

 

Haute couture[edit]

Main article: Haute couture

Until the 1950s, fashion clothing was predominately designed and manufactured on a made-to-measure or haute couture basis (French for high-sewing), with each garment being created for a specific client. A couture garment is made to order for an individual customer, and is usually made from high-quality, expensive fabric, sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques. Look and fit take priority over the cost of materials and the time it takes to make.[1][2] Due to the high cost of each garment, haute couture makes little direct profit for the fashion houses, but is important for prestige and publicity.[3]

 

Ready-to-wear (pret-a-porter)[edit]

Main article: Ready-to-wear

Ready-to-wear clothes are a cross between haute couture and mass market. They are not made for individual customers, but great care is taken in the choice and cut of the fabric. Clothes are made in small quantities to guarantee exclusivity, so they are rather expensive. Ready-to-wear collections are usually presented by fashion houses each season during a period known as Fashion Week. This takes place on a city-wide basis and occurs twice a year. The main seasons of Fashion Week include, spring/summer, fall/winter, resort, swim, and bridal.

 

Mass market[edit]

Main article: Mass market

Currently the fashion industry relies more on mass market sales. The mass market caters for a wide range of customers, producing ready-to-wear garments using trends set by the famous names in fashion. They often wait around a season to make sure a style is going to catch on before producing their own versions of the original look. In order to save money and time, they use cheaper fabrics and simpler production techniques which can easily be done by machine. The end product can therefore be sold much more cheaply.[4][5][6]

 

There is a type of design called "kutch" design originated from the German word "kitschig" meaning "ugly" or "not aesthetically pleasing." Kitsch can also refer to "wearing or displaying something that is therefore no longer in fashion."[7] Often, high-waisted trousers, associated with the 1980s, are considered a "kitsch" fashion statement.[8]

 

Income[edit]

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The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010)

Median annual wages for salaried fashion designers were $61,160 in May 2008. The middle 50 percent earned between $42,150 and $87,120.[9] The lowest 10 percent earned less than $32,150, and the highest 10 percent earned more than $124,780. Median annual earnings were $52,860 (£28,340) in apparel, piece goods, and notions - the industry employing the largest numbers of fashion designers.[10]

 

The Flash Gordon serials are remembered for being the science fiction predecessors to everything the fifties and beyond would bring. They are believed to be the influence behind the "Star Wars" series and the "Indiana Jones" trilogy. This chapter, which features Flash with his ever ready raygun, and Ming, the Merciless with his army.

 

www.youtube.com/watch?v=HZ2HUfD0QSw&feature=share&amp...

Universal, 15 Chapters, 1938. Starring Larry “Buster” Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Beatrice Roberts, Richard Alexander, Donald Kerr, C. Montague Shaw, Wheeler Oakman.

Flash Gordon’s Trip to Mars picks up almost exactly where Flash Gordon left off, with our courageous trio of interplanetary adventurers–Flash Gordon (Larry “Buster” Crabbe), Dale Arden (Jean Rogers), and Dr. Zarkov (Frank Shannon)–returning to Earth from the planet Mongo. They are greeted to a royal welcome, since their voyage has saved the Earth from being destroyed by the late Emperor Ming of Mongo. Zarkov, however, attempts to curb the Earthlings’ ebullience by cautioning them that the defeat and death of Ming does not mean that their planet is free from other threats of extraterrestrial invasion. As usual, Zarkov is correct; shortly after his warning speech, the Martian Queen Azura (Beatrice Roberts) begins an operation designed to siphon off the “nitron” (aka nitrogen) in the Earth’s atmosphere. Azura’s primary goal is to create nitron-powered weapons with which to wage a war against her mortal foes, the Clay People of Mars. She’s indifferent to the devastating effect that it will have on the Earth, while her chief adviser and military consultant regards the destruction of Earth as the main attraction of the plan. That adviser is none other than Ming (Charles Middleton), still very much alive and longing for revenge on Flash and Zarkov for toppling him from his throne and driving him into exile on Mars.

As the Earth begins to experience catastrophic floods and storms, due to the effects of Azura’s “Nitron Lamp,” Zarkov, Flash, and Dale launch another interplanetary trip to discover the cause of the catastrophes, which Zarkov has determined are due to a beam that emanates from outer space. They discover an unexpected stowaway aboard after takeoff–reporter “Happy” Hapgood (Donald Kerr), who had set out to track down Zarkov and get his opinion of the world-wide disasters. Not long after arriving on Mars, our quartet of Earth adventurers find themselves embroiled in the war between Azura and the Clay People. The latter are one-time rivals of the Queen, who have been transformed into living clay by Azura’s magical powers and banished to underground caverns from whence they carry on a guerilla war against Azura’s forces. The Clay People’s king enlists the aid of Flash and his party, as both of them want to stop Azura’s nitron-collecting plans, and, with additional aid from Prince Barin (Richard Alexander)–who arrives on Mars to try to convince the Martians to expel Ming–Flash and his party pit themselves against Azura’s magic, Ming’s machinations, Ming’s savage allies the Forest People, and many other hazards, in their quest to save the Earth.

 

Flash Gordon’s Trip to Mars is fully as good as the first Flash Gordon serial, although its strengths are in slightly different areas. While Trip to Mars doesn’t measure up to Flash Gordon when it comes to colorful characters and fantastic monsters, its focused plotline surpasses the episodic story of the earlier serial. In Flash Gordon, the protagonists merely responded to the perpetual perils that were hurled at them by Ming, King Vultan, and King Kala, while Ming’s own plans for destroying the Earth were largely abandoned after the first chapter in favor of his attempts to marry Dale and destroy Flash. In Trip to Mars, Flash, Dale, and Zarkov initiate events instead of just coping with them, and Ming’s new grand design drives the plot far more strongly than his earlier one, giving the good guys a clear-cut objective (the destruction of the Nitron Lamp) beyond simple escape from Mongo.

While Trip to Mars has no characters to rival Flash Gordon’s King Vultan and no bizarre beasts like the Orangopoid or the Fire Dragon, it still has excellent other-worldly atmosphere. The sets are not as varied and intricate as in the first serial, but still surpass the backdrops of almost any other chapterplay. Especially striking are Ming’s “powerhouse,” with its laboratory equipment and its disintegration room, Azura’s massive palace with its unique architectural design (particularly the futuristic pocket doors), the Clay People’s eerie caves, and the wonderfully-designed realm of the Forest People, with its twisted trees, climbing vines, hidden tunnels amid tree roots, and treehouse-like observation platforms.

 

In addition to the big sets, there are dozens of other major and minor props and special effects that make Trips to Mars memorably atmospheric; there’s the the Martians’ flying capes, the Martian televiewer screens (which are cleverly incorporated into the recap sequences at the beginning of each chapter), the Clay People’s vapor-healing chamber, and the bridge of light that connects Azura’s rocket tower to the rest of her palace and is powered by a simple switch like any Earthling lamp (the scene where Flash and Zarkov are first forced to cross the unsafe-looking thing is quite funny), to name but a few. I also appreciate the fact that Azura’s spaceship squadrons–her “stratosleds”–are designed differently than any of the ships in the first Flash Gordon serial; one would expect the aerial fleets of differing planets to differ in appearance. Another neat touch of internal consistency is the use of three completely different forms of salute by the three principal Martian races–Queen Azura’s subjects, the Clay People, and the Forest People.

The serial’s screenplay maintains good continuity with the previous Flash outing, despite being the work of a completely different team of writers–Ray Trampe, Norman S. Hall, Wyndham Gittens, and Herbert Dalmas. The new writing team avoids any of the clunky lines that occasionally crept into Flash Gordon’s dialogue exchanges; they also, despite having to resort to a few flashbacks to the first serial for padding purposes, manage to make their plot fit its fifteen-chapter length quite nicely. The major plot thread of the heroes’ attempts to destroy Ming and Azura’s Nitron Lamp is skillfully interwoven with several subplots–the Clay People’s efforts to regain their natural shape, the attempts by both Flash and Ming to get hold of the Black Sapphire of Kalu (a talisman that can neutralize Azura’s magic), and Ming’s plot to undermine Azura and seize the Martian throne.

Trip to Mars’ script wisely spreads its plot developments over the course of the serial, instead of introducing all its ideas in the first chapter and letting them tread water until the final one: the Clay People aren’t introduced till the second chapter or the Forest People until the sixth, while Prince Barin first arrives in Chapter Seven. The Nitron Lamp is destroyed in Chapter Nine and rebuilt over the course of the following chapters until it must be destroyed again at the climax, and one of the principal villains is killed off in Chapter Thirteen.

The cliffhangers aren’t quite as varied as in the first Flash serial, due to the lack of the various monsters that frequently attacked Flash for chapter-ending purposes in the earlier outing. However, writers still manage to avoid excessive repetition; for instance, while there are three chapter endings involving stratosled crashes, each one is set up differently–the first has Flash crashing a stratosled into another stratosled to stop it from bombing Dale and Happy, the second has a stratosled crashing on top of Flash and Zarkov, and the third has Flash and the pilots of a ’sled grapping for the controls as it soars towards yet another crash. There’s also an excellent cliffhanger in which Flash, Dale, Happy, and Zarkov are surrounded by an ever-narrowing ring of fire in the Forest People’s kingdom, and a memorably unusual one that has a hypnotized Dale stabbing an unsuspecting Flash in the back.

 

Though Trip to Mars has no swordfights or wrestling matches corresponding to those in Flash Gordon, it still features a nice variety of action scenes–including stratosled dogfights, fights among the vines and treetops of the Forest Kingdom, and chases through Azura’s big palace; the palace sequence in Chapter Five, which has the nimble Flash vaulting through windows to avoid the guards, is a particular standout. Directors Ford Beebe (a Universal serial veteran) and Robert Hill (a talented director who rarely escaped from low-budget independent serials and B-films) do a fine job of orchestrating these action scenes, assisted by stuntmen Eddie Parker (doubling Buster Crabbe), George DeNormand, Tom Steele, Bud Wolfe, and Jerry Frank. All of the aforementioned stuntmen, except Parker, also pop up in minor acting roles.

The performances in Trip to Mars are all first-rate; the returning actors from the first serial are all just as good as they were in Flash Gordon, while the new major players fit in smoothly. Buster Crabbe’s Flash is just as tough, chipper, athletic, and likable as in the first serial–and a good deal more wise and resourceful than before, improvising strategy and coming up with plans in tough situations instead of just trying to batter his way out. Frank Shannon’s Zarkov, as consequence of Flash’s new-found intelligence, has a reduced part, not guiding the good guys’ actions as he did in the first serial; he still functions as the scientific brains of the group, though, and is still as intense, serious, and sincere as before.

Jean Rogers, with her long blonde hair bobbed and dyed brown to better match the comic-strip version of Dale Arden (she’s also dressed in less arresting fashion), isn’t as stunning as in Flash Gordon, but is still a warm, welcome, and lovely presence. Her part here is smaller than in the first serial, though, since Ming is not romantically interested in her this time out (Ming, though no gentleman, evidently prefers blondes). Richard Alexander’s Prince Barin is a lot more self-assured when it comes to delivering dialogue this time around (helped, no doubt, by the absence of any overly high-flown lines), while his convincingly royal bearing and his commanding size are as effective as before.

Charles Middleton’s Ming is even more entertainingly sinister here than he was in Flash Gordon, getting a good deal more screen time and given a more devilish appearance by a notably forked beard. Though still given opportunities to break into tyrannical and bloodthirsty rages (particularly in his insane rant in the final chapter), Middleton spends much of the serial displaying duplicity and sly subtlety instead, since his Ming must pretend to friendship with Azura even while plotting against her. Middleton carries off this slightly more multi-faceted version of Ming masterfully, winning a few laughs with his crafty cynicism while remaining thoroughly sinister and hateful.

 

Beatrice Roberts does a fine job as Queen Azura, eschewing the sneering, aggressive demeanor of other serial villainesses for a regal, dignified manner (with a wryly humorous undercurrent) that contrasts interestingly with her often cruel behavior. Her Azura comes off as selfish and ruthless, but not an abusive tyrant like Ming. Donald Kerr as reporter Happy Hapgood, the other principal new character, is as controversial among fans as most other serial comedy-relief characters are. Speaking for myself, though, I found him quite likable and entertaining; he provides an amusingly commonplace point-of-view towards the fantastic world of Mars and is never obtrusive, gratingly stupid, or obnoxious. Additionally, his character is allowed to be quite heroic and helpful when the chips are down, a far cry from one-dimensional cowardly “comic” pests like Sonny Ray in Perils of Pauline or Lee Ford in SOS Coast Guard.

Wheeler Oakman is very good as Tarnak, Ming’s wily lab assistant and co-conspirator against Azura. C. Montague Shaw, concealed under heavy makeup for most of the serial, conveys an impressive air of ruined dignity as the King of the Clay People and manages to seem both sinister and sympathetic at different times. Usual hero Kane Richmond brings appropriate depth of characterization to his key role as a Martian pilot, who proves instrumental in helping Flash overthrow Ming in the later chapters. Anthony Warde has a small part as Toran, king of the Forest People, but extracts as much snarling nastiness as possible from the role. Future director Thomas Carr is his second-in-command, Kenne Duncan is the officer in charge of Azura’s airdrome, Lane Chandler and Jack Mulhall both appear as pilots of her Death Squadron, and Warner Richmond has a small role as one of Ming’s palace cohorts.

 

Hooper Atchley and James Blaine pop up as self-important Earth scientists, propounding ingenious and inaccurate theories as to the causes of the damage brought about by the Nitron Lamp, while Edwin Stanley is the general presiding over a council comprised of these two and additional savants. Louis Merrill (a radio actor who played character roles in several feature films) has a brief but memorable turn as the blunt and slightly uncouth Dr. Metz, who alone among the scientists has the humility to admit that Zarkov is the only one capable of unravelling the riddle of the disasters. Merrill’s characterization is so vivid that one wishes the actor had taken a larger part in this chapterplay or in other serials.

Flash Gordon’s Trip to Mars is a nearly ideal sequel, in that it manages to preserve the basic strengths of its predecessor while deviating from it in some areas and improving on it in others. It’s also a nearly ideal serial, independent of its relation to the earlier Flash Gordon; it balances good acting, atmosphere, action, and plotting in such fine style that it would still be a notable achievement if it were the sole entry in the Flash Gordon series.

  

Flash, Dale, and Dr. Zarkov return from their former space adventures only to find that their enemy, Ming the Merciless of planet Mongo, has a new weapon: a deadly ray that crosses space to wreak havoc on earth. Earth's only hope is for our heroes to take off again and stop the ray at its source on Mars, where they (and a stowaway) familiar to sci-fi serial fans as Happy Hapgood the space traveling reporter). Must battle Ming's ally, Queen Azura, who turns her enemies into lumpish clay people.With the aid of the Clay People and Prince Barin, Flash and his friends are triumphant in destroying the ray and putting an end to the scheme of Ming the Merciless. Can they survive 15 chapters of deadly perils? Find out next week...

The Deadly Ray From Mars was an edited version of the 1938 Universal serial "Flash Gordon's Trip to Mars" that was released to TV in a syndication package in 1966.

Mars Attacks the World was the feature version of the 1938 serial titled Flash Gordon's Trip to Mars. aka "Space Soldiers' Trip to Mars" - USA (TV title)

Mars Attacks the World is the feature compilation version of the serial Flash Gordon's Trip to Mars, while Rocket Ship is the the feature compilation of the serial Flash Gordon.

Jean Rogers as Dale Arden

Charles Middelton as Emperor Ming

Frank Shannon as Dr. Zarkov

Beatrice Roberts as Queen Azura

Richard Alexander as Prince Barin

Montague Shaw as The Clay King

Donald Kerr as Happy Hapgood the space traveling reporter.

The title of this serial was originally going to be "Flash Gordon and the Witch Queen of Mongo." It was changed so that Universal could save money by shooting the outdoor scenes on the back lot and not have to build costly sets, and by reusing the set for Emperor Ming's palace.

In the stock footage from Flash Gordon, shown in this film, as Flash is telling The Clay People about his previous encounter with Emperor Ming, Ming is bald and Dale Arden has blond hair. In this sequel, Ming has "pasted on" hair and Dale is a brunette. It has been reported that Jean Rogers (Dale Arden) had many other film roles pending at that time (1938) which had called for her to portray a brunette.

King Features Syndicate released the 3 Flash Gordon serials as well as "Buck Rogers," Red Barry", "Ace Drummond" and other comic strip cliffhangers to US TV in 1951. Because the television show Flash Gordon, starring Steve Holland as Flash, was in syndication in late 1953, the three Universal Pictures Flash Gordon theatrical serials were retitled for TV broadcast. Flash Gordon became "Space Soldiers", Flash Gordon's Trip to Mars became "Space Soldiers' Trip to Mars", and Flash Gordon Conquers the Universe became "Space Soldiers Conquer the Universe". To this day both the 3 original "Flash Gordon" serial titles and the 3 "Space Soldiers" titles are used.

Chapter Titles:

1. New Worlds To Conquer

2. The Living Dead

3. Queen of Magic

4. Ancient Enemies

5. The Boomerang

6. Treemen of Mars

7. Prisoner of Monga

8. Black Sapphire of Kalu

9. Symbol of Death

10. Incense of Forgetfulness

11. Human Bait

12. Ming the Merciless

13. Miracle of Magic

14. Beasts at Bay

15. An Eyes For An Eye

  

Summer holiday 2014

In and around Berlin Germany

  

Berlin

 

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This article is about the capital of Germany. For other uses, see Berlin (disambiguation).

  

Berlin

 

State of Germany

Clockwise: Charlottenburg Palace, Fernsehturm Berlin, Reichstag building, Berlin Cathedral, Alte Nationalgalerie, Potsdamer Platz and Brandenburg Gate.

Clockwise: Charlottenburg Palace, Fernsehturm Berlin, Reichstag building, Berlin Cathedral, Alte Nationalgalerie, Potsdamer Platz and Brandenburg Gate.

 

Flag of Berlin

Flag Coat of arms of Berlin

Coat of arms

 

Location within European Union and Germany

Location within European Union and Germany

Coordinates: 52°31′N 13°23′ECoordinates: 52°31′N 13°23′E

 

Country

Germany

 

Government

  

• Governing Mayor

Michael Müller (SPD)

 

• Governing parties

SPD / CDU

 

• Votes in Bundesrat

4 (of 69)

 

Area

  

• City

891.85 km2 (344.35 sq mi)

 

Elevation

34 m (112 ft)

 

Population (December 2013)[1]

  

• City

3,517,424

 

• Density

3,900/km2 (10,000/sq mi)

 

Demonym

Berliner

 

Time zone

CET (UTC+1)

 

• Summer (DST)

CEST (UTC+2)

 

Postal code(s)

10115–14199

 

Area code(s)

030

 

ISO 3166 code

DE-BE

 

Vehicle registration

B[2]

 

GDP/ Nominal

€109.2 billion (2013) [3]

 

NUTS Region

DE3

 

Website

berlin.de

 

Berlin (/bərˈlɪn/; German pronunciation: [bɛɐ̯ˈliːn] ( listen)) is the capital of Germany and one of the 16 states of Germany. With a population of 3.5 million people,[4] Berlin is Germany's largest city. It is the second most populous city proper and the seventh most populous urban area in the European Union.[5] Located in northeastern Germany on the River Spree, it is the center of the Berlin-Brandenburg Metropolitan Region, which has about 4.5 million residents from over 180 nations.[6][7][8][9] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one third of the city's area is composed of forests, parks, gardens, rivers and lakes.[10]

 

First documented in the 13th century, Berlin became the capital of the Margraviate of Brandenburg (1417), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[11] Berlin in the 1920s was the third largest municipality in the world.[12] After World War II, the city was divided; East Berlin became the capital of East Germany while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989).[13] Following German reunification in 1990, the city was once more designated as the capital of all Germany, hosting 158 foreign embassies.[14]

 

Berlin is a world city of culture, politics, media, and science.[15][16][17][18] Its economy is based on high-tech firms and the service sector, encompassing a diverse range of creative industries, research facilities, media corporations, and convention venues.[19][20] Berlin serves as a continental hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination.[21] Significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction, and electronics.

 

Modern Berlin is home to renowned universities, orchestras, museums, entertainment venues, and is host to many sporting events.[22] Its urban setting has made it a sought-after location for international film productions.[23] The city is well known for its festivals, diverse architecture, nightlife, contemporary arts, and a high quality of living.[24] Over the last decade Berlin has seen the upcoming of a cosmopolitan entrepreneurial scene.[25]

  

20th to 21st centuries[edit]

     

Street, Berlin (1913) by Ernst Ludwig Kirchner

After 1910 Berlin had become a fertile ground for the German Expressionist movement. In fields such as architecture, painting and cinema new forms of artistic styles were invented. At the end of World War I in 1918, a republic was proclaimed by Philipp Scheidemann at the Reichstag building. In 1920, the Greater Berlin Act incorporated dozens of suburban cities, villages, and estates around Berlin into an expanded city. The act increased the area of Berlin from 66 to 883 km2 (25 to 341 sq mi). The population almost doubled and Berlin had a population of around four million. During the Weimar era, Berlin underwent political unrest due to economic uncertainties, but also became a renowned center of the Roaring Twenties. The metropolis experienced its heyday as a major world capital and was known for its leadership roles in science, the humanities, city planning, film, higher education, government, and industries. Albert Einstein rose to public prominence during his years in Berlin, being awarded the Nobel Prize for Physics in 1921.

     

Berlin in ruins after World War II (Potsdamer Platz, 1945).

In 1933, Adolf Hitler and the Nazi Party came to power. NSDAP rule effectively destroyed Berlin's Jewish community, which had numbered 160,000, representing one-third of all Jews in the country. Berlin's Jewish population fell to about 80,000 as a result of emigration between 1933 and 1939. After Kristallnacht in 1938, thousands of the city's persecuted groups were imprisoned in the nearby Sachsenhausen concentration camp or, starting in early 1943, were shipped to death camps, such as Auschwitz.[39] During World War II, large parts of Berlin were destroyed in the 1943–45 air raids and during the Battle of Berlin. Around 125,000 civilians were killed.[40] After the end of the war in Europe in 1945, Berlin received large numbers of refugees from the Eastern provinces. The victorious powers divided the city into four sectors, analogous to the occupation zones into which Germany was divided. The sectors of the Western Allies (the United States, the United Kingdom and France) formed West Berlin, while the Soviet sector formed East Berlin.[41]

     

The Berlin Wall in 1986, painted on the western side. People crossing the so-called "death strip" on the eastern side were at risk of being shot.

All four Allies shared administrative responsibilities for Berlin. However, in 1948, when the Western Allies extended the currency reform in the Western zones of Germany to the three western sectors of Berlin, the Soviet Union imposed a blockade on the access routes to and from West Berlin, which lay entirely inside Soviet-controlled territory. The Berlin airlift, conducted by the three western Allies, overcame this blockade by supplying food and other supplies to the city from June 1948 to May 1949.[42] In 1949, the Federal Republic of Germany was founded in West Germany and eventually included all of the American, British, and French zones, excluding those three countries' zones in Berlin, while the Marxist-Leninist German Democratic Republic was proclaimed in East Germany. West Berlin officially remained an occupied city, but it politically was aligned with the Federal Republic of Germany despite West Berlin's geographic isolation. Airline service to West Berlin was granted only to American, British, and French airlines.

     

The fall of the Berlin Wall on 9 November 1989. On 3 October 1990, the German reunification process was formally finished.

The founding of the two German states increased Cold War tensions. West Berlin was surrounded by East German territory, and East Germany proclaimed the Eastern part as its capital, a move that was not recognized by the western powers. East Berlin included most of the historic center of the city. The West German government established itself in Bonn.[43] In 1961, East Germany began the building of the Berlin Wall between East and West Berlin, and events escalated to a tank standoff at Checkpoint Charlie. West Berlin was now de facto a part of West Germany with a unique legal status, while East Berlin was de facto a part of East Germany. John F. Kennedy gave his "Ich bin ein Berliner" – speech in 1963 underlining the US support for the Western part of the city. Berlin was completely divided. Although it was possible for Westerners to pass from one to the other side through strictly controlled checkpoints, for most Easterners travel to West Berlin or West Germany prohibited. In 1971, a Four-Power agreement guaranteed access to and from West Berlin by car or train through East Germany.[44]

 

In 1989, with the end of the Cold War and pressure from the East German population, the Berlin Wall fell on 9 November and was subsequently mostly demolished. Today, the East Side Gallery preserves a large portion of the Wall. On 3 October 1990, the two parts of Germany were reunified as the Federal Republic of Germany, and Berlin again became the official German capital. In 1991, the German Parliament, the Bundestag, voted to move the seat of the (West) German capital from Bonn to Berlin, which was completed in 1999. Berlin's 2001 administrative reform merged several districts. The number of boroughs was reduced from 23 to twelve. In 2006 the FIFA World Cup Final was held in Berlin.

  

en.wikipedia.org/wiki/Berlin

  

Jewish Museum, Berlin

 

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The Libeskind-designed Jewish Museum Berlin, to the left of the old Kollegienhaus (before 2005).

    

Outside of the Jewish Museum view

The Jewish Museum Berlin (Jüdisches Museum Berlin) is one of the largest Jewish Museums in Europe. In three buildings, two of which are new additions specifically built for the museum by architect Daniel Libeskind, two millennia of German-Jewish history are on display in the permanent exhibition as well as in various changing exhibitions. German-Jewish history is documented in the collections, the library and the archive, in the computer terminals at the museum's Rafael Roth Learning Center, and is reflected in the museum's program of events. The museum was opened in 2001 and is one of Berlin’s most frequented museums (almost 720,000 visitors in 2012).[1]

 

Opposite the building ensemble, the Academy of the Jewish Museum Berlin was built – also after a design by Libeskind – in 2011/2012 in the former flower market hall. The archives, library, museum education department, and a lecture hall can all be found in the academy.[2]

 

Princeton economist W. Michael Blumenthal, who was born in Oranienburg near Berlin and was later President Jimmy Carter's Secretary of the Treasury, has been the director of the museum since December 1997.[3]

 

en.wikipedia.org/wiki/Jewish_Museum,_Berlin

Donald Trump unveils child-care policy influenced by Ivanka Trump

 

By Sean Sullivan and Robert Costa

 

ASTON, Pa. — Donald Trump, in softer tones than he normally uses, on Tuesday unveiled several policy proposals for lowering child-care costs that were crafted in part by his eldest daughter, Ivanka, including a plan to guarantee six weeks of paid maternity leave that marks a striking departure from GOP orthodoxy.

 

Conservative Republicans, in particular, have long seen a mandated expansion of the social safety net as anathema to their attempts to shrink government spending and give companies more control over their leave policies.

 

In a speech here, the Republican presidential nominee proposed ensuring six weeks of paid maternity leave to mothers who do not already receive leave from their employer.

 

"We need working mothers to be fairly compensated for their work, and to have access to affordable, quality child care for their kids," said Trump, who appeared determined to show off a more sensitive side than most are accustomed to seeing from him. He used a subdued delivery that contrasted with his tendency at larger rallies to raise his voice. After his speech, he held up a baby in the crowd.

 

Campaign officials said the maternity leave program wouldn't cost taxpayers anything more; instead, it would be financed through savings achieved by eliminating fraud in the unemployment insurance program. The plan would apply to mothers and would not be transferable to fathers.

 

Trump also laid out specific plans for enabling parents to deduct the cost of child-care expenses from their income taxes. Trump first mentioned allowing parents to “fully deduct” expenses last month when he announced his economic agenda in Detroit. Some of these expenses are already deductible under the law.

 

A fact sheet released by the Trump campaign proposed to "rewrite the tax code to allow working parents to deduct from their income taxes child care expenses for up to four children and elderly dependents.”

 

That deduction would be capped at the “average cost of care” in the state of residence, and it would not be available to individuals earning more than $250,000 or a couple earning more than $500,000.

 

[Wonkblog: The big difference between Donald Trump's and Hillary Clinton's child-care plans]

 

Ivanka Trump introduced her father here in Aston, marking her formal return to the campaign trail weeks after she introduced him at the Republican National Convention in Cleveland in July. The 34-year-old is a high-ranking executive at the Trump Organization and the mother of three young children. Her husband, investor Jared Kushner, has become an influential adviser to his father-in-law.

 

She said that she was "grateful" for the means to raise her three children and also pursue a career. Many women don't have that luxury, she added.

 

"This must change. As a society we need to create policies that champion all parents, enabling the American family to thrive," said Ivanka Trump.

 

Democratic nominee Hillary Clinton has proposed guaranteeing 12 weeks of paid family leave. Responding to Trump's maternity leave proposal, Clinton's senior adviser for policy Maya Harris said that by focusing solely on leave policies that benefit women, Trump may actually be hurting their cause, contributing to the attrition of women from the workplace after childbirth and the gender pay gap.

 

"We’re not living in a 'Mad Men' era anymore where only women are taking care of infants," Harris said. "It's just completely unserious."

 

At the start of his speech, Trump was joined onstage by several women Republican members of Congress.

 

"This is a family issue," said Rep. Marsha Blackburn (R-Tenn.). "We know men always want more money. What do women want? More time. And we are thrilled to finally have a president of the United States who is going to put the focus on working with women to make certain you can achieve your American dream."

 

Trump thanked Rep. Cathy McMorris Rodgers (Wash.), the fourth-ranking Republican in the U.S. House.

 

Also included in Trump's Tuesday’s proposals: additional spending rebates through the Earned Income Tax Credit, expanded deduction opportunities for stay-at-home parents, and revised federal savings accounts to set aside funds for child development and educational needs.

 

Before Trump gave his speech, he participated in a more intimate roundtable discussion.

 

According to Trump aides, Ivanka Trump has encouraged her father for weeks to detail policies that would appeal to parents who feel overburdened or underserved by existing programs, following up on the theme that coursed through her remarks at the convention.

 

Trump campaign manager Kellyanne Conway, who has grown close with Ivanka, also played a role in making child-care policy a priority, with an eye toward winning over female voters in places such as the vote-rich Philadelphia suburbs, the aides said.

 

Trump won some of his loudest applause lines when he mentioned Clinton's recent comment that half of his supporters are a "basket of deplorables."

 

"While my opponent slanders you as deplorable and irredeemable, I call you, hard-working American Patriots who love your country," said Trump.

 

Costa reported from Washington. Abby Phillip contributed.

René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.

 

Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.

 

From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.

 

In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.

 

Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

 

On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.

 

Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.

 

During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.

 

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.

 

In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

 

In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.

 

Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.

 

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

CP Holiday Train at Beaconsfield, first stop of the Canadian holiday train.

Some packaging designs

Your vote has value to the Koch Brothers

 

Would billionaires spend millions to

influence your vote if it had no value?

 

Charles de Ganahl Koch and David Hamilton Koch are the notorious Koch Bothers. The brothers own Koch Industries and are major benefactors for organizations and candidates involved in pushing radical Republican policies. The Koch Brothers use their immense wealth to cast a shadow on American government at all levels and form it to their own design.

 

The room is adapted from a Creative Commons licensed photo from Bruce Tuten's Flickr photostream. Jet image source in the Citizen's United money globe is from Nasa. All other elements are original photos and Photoshop paintings.

The Jaswant Thada is a cenotaph located in Jodhpur, in the Indian state of Rajasthan. It was built by Maharaja Sardar Singh of Jodhpur State in 1899 in memory of his father, Maharaja Jaswant Singh II, and serves as the burial ground for the rulers of Marwar.

 

The mausoleum is built out of intricately carved sheets of marble. These sheets are extremely thin and polished so that they emit a warm glow when illuminated by the sun.

 

The cenotaph's grounds feature carved gazebos, a tiered garden, and a small lake. There are three other cenotaphs in the grounds. The cenotaph of Maharaja Jaswant Singh displays portraits of the rulers and Maharajas of Jodhpur.

_______________________________________________

 

CENOTAPH

A cenotaph is an "empty tomb" or a monument erected in honour of a person or group of people whose remains are elsewhere. It can also be the initial tomb for a person who has since been reinterred elsewhere. The word derives from the Greek: κενοτάφιον = kenotaphion (kenos, one meaning being "empty", and taphos, "tomb"). Although the vast majority of cenotaphs honour individuals, many noted cenotaphs are instead dedicated to the memories of groups of individuals, such as the lost soldiers of a country or of an empire.

 

HISTORY

Cenotaphs were common in the ancient world with many built in Ancient Egypt, Ancient Greece and across Northern Europe (in the shape of Neolithic barrows).

 

Sir Edwin Lutyens' cenotaph in Whitehall, London influenced the design of many other war memorials in Britain and the British sectors of the Western Front, as well as those in other Commonwealth nations.

 

The Church of Santa Engrácia, in Lisbon, Portugal, turned into a National Pantheon since 1966, holds six cenotaphs, namely to Luís de Camões, Pedro Álvares Cabral, Afonso de Albuquerque, Nuno Álvares Pereira, Vasco da Gama and Henry the Navigator.

 

The Basilica di Santa Croce in Florence, Italy, contains a number of cenotaphs including one for Dante Alighieri,who is buried in Ravenna.

 

REGIONAL

ASIA

Among Asian countries, the Cenotaph in Central of Hong Kong Island, Hong Kong, the Cenotaph in George Town, Penang, the Cenotaph in Kuala Lumpur, the Cenotaph in Singapore and the Cenotaph in Colombo were erected as memorials to the war dead of World War I.

 

The concrete Memorial Cenotaph at the Hiroshima Peace Memorial Park was designed by Kenzo Tange to commemorate the 200,000 victims of the August 1945 atomic bomb attack.

 

A cenotaph was erected inside the Manila North Cemetery in the Philippines in honour of the 24 Scouts who died in a plane crash en route to the 11th World Scout Jamboree.

 

ARGENTINA

A monument which has come to be known to as the "Cenotaph" was erected in Plaza San Martín, in downtown Buenos Aires, to commemorate the Argentinian soldiers who died during the Falklands War, in 1982. The monument consists of a series of plaques of black marble with the names of the fallen, surrounding a flame, and during the day is guarded by two soldiers.

 

Another cenotaph, which is a replica of the Argentine Military Cemetery in Darwin on the Falkland Islands, exists in Campo de Mayo, a large Army facility and training field just outside Buenos Aires.

 

AUSTRALIA

In Australia, Anzac Day commemorations are usually held at all of the nation's many war memorials, but not all of them are cenotaphs. The Sydney Cenotaph is in Martin Place and the Hobart Cenotaph is in the Queens Domain. An Anzac Day commemoration is held in the regional city of Bendigo at the cenotaph which is located in Charing Cross.

 

BERMUDA

A limestone replica of the Cenotaph at Whitehall in London was erected outside the Cabinet Building in Hamilton, Bermuda in 1920.

 

CANADA

In Canada, major cenotaphs commemorating the nation's war dead in World War I and later conflicts include the National War Memorial (a cenotaph surmounted by a bronze sculpture entitled "The Response") in Ottawa; Montreal, Toronto, Hamilton, Victoria, St. John's, Halifax, and the Victory Square Cenotaph, in Vancouver, British Columbia.

 

SOUTH AFRICA

A cenotaph is the focal point of the Voortrekker Monument in Pretoria, South Africa. It is situated below the other main point of interest, a marble Historical Frieze in the Hall of Heroes, and is visible through a round opening in the floor. The Hall of Heroes itself has a dome from the summit of which one can view the interior of the monument. At noon on 16 December each year the sun shines through another opening in the dome onto the middle of the cenotaph, where the words Ons vir Jou, Suid-Afrika (from Die Stem van Suid-Afrika; Afrikaans for "We for Thee, South Africa") are inscribed. The ray of sunshine symbolises God's blessing on the lives and endeavours of the Voortrekkers. 16 December is the date in 1838 that the Battle of Blood River was fought.

 

Durban, South Africa, has a striking and unusual cenotaph made of granite and lavishly decorated with brightly coloured ceramics.

 

Port Elizabeth, South Africa, has a cenotaph. Located on the edge of St George's Park in Rink Street, it was designed by Elizabeth Gardner to commemorate the men who died in the First World War (1914 - 1918) and was erected by the monumental mason firm of Pennachini Bros. On either side of the central sarcophagus are statues by Technical College Art School principal, James Gardner, who served in the trenches during the war. One depicts St George and the Dragon, the other depicts the sanctity of family life. Surrounding the sarcophagus are a number of bas-relief panels depicting scenes and people during World War One. It was unveiled by Mrs W F Savage and dedicated by Canon Mayo on 10 November 1929. A surrounding memorial wall commemorates the men and women killed during the Second World War.

 

UNITED KINGDOM

LONDON

A cenotaph in the UK that stands in Whitehall, London, was designed by Sir Edwin Lutyens and replaced Lutyens' identical wood-and-plaster cenotaph erected in 1919 for the Allied Victory Parade, and is a Grade I listed building. It is undecorated save for a carved wreath on each end and the words "The Glorious Dead," chosen by Lloyd George. It was intended to commemorate specifically the victims of the First World War, but is used to commemorate all of the dead in all wars in which British servicemen and women have fought. The dates of the First World War and the Second World War are inscribed on it in Roman numerals. The design was used in the construction of many other war memorials throughout the British Empire.

 

There is another Cenotaph that stands on Victoria Square in Aberdare Glamorgan, also designed by Sir Edwin Lutyens.

 

BELFAST

The Cenotaph in Belfast, Northern Ireland, is located in the grounds of Belfast City Hall and is set within a Garden of Remembrance. It is about 9.5 metres high and presents several carvings including laurel wreaths, symbolising victory and honour. The Cenotaph is the site of the annual Northern Ireland memorial held on Remembrance Sunday, the closest Sunday to 11 November (Armistice Day).

 

UNITED STATES

In the United States, a cenotaph in Yale University's Hewitt Quad (or Beinecke Plaza) honours men of Yale who died in battle. The John Fitzgerald Kennedy Memorial in Dallas is often described as a cenotaph.

 

The Battle Monument in Baltimore, Maryland commemorates the Battle of Baltimore, the Battle of North Point on 12 September 1814, the Bombardment of Fort McHenry on 13–14 September, and the stand-off on Loudenschlager's Hill (now Hampstead Hill in Patterson Park). It has an Egyptian Revival cenotaph base, surmounted by a fasces bound together with ribbons bearing the names of the dead. It was designed by French émigré architect Maximilian Godefroy in 1815, and construction was completed in 1827. It is considered the first war memorial in America, and an early example of a memorial to individual soldiers. The Monument appears on the Seal and the Logo of the City of Baltimore, and serves as a symbol for any agencies of the municipal government.

 

A cenotaph for the defenders of the Battle of the Alamo (March 1836) stands in front of the Alamo mission chapel in San Antonio, Texas. The cenotaph is empty because the remains of the fallen were cremated.

 

Atop War Memorial Chapel at Virginia Polytechnic Institute, there is a cenotaph honouring all Virginia Tech cadets who have been killed in battle. Inscribed upon the cenotaph are the names of the seven Virginia Tech Alumni who have been awarded the Medal of Honor.

 

ZAMBIA

In Livingstone there is a cenotaph at the Eastern Cataract of The Victoria Falls with the names of the men of Northern Rhodesia who died during the Great War 1914–18. It was unveiled by HRH Prince Arthur of Connaught on 1 August 1923.

 

There is also a cenotaph in Lusaka at Embassy Park, opposite the Cabinet Office along Independence Avenue, and commemorates those Zambians who fought and died in World Wars I & II. The cenotaph was commemorated in 1977.

 

CENOTAPHS FOR THE MISSING

Although most notable cenotaphs commemorate notable individuals buried elsewhere, many cenotaphs pay tribute to people whose remains have never been located, particular those lost at sea. Two such cenotaphs are dedicated to victims of the RMS Titanic, whose bodies were not recovered after the sinking. The cenotaph of Ida Straus serves as the gravestone for her husband Isidor Straus at Woodlawn Cemetery in the Bronx, and the striking cenotaph of Major Archibald Butt, aide to U.S. President William Taft, is located at Arlington National Cemetery.

 

In Inishmore, Aran Islands, Ireland, drowning was formerly such a common cause of death for island fishermen that each family had a memorial to those lost at sea. Known as leachtaí cuimhneacháin (memorial cairns). Most were erected in the 19th century, although some date back to the eighteenth. A modern memorial was erected in 1997.

 

CHHATRIS

In India, cenotaphs are a basic element of Hindu architecture, later used by Moghuls as seen in most of the mausoleums of Mughal Emperors which have two burial chambers, the upper one with a cenotaph, as in Humayun's Tomb, Delhi, or the Taj Mahal, Agra, while the real tomb often lies exactly below it, or further removed. The Chhatri(s) trace their origin at 2000 years ago at Fort Kangara. The term chhatri, used for these canopylike structures, comes from Hindustani word literally meaning umbrella, and are found throughout the northwestern region of Rajasthan as well as in Madhya Pradesh and Maharashtra. In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatri is painted in the same manner as the Haveli.

 

_______________________________________________

 

HISTORY OF JASWANT SINGH II

Jaswant Singh II, GCSI, (1838- 11 October 1895) was Maharaja of Jodhpur in India between 1873 and 1895.

 

BIRTH

He was born in 1838 at Ahmadnagar in Gujarat and was eldest son of Takht Singh.

 

MARRIAGE

He had eight wives, of which the first–the daughter of the Jam Sahib of Nawanagar, Puariji–was chief consort.

 

ACCESSION

He acceded to the throne of Jodhpur in 1873 upon death of his father, Takhat Singh

 

REIGN

The reign of Jaswant Singh II was marked with remarkable prosperity and reforms and development works. He established Courts of Justice, introduced system of revenue settlement and reorganizing all the state departments. Further, he developed infrastructure of the state by introducing telegraphs, railways (Jodhpur State Railway), and developing roads. He formed Imperial Service Cavalry Crops, which later rendered active service in European War. He was honored and created the Knight Grand Commander of the Most Exalted Order of the Star of India in 1875

 

SWAMI DAYANANDA INCIDENT

Jawant Singh had invited Swami Dayananda as he was influenced by his ideas. But the tragedy occurred that Dawayanda was poisoned on 29th September 1883, when he was the royal guest of Jaswant Singh II by Dayananda's own cook, who had conspired with a court dancer. Maharaja was quick to arrange services of doctor and arranged for Swamiji to be sent to Mount Abu upon advice of Residency.

 

DEATH

He died 11 October 1895 and was succeeded by his only son Sardar Singh.

 

WIKIPEDIA

Dangerous Liaisons

by Choderlos de Laclos

An article by Valerie Mamicheva

 

Choderlos de Laclos, an eighteenth-century French novelist, is best remembered for Les liaisons dangereuses, or Dangerous Liaisons. This epistolary novel tells of the unscrupulous libertinism practiced by the central characters, Valmont and Merteuil. Together they plot for pleasure and power, but their scheme turns against them.

 

Laclos was a reasonably successful army general in his time. Although at one stage he was imprisoned for his work on Les liaisons dangereuses, the novel was an enormous success (and a veritable scandal).

 

And, obviously, the main characters of "Dangerous liaisons" are vicomte de Valmont and madam de Merteuil. Exactly they braid all intrigues together and spoil the lives of so many people. That is what we see on the example of Cecile de Volanges and madam de Tourvel. The famous director Milos Foreman in his filming of "Dangerous Liaisons" remarked, that the main theme and idea of the novel is opening of the image and the goal of of the deeds of unamendabled lover Valmont, his growing up under influence of madam de Tourvel's love? That's why Milos Foreman renamed his film from "Dangerous Liaisons" to simply "Valmont". Exactly, in Valmont Choderlos de Laclos wanted to show vices of his century, Valmont is its reflection. But madam de Merteuil hasn't gone too far from Valmont. In the novel we are watching their correspondence. Why Choderlos de Laclos chose epistolary genre? Because only in a letter we can clearly consider and perceive some thoughts and feelings of a man. Even a style of writing a letter can can tell us much about him. For example, let us take madam de Merteuil – she writes in a exquisite and dainty style, using many epithets and specific words, in her "speech" we see utterances of the famous philosophers of her time, her own dictums. And more, this dainty schemer owns a flexible and sharp wit, sense of humour, and she is well educated and interested in all latest news about theatre and music. She is an interesting person to deal with. Madam de Merteuil can stand for herself, she can get every man she wants, she can be charming and attractive, virtuous and modest (remember her relationships with madam de Volanges). She early understood that a woman can conquer a man, subordinate him, if she wants so. But this woman is ought not only to be able to talk about a fashion and to have good manners – wise marquise consulted with philosophers, writers, moralists. She knows how to behave herself with men and she knows what she wants. She enjoys this "game of love" and a sharp intrigue she twisted between the lovers -- chevalier Danceny and Cecile de Volanges. It gives her pleasure and joy. Cecile is too young and naive to understand a cunning plan of de Merteuil. But Danceny revealed her bad nature at the end. Her accomplice is skilful in love vicomte de Valmont.

 

Valmont is a face of his age. It is worth of thinking, was Valmont the only representative of such "tending to love" in all Paris? Off course, no. But, maybe, Valmont isn't so insidious lecher as it seemed at first. Maybe, the matter is in marquise de Merteuil, who supplies this poisonous source in his soul and culls her vanity in it. That is what Valmont couldn't understand, he was only a toy in the hands of the cunning marquise, who calculated everything. Yet, marquise realized that Valmont's new love (madam de Tourvel) began to ennoble him and change him. And she insisted on his brake with madam de Tourvel because she is afraid to lose him. The intrigue with de Tourvel went too far, she considers. Not realizing – that, Valmont fights for his love he suggests an alternative to marquise, she chooses a war. And he loses, he dies, he has a talk with Danceny, to whom he opened what he understood quite recently – now he knows all essence of this maleficent woman. He died, but morally towered over her. He died free from burden of his sins.

 

And what do Valmont and de Merteil have common and and different? Both of them – mean souls, capable to fraud and treason, connoisseurs of a sharp intrigue and they are interested in its flexible uncoupling. To use surrounding people in your own purposes is the greatest pleasure. An intrigue for them is a whole art, ability to stay alive and to get wishing. Hundreds, or even thousands of people got victims of this art. They are accomplices in their sins, the plans they invent together. That is what united them. But their lives in society ended differently. For madam de berteuil – it was a great disgrace, departure in big hurry from France, she got ravaged and ashamed. Valmont – he dies in a duel with Danceny, but he dies with realization of his terrible way of life, he understands that he spoiled a lot of women's reputations, and he is sorry for that. He apologizes to Madam de Tourvel, his soul is saved from marquise's poison. His did exalted him.

 

One more heroine of "Dangerous liaisons" is Cecile de Volanges. She has just arrived from the monastery, she is young and inexperienced, trustful and lightheaded. She fell in love with Danceny. Having fallen into the trap made by Valmont and marquise de Mereuil she let them use herself how do they like. She is defenseless before their cunning and dainty cruelty. And the love to Danceny made her absolutely simple victim. De Merteuil wants to revenge her last lover and Cecile de Volanges is only one section in a chain of cunningly braided intrigues. They shamed her before the all society, before her own mother. Poor Cecile, at the end, went to a monastery. Her pure and noble soul couldn't solve this riddle. Her mother didn't find out the all truth about what had happened.

 

One more noble heart and virtuous soul is madam de Tourvel. For Valmont to spoil a woman with a high moral principles and pure soul is a real victory. But for madam de Tourvel it was a real pure and beautiful love which happens only once in a life. Valmont's letters she read for hundreds times and knew them by heart. But for him it is only a fine game, light amusement. Madam de Tourvel couldn't betray her moral principles, her husband and a religion. Valmont made her do it. Gradually, Valmont didn't mention himself to fall in love with madam de Tourvel. He didn't notice that his feelings began to change from shameful and dirty into gentle and romantic. He wanted to donate his love in the name of his reputation of the "first reprobate in Paris". The result of his mistake was madam de Tourvel's death. Though he was in time to analyze his mistake and not only this one, but others either. At the end, we can say, that "Dangerous Liaisons's goal was not only the reflection of the atmosphere of dainty libertinism and lie hidden with virtue but to suppress these vices and others on the example of Valmont and madam de Merteuil.

 

"Dangerous liaisons" is very moral, special philosophical-moral-ethical creation.

 

— Valerie Mamicheva

 

Cambodia (/kæmˈboʊdiə/ (About this soundlisten); also Kampuchea /ˌkæmpʊˈtʃiːə/; Khmer: កម្ពុជា Khmer: [kam.pu.ciə]; French: Cambodge), officially the Kingdom of Cambodia (Khmer: ព្រះរាជាណាចក្រកម្ពុជា, prĕəh riəciənaacak kampuciə, IPA: [prĕəh riə.ciə.naː.caʔ kam.pu.ciə]; French: Royaume du Cambodge), is a country located in the southern portion of the Indochina peninsula in Southeast Asia. It is 181,035 square kilometres in area, bordered by Thailand to the northwest, Laos to the northeast, Vietnam to the east and the Gulf of Thailand to the southwest.

 

The sovereign state of Cambodia has a population of over 16 million. The official religion is Theravada Buddhism, practised by approximately 95 percent of the population. The country's minority groups include Vietnamese, Chinese, Chams and 30 hill tribes. The capital and largest city is Phnom Penh, the political, economic and cultural centre of Cambodia. The kingdom is an elective constitutional monarchy with a monarch, currently Norodom Sihamoni, chosen by the Royal Throne Council as head of state. The head of government is the Prime Minister, currently Hun Sen, the longest serving non-royal leader in Southeast Asia, ruling Cambodia since 1985.

 

In 802 AD, Jayavarman II declared himself king, uniting the warring Khmer princes of Chenla under the name "Kambuja". This marked the beginning of the Khmer Empire, which flourished for over 600 years, allowing successive kings to control and exert influence over much of Southeast Asia and accumulate immense power and wealth. The Indianised kingdom facilitated the spread of first Hinduism and then Buddhism to much of Southeast Asia and undertook many religious infrastructural projects throughout the region, including the construction of more than 1,000 temples and monuments in Angkor alone. Angkor Wat is the most famous of these structures and is designated as a World Heritage Site.

 

After the fall of Angkor to Ayutthaya in the 15th century, a reduced and weakened Cambodia was then ruled as a vassal state by its neighbours. In 1863, Cambodia became a protectorate of France, which doubled the size of the country by reclaiming the north and west from Thailand.

 

Cambodia gained independence in 1953. The Vietnam War extended into the country with the US bombing of Cambodia from 1969 until 1973. Following the Cambodian coup of 1970 which installed the right-wing pro-US Khmer Republic, the deposed king gave his support to his former enemies, the Khmer Rouge. The Khmer Rouge emerged as a major power, taking Phnom Penh in 1975 and later carrying out the Cambodian genocide from 1975 until 1979, when they were ousted by Vietnam and the Vietnamese-backed People's Republic of Kampuchea, supported by the Soviet Union in the Cambodian–Vietnamese War (1979–91).

 

Following the 1991 Paris Peace Accords, Cambodia was governed briefly by a United Nations mission (1992–93). The UN withdrew after holding elections in which around 90 percent of the registered voters cast ballots. The 1997 factional fighting resulted in the ousting of the government by Prime Minister Hun Sen and the Cambodian People's Party, who remain in power as of 2018.

 

Cambodia is a member of the United Nations since 1955, ASEAN, the East Asia Summit, the WTO, the Non-Aligned Movement and La Francophonie. According to several foreign organisations, the country has widespread poverty, pervasive corruption, lack of political freedoms, low human development and a high rate of hunger. Cambodia has been described by Human Rights Watch's Southeast Asian Director, David Roberts, as a "vaguely communist free-market state with a relatively authoritarian coalition ruling over a superficial democracy".

 

While per capita income remains low compared to most neighboring countries, Cambodia has one of the fastest growing economies in Asia, with growth averaging 7.6 percent over the last decade. Agriculture remains the dominant economic sector, with strong growth in textiles, construction, garments and tourism leading to increased foreign investment and international trade. The US World Justice Project's 2015 Rule of Law Index ranked Cambodia 76 out of 102 countries, similar to other countries in the region.

 

NAME

The "Kingdom of Cambodia" is the official English name of the country. The English "Cambodia" is an anglicisation of the French "Cambodge", which in turn is the French transliteration of the Khmer កម្ពុជា kampuciə. Kampuchea is the shortened alternative to the country's official name in Khmer ព្រះរាជាណាចក្រកម្ពុជា prĕəh riəciənaacak kampuciə. The Khmer endonym Kampuchea derives from the Sanskrit name कम्बोजदेश kambojadeśa, composed of देश deśa ("land of" or "country of") and कम्बोज kamboja, which alludes to the foundation myths of the first ancient Khmer kingdom. The term Cambodia was already in use in Europe as early as 1524, since Antonio Pigafetta (an Italian explorer who followed Ferdinand Magellan in his circumnavigation of the globe) cites it in his work Relazione del primo viaggio intorno al mondo (1524-1525) as Camogia.

 

Colloquially, Cambodians refer to their country as either ស្រុកខ្មែរ srok khmae (Khmer pronunciation: [srok ˈkʰmae]), meaning "Khmer's Land", or the slightly more formal ប្រទេសកម្ពុជា prɑteih kampuciə (Khmer pronunciation: [prɑ.ˈteih kam.pu.ciə]), literally "Country of Kampuchea". The name "Cambodia" is used most often in the Western world while "Kampuchea" is more widely used in the East.

 

HISTORY

PRE-HISTORY

There exists sparse evidence for a Pleistocene human occupation of present-day Cambodia, which includes quartz and quartzite pebble tools found in terraces along the Mekong River, in Stung Treng and Kratié provinces, and in Kampot Province, although their dating is unreliable. Some slight archaeological evidence shows communities of hunter-gatherers inhabited the region during Holocene: the most ancient archaeological discovery site in Cambodia is considered to be the cave of L'aang Spean, in Battambang Province, which belongs to the Hoabinhian period. Excavations in its lower layers produced a series of radiocarbon dates around 6000 BC. Upper layers in the same site gave evidence of transition to Neolithic, containing the earliest dated earthenware ceramics in Cambodia

 

Archaeological records for the period between Holocene and Iron Age remain equally limited. A pivotal event in Cambodian prehistory was the slow penetration of the first rice farmers from the north, which began in the late 3rd millennium BC. The most curious prehistoric evidence in Cambodia are the various "circular earthworks" discovered in the red soils near Memot and in the adjacent region of Vietnam in the latter 1950s. Their function and age are still debated, but some of them possibly date from 2nd millennium BC.

Other prehistoric sites of somewhat uncertain date are Samrong Sen (not far from the ancient capital of Oudong), where the first investigations began in 1875, and Phum Snay, in the northern province of Banteay Meanchey. An excavation at Phum Snay revealed 21 graves with iron weapons and cranial trauma which could point to conflicts in the past, possible with larger cities in Angkor. Prehistoric artefacts are often found during mining activities in Ratanakiri. Iron was worked by about 500 BC, with supporting evidence coming from the Khorat Plateau, in modern-day Thailand. In Cambodia, some Iron Age settlements were found beneath Baksei Chamkrong and other Angkorian temples while circular earthworks were found beneath Lovea a few kilometres north-west of Angkor. Burials, much richer than other types of finds, testify to improvement of food availability and trade (even on long distances: in the 4th century BC trade relations with India were already opened) and the existence of a social structure and labour organisation. Also, among the artefacts from the Iron Age, glass beads are important evidence. Different kinds of glass beads recovered from several sites across Cambodia, such as the Phum Snay site in northwest and the Prohear site in southeast, show that there were two main trading networks at the time. The two networks were separated by time and space, which indicate that there was a shift from one network to the other at about 2nd–4th century AD, probably with changes in socio-political powers.

 

PRE-ANGKORIAN AND ANGKORIAN ERA

During the 3rd, 4th, and 5th centuries, the Indianised states of Funan and its successor, Chenla, coalesced in present-day Cambodia and southwestern Vietnam. For more than 2,000 years, what was to become Cambodia absorbed influences from India, passing them on to other Southeast Asian civilisations that are now Thailand and Laos. Little else is known for certain of these polities, however Chinese chronicles and tribute records do make mention of them. It is believed that the territory of Funan may have held the port known to Alexandrian geographer Claudius Ptolemy as "Kattigara". The Chinese chronicles suggest that after Jayavarman I of Chenla died around 690, turmoil ensued which resulted in division of the kingdom into Land Chenla and Water Chenla which was loosely ruled by weak princes under the dominion of Java.

 

The Khmer Empire grew out of these remnants of Chenla, becoming firmly established in 802 when Jayavarman II (reigned c790-850) declared independence from Java and proclaimed himself a Devaraja. He and his followers instituted the cult of the God-king and began a series of conquests that formed an empire which flourished in the area from the 9th to the 15th centuries. During the rule of Jayavarman VIII the Angkor empire was attacked by the Mongol army of Kublai Khan, however the king was able to buy peace. Around the 13th century, monks from Sri Lanka introduced Theravada Buddhism to Southeast Asia. The religion spread and eventually displaced Hinduism and Mahayana Buddhism as the popular religion of Angkor; however it was not the official state religion until 1295; when Indravarman III took power.

 

The Khmer Empire was Southeast Asia's largest empire during the 12th century. The empire's centre of power was Angkor, where a series of capitals were constructed during the empire's zenith. In 2007 an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest pre-industrial city in the world with an urban sprawl of 2,980 square kilometres. The city, which could have supported a population of up to one million people and Angkor Wat, the best known and best-preserved religious temple at the site, still serves as a reminder of Cambodia's past as a major regional power. The empire, though in decline, remained a significant force in the region until its fall in the 15th century.

 

DARK AGES OF CAMBODIA

After a long series of wars with neighbouring kingdoms, Angkor was sacked by the Ayutthaya Kingdom and abandoned in 1432 because of ecological failure and infrastructure breakdown. This led to a period of economic, social, and cultural stagnation when the kingdom's internal affairs came increasingly under the control of its neighbours. By this time, the Khmer penchant for monument building had ceased. Older faiths such as Mahayana Buddhism and the Hindu cult of the god-king had been supplanted by Theravada Buddhism.

 

The court moved the capital to Longvek where the kingdom sought to regain its glory through maritime trade. The first mention of Cambodia in European documents was in 1511 by the Portuguese. Portuguese travellers described the city as a place of flourishing wealth and foreign trade. The attempt was short-lived however, as continued wars with Ayutthaya and the Vietnamese resulted in the loss of more territory and Longvek being conquered and destroyed by King Naresuan the Great of Ayutthaya in 1594. A new Khmer capital was established at Oudong south of Longvek in 1618, but its monarchs could survive only by entering into what amounted to alternating vassal relationships with the Siamese and Vietnamese for the next three centuries with only a few short-lived periods of relative independence.

 

The hill tribe people in Cambodia were "hunted incessantly and carried off as slaves by the Siamese (Thai), the Annamites (Vietnamese), and the Cambodians".

 

In the nineteenth century a renewed struggle between Siam and Vietnam for control of Cambodia resulted in a period when Vietnamese officials attempted to force the Khmers to adopt Vietnamese customs. This led to several rebellions against the Vietnamese and appeals to Thailand for assistance. The Siamese–Vietnamese War (1841–1845) ended with an agreement to place the country under joint suzerainty. This later led to the signing of a treaty for French Protection of Cambodia by King Norodom Prohmborirak.

 

FRENCH COLONISATION

In 1863, King Norodom, who had been installed by Thailand, sought the protection of Thailand from French rule. In 1867, the Thai king signed a treaty with France, renouncing suzerainty over Cambodia in exchange for the control of Battambang and Siem Reap provinces which officially became part of Thailand. The provinces were ceded back to Cambodia by a border treaty between France and Thailand in 1907.

 

Cambodia continued as a protectorate of France from 1867 to 1953, administered as part of the colony of French Indochina, though occupied by the Japanese empire from 1941 to 1945.[48] Between 1874 and 1962, the total population increased from about 946,000 to 5.7 million. After King Norodom's death in 1904, France manipulated the choice of king, and Sisowath, Norodom's brother, was placed on the throne. The throne became vacant in 1941 with the death of Monivong, Sisowath's son, and France passed over Monivong's son, Monireth, feeling he was too independently minded. Instead, Norodom Sihanouk, a maternal grandson of King Sisowath was enthroned. The French thought young Sihanouk would be easy to control. They were wrong, however, and under the reign of King Norodom Sihanouk, Cambodia gained independence from France on 9 November 1953.

 

INDEPENDENCE AND VIETNAM WAR

Cambodia became a constitutional monarchy under King Norodom Sihanouk. When French Indochina was given independence, Cambodia lost hope of regaining control over the Mekong Delta as it was awarded to Vietnam. Formerly part of the Khmer Empire, the area had been controlled by the Vietnamese since 1698, with King Chey Chettha II granting the Vietnamese permission to settle in the area decades before. This remains a diplomatic sticking point with over one million ethnic Khmers (the Khmer Krom) still living in this region. The Khmer Rouge attempted invasions to recover the territory which, in part, led to Vietnam's invasion of Cambodia and deposition of the Khmer Rouge.

 

In 1955, Sihanouk abdicated in favour of his father to participate in politics and was elected prime minister. Upon his father's death in 1960, Sihanouk again became head of state, taking the title of prince. As the Vietnam War progressed, Sihanouk adopted an official policy of neutrality in the Cold War. Sihanouk allowed the Vietnamese communists to use Cambodia as a sanctuary and a supply route for their arms and other aid to their armed forces fighting in South Vietnam. This policy was perceived as humiliating by many Cambodians. In December 1967 Washington Post journalist Stanley Karnow was told by Sihanouk that if the US wanted to bomb the Vietnamese communist sanctuaries, he would not object, unless Cambodians were killed.

 

The same message was conveyed to US President Johnson's emissary Chester Bowles in January 1968. However, in public Sihanouk refuted the right of the U.S. to use air strikes in Cambodia, and on 26 March he said "these criminal attacks must immediately and definitively stop". On 28 March a press conference was held and Sihanouk appealed to the international media: "I appeal to you to publicise abroad this very clear stand of Cambodia—that is, I will in any case oppose all bombings on Cambodian territory under whatever pretext." Nevertheless, the public pleas of Sihanouk were ignored and the bombing continued. Members of the government and army became resentful of Sihanouk's ruling style as well as his tilt away from the United States.

 

KHMER REPUBLIC (1970–75)

While visiting Beijing in 1970 Sihanouk was ousted by a military coup led by Prime Minister General Lon Nol and Prince Sisowath Sirik Matak. US support for the coup remains unproven. However, once the coup was completed, the new regime, which immediately demanded that the Vietnamese communists leave Cambodia, gained the political support of the United States. The North Vietnamese and Viet Cong forces, desperate to retain their sanctuaries and supply lines from North Vietnam, immediately launched armed attacks on the new government. The king urged his followers to help in overthrowing this government, hastening the onset of civil war.

 

Soon Khmer Rouge rebels began using him to gain support. However, from 1970 until early 1972, the Cambodian conflict was largely one between the government and army of Cambodia, and the armed forces of North Vietnam. As they gained control of Cambodian territory, the Vietnamese communists imposed a new political infrastructure, which was eventually dominated by the Cambodian communists now referred to as the Khmer Rouge.[56] Between 1969 and 1973, Republic of Vietnam and US forces bombed Cambodia in an effort to disrupt the Viet Cong and Khmer Rouge.

 

Documents uncovered from the Soviet archives after 1991 reveal that the North Vietnamese attempt to overrun Cambodia in 1970 was launched at the explicit request of the Khmer Rouge and negotiated by Pol Pot's then second in command, Nuon Chea. NVA units overran many Cambodian army positions while the Communist Party of Kampuchea (CPK) expanded their small-scale attacks on lines of communication. In response to the North Vietnamese invasion, US President Richard Nixon announced that US and South Vietnamese ground forces had entered Cambodia in a campaign aimed at destroying NVA base areas in Cambodia (see Cambodian Incursion). Although a considerable quantity of equipment was seized or destroyed by US and South Vietnamese forces, containment of North Vietnamese forces proved elusive.

 

The Khmer Republic's leadership was plagued by disunity among its three principal figures: Lon Nol, Sihanouk's cousin Sirik Matak, and National Assembly leader In Tam. Lon Nol remained in power in part because neither of the others was prepared to take his place. In 1972, a constitution was adopted, a parliament elected, and Lon Nol became president. But disunity, the problems of transforming a 30,000-man army into a national combat force of more than 200,000 men, and spreading corruption weakened the civilian administration and army.

 

The Communist insurgency inside Cambodia continued to grow, aided by supplies and military support from North Vietnam. Pol Pot and Ieng Sary asserted their dominance over the Vietnamese-trained communists, many of whom were purged. At the same time, the CPK forces became stronger and more independent of their Vietnamese patrons. By 1973, the CPK were fighting battles against government forces with little or no North Vietnamese troop support, and they controlled nearly 60% of Cambodia's territory and 25% of its population. The government made three unsuccessful attempts to enter into negotiations with the insurgents, but by 1974, the CPK were operating openly as divisions, and some of the NVA combat forces had moved into South Vietnam. Lon Nol's control was reduced to small enclaves around the cities and main transportation routes. More than 2 million refugees from the war lived in Phnom Penh and other cities.

 

On New Year's Day 1975, Communist troops launched an offensive which, in 117 days of the hardest fighting of the war, collapsed the Khmer Republic. Simultaneous attacks around the perimeter of Phnom Penh pinned down Republican forces, while other CPK units overran fire bases controlling the vital lower Mekong resupply route. A US-funded airlift of ammunition and rice ended when Congress refused additional aid for Cambodia. The Lon Nol government in Phnom Penh surrendered on 17 April 1975, just five days after the US mission evacuated Cambodia.

 

KHMER ROUGE REGIME 1975–1978

The Khmer Rouge reached Phnom Penh and took power in 1975. Led by Pol Pot, they changed the official name of the country to Democratic Kampuchea. The new regime modelled itself on Maoist China during the Great Leap Forward, immediately evacuated the cities, and sent the entire population on forced marches to rural work projects. They attempted to rebuild the country's agriculture on the model of the 11th century, discarded Western medicine and destroyed temples, libraries, and anything considered Western.

 

Estimates as to how many people were killed by the Khmer Rouge regime range from approximately one to three million; the most commonly cited figure is two million (about a quarter of the population). This era gave rise to the term Killing Fields, and the prison Tuol Sleng became notorious for its history of mass killing. Hundreds of thousands fled across the border into neighbouring Thailand. The regime disproportionately targeted ethnic minority groups. The Cham Muslims suffered serious purges with as much as half of their population exterminated. Pol Pot was determined to keep his power and disenfranchise any enemies or potential threats, and thus increased his violent and aggressive actions against his people.

 

Forced repatriation in 1970 and deaths during the Khmer Rouge era reduced the Vietnamese population in Cambodia from between 250,000 and 300,000 in 1969 to a reported 56,000 in 1984. However, most of the victims of the Khmer Rouge regime were not ethnic minorities but ethnic Khmer. Professionals, such as doctors, lawyers and teachers, were also targeted. According to Robert D. Kaplan, "eyeglasses were as deadly as the yellow star" as they were seen as a sign of intellectualism.

 

Religious institutions were not spared by the Khmer Rouge either. Religion was so viciously persecuted to such a terrifying extent that the vast majority of Cambodia's historic architecture, 95% of Cambodia's Buddhist temples, was completely destroyed.

  

VIETNAMESE OCCUPATION AND TRANSITION 1978–1992

In November 1978, Vietnamese troops invaded Cambodia in response to border raids by the Khmer Rouge. The People's Republic of Kampuchea (PRK), a pro-Soviet state led by the Kampuchean People's Revolutionary Party, a party created by the Vietnamese in 1951, and led by a group of Khmer Rouge who had fled Cambodia to avoid being purged by Pol Pot and Ta Mok, was established. It was fully beholden to the occupying Vietnamese army and under direction of the Vietnamese ambassador to Phnom Penh. Its arms came from Vietnam and the Soviet Union.

 

In opposition to the newly created state, a government-in-exile referred to as the Coalition Government of Democratic Kampuchea (CGDK) was formed in 1981 from three factions. This consisted of the Khmer Rouge, a royalist faction led by Sihanouk, and the Khmer People's National Liberation Front. Its credentials were recognised by the United Nations. The Khmer Rouge representative to the UN, Thiounn Prasith, was retained, but he had to work in consultation with representatives of the noncommunist Cambodian parties. The refusal of Vietnam to withdraw from Cambodia led to economic sanctions by the US and its allies.

 

Peace efforts began in Paris in 1989 under the State of Cambodia, culminating two years later in October 1991 in a Paris Comprehensive Peace Settlement. The UN was given a mandate to enforce a ceasefire and deal with refugees and disarmament known as the United Nations Transitional Authority in Cambodia (UNTAC).

 

RESTAURATION OF THE MONARCHY

In 1993, Norodom Sihanouk was restored as King of Cambodia, but all power was in the hands of the government established after the UNTAC sponsored elections. The stability established following the conflict was shaken in 1997 by a coup d'état led by the co-Prime Minister Hun Sen against the non-communist parties in the government. In recent years, reconstruction efforts have progressed and led to some political stability through a multiparty democracy under a constitutional monarchy.

 

In July 2010, Kang Kek Iew was the first Khmer Rouge member found guilty of war crimes and crimes against humanity in his role as the former commandant of the S21 extermination camp and he was sentenced to life in prison. However, Hun Sen has opposed extensive trials of former Khmer Rouge mass murderers.

 

In August 2014, a UN-backed war crimes tribunal, the Extraordinary Chambers in the Courts of Cambodia (also known as the Khmer Rouge Tribunal), sentenced Khieu Samphan, the regime's 83-year-old former head of state, and Nuon Chea, its 88-year-old chief ideologue, to life in prison on war crimes charges for their role in the country's terror period in the 1970s. The trial began in November 2011. Former Foreign Minister Ieng Sary died in 2013, while his wife, Social Affairs Minister Ieng Thirith, was deemed unfit to stand trial due to dementia in 2012. The group's top leader, Pol Pot, died in 1998.

 

GEOGRAPHY

Cambodia has an area of 181,035 square kilometres (69,898 square miles) and lies entirely within the tropics, between latitudes 10° and 15°N, and longitudes 102° and 108°E. It borders Thailand to the north and west, Laos to the northeast, and Vietnam to the east and southeast. It has a 443-kilometre coastline along the Gulf of Thailand.

 

Cambodia's landscape is characterised by a low-lying central plain that is surrounded by uplands and low mountains and includes the Tonle Sap (Great Lake) and the upper reaches of the Mekong River delta. Extending outward from this central region are transitional plains, thinly forested and rising to elevations of about 200 metres above sea level.

 

To the north the Cambodian plain abuts a sandstone escarpment, which forms a southward-facing cliff stretching more than 320 kilometres from west to east and rising abruptly above the plain to heights of 600 to 180–550 metres. This cliff marks the southern limit of the Dângrêk Mountains.

 

Flowing south through the country's eastern regions is the Mekong River. East of the Mekong the transitional plains gradually merge with the eastern highlands, a region of forested mountains and high plateaus that extend into Laos and Vietnam. In southwestern Cambodia two distinct upland blocks, the Krâvanh Mountains and the Dâmrei Mountains, form another highland region that covers much of the land area between the Tonle Sap and the Gulf of Thailand.

 

In this remote and largely uninhabited area, Phnom Aural, Cambodia's highest peak rises to an elevation of 1,813 metres. The southern coastal region adjoining the Gulf of Thailand is a narrow lowland strip, heavily wooded and sparsely populated, which is isolated from the central plain by the southwestern highlands.

 

The most distinctive geographical feature is the inundations of the Tonle Sap, measuring about 2,590 square kilometres during the dry season and expanding to about 24,605 square kilometres during the rainy season. This densely populated plain, which is devoted to wet rice cultivation, is the heartland of Cambodia. Much of this area has been designated as a biosphere reserve.

 

WIKIPEDIA

Donald Trump unveils child-care policy influenced by Ivanka Trump

 

By Sean Sullivan and Robert Costa

 

ASTON, Pa. — Donald Trump, in softer tones than he normally uses, on Tuesday unveiled several policy proposals for lowering child-care costs that were crafted in part by his eldest daughter, Ivanka, including a plan to guarantee six weeks of paid maternity leave that marks a striking departure from GOP orthodoxy.

 

Conservative Republicans, in particular, have long seen a mandated expansion of the social safety net as anathema to their attempts to shrink government spending and give companies more control over their leave policies.

 

In a speech here, the Republican presidential nominee proposed ensuring six weeks of paid maternity leave to mothers who do not already receive leave from their employer.

 

"We need working mothers to be fairly compensated for their work, and to have access to affordable, quality child care for their kids," said Trump, who appeared determined to show off a more sensitive side than most are accustomed to seeing from him. He used a subdued delivery that contrasted with his tendency at larger rallies to raise his voice. After his speech, he held up a baby in the crowd.

 

Campaign officials said the maternity leave program wouldn't cost taxpayers anything more; instead, it would be financed through savings achieved by eliminating fraud in the unemployment insurance program. The plan would apply to mothers and would not be transferable to fathers.

 

Trump also laid out specific plans for enabling parents to deduct the cost of child-care expenses from their income taxes. Trump first mentioned allowing parents to “fully deduct” expenses last month when he announced his economic agenda in Detroit. Some of these expenses are already deductible under the law.

 

A fact sheet released by the Trump campaign proposed to "rewrite the tax code to allow working parents to deduct from their income taxes child care expenses for up to four children and elderly dependents.”

 

That deduction would be capped at the “average cost of care” in the state of residence, and it would not be available to individuals earning more than $250,000 or a couple earning more than $500,000.

 

[Wonkblog: The big difference between Donald Trump's and Hillary Clinton's child-care plans]

 

Ivanka Trump introduced her father here in Aston, marking her formal return to the campaign trail weeks after she introduced him at the Republican National Convention in Cleveland in July. The 34-year-old is a high-ranking executive at the Trump Organization and the mother of three young children. Her husband, investor Jared Kushner, has become an influential adviser to his father-in-law.

 

She said that she was "grateful" for the means to raise her three children and also pursue a career. Many women don't have that luxury, she added.

 

"This must change. As a society we need to create policies that champion all parents, enabling the American family to thrive," said Ivanka Trump.

 

Democratic nominee Hillary Clinton has proposed guaranteeing 12 weeks of paid family leave. Responding to Trump's maternity leave proposal, Clinton's senior adviser for policy Maya Harris said that by focusing solely on leave policies that benefit women, Trump may actually be hurting their cause, contributing to the attrition of women from the workplace after childbirth and the gender pay gap.

 

"We’re not living in a 'Mad Men' era anymore where only women are taking care of infants," Harris said. "It's just completely unserious."

 

At the start of his speech, Trump was joined onstage by several women Republican members of Congress.

 

"This is a family issue," said Rep. Marsha Blackburn (R-Tenn.). "We know men always want more money. What do women want? More time. And we are thrilled to finally have a president of the United States who is going to put the focus on working with women to make certain you can achieve your American dream."

 

Trump thanked Rep. Cathy McMorris Rodgers (Wash.), the fourth-ranking Republican in the U.S. House.

 

Also included in Trump's Tuesday’s proposals: additional spending rebates through the Earned Income Tax Credit, expanded deduction opportunities for stay-at-home parents, and revised federal savings accounts to set aside funds for child development and educational needs.

 

Before Trump gave his speech, he participated in a more intimate roundtable discussion.

 

According to Trump aides, Ivanka Trump has encouraged her father for weeks to detail policies that would appeal to parents who feel overburdened or underserved by existing programs, following up on the theme that coursed through her remarks at the convention.

 

Trump campaign manager Kellyanne Conway, who has grown close with Ivanka, also played a role in making child-care policy a priority, with an eye toward winning over female voters in places such as the vote-rich Philadelphia suburbs, the aides said.

 

Trump won some of his loudest applause lines when he mentioned Clinton's recent comment that half of his supporters are a "basket of deplorables."

 

"While my opponent slanders you as deplorable and irredeemable, I call you, hard-working American Patriots who love your country," said Trump.

 

Costa reported from Washington. Abby Phillip contributed.

Barry Greep on a TRIBSA, reflecting the huge influence of the Mark 1 Metisse.

258 Broadway, Civic Center, Downtown Manhattan, New York City, United States of America

 

The Rogers, Peet & Company building is an eight-story neo-Renaissance style commercial and office building designed by the firm of John B. Snook & Sons. Constructed in 1899-1900 for clergyman Eugene A. Hoffman, the building was occupied by Rogers, Peet & Co., a well-known retailer of men’s and boys’ clothing, for a period of more than 70 years. The Rogers, Peet & Co. building is an early example of a steel skeleton-framed skyscraper influenced by the Chicago school of architects, and stands out among a group of important early skyscrapers located in the vicinity of City Hall, New York’s original skyscraper district, for its clear articulation of the structural grid and restrained use of stylized classical ornament. Constructed using the latest in fireproofing technologies, the building expresses its structural steel framing in the wide window bays on the east and north facades that are divided by strong vertical brick piers and recessed cast-iron or brick spandrels. The building is clad in stone and buff brick and crowned by a deep molded and denticulated copper cornice. In 1909 a three-bay addition to the building was constructed on Warren Street, executed by the firm of Townsend, Steinle & Haskell but continuing the original design. During a long and prolific career, architect John B. Snook (1815-1901) designed numerous buildings in New York City as well as several others in Brooklyn, the Bronx, Westchester County, and New Jersey. In 1887 Snook’s three sons and a son-inlaw joined him in practice, thus establishing the firm of John B. Snook & Sons. It remains unclear what role the elder Snook played in the design of the Rogers, Peet & Company Building, but the building nevertheless represents a culmination of the architect’s 64-year career of designing and building commercial structures.

   

DESCRIPTION AND ANALYSIS

 

Development of the Drygoods District in Lower Manhattan

 

During the 1840s, the commercial development of Broadway and the surrounding streets of Lower Manhattan increasingly displaced residents in this area as the street became the city’s leading commercial artery. Alexander Turney Stewart, an Irish immigrant who became one of New York’s wealthiest merchants, opened his first store at 283 Broadway in 1823, selling Irish lace and notions. As his business expanded, Stewart moved to increasingly larger quarters on Broadway opposite City Hall Park. In 1845 he acquired a site at Broadway and Reade Street, and began construction of a new store building designed by Joseph Trench and John Butler Snook that eventually occupied the entire block front between Chambers and Reade Streets. The new

 

A.T. Stewart store was the largest retail establishment in the city and employed a novel arrangement in which different categories of merchandise were separated into individual departments, setting a precedent for the development of the American department store. While most early nineteenth-century commercial buildings had brick and stone facades, the Stewart store was faced with marble above a cast-iron store front with huge plate glass windows. Almost immediately, Stewart’s new marble palace became the favored store of New Yorkers and visitors alike. Imitators soon followed and, within a few years, Broadway and its side streets from City Hall Park to Canal Street became lined with marble, brownstone, and cast-iron commercial palaces.

 

As the new retail district began to develop on Broadway in the late 1840s and 1850s, the wholesale dry goods merchants who had been located on Pearl Street near the South Street Seaport began to move their businesses to Broadway and the blocks to the west between Dey Street and Park Place. To a large extent this move was prompted by the growing popularity of the North (Hudson River) piers which were better able to accommodate the large steam-powered vessels used for coastal and transatlantic shipping. Two major railroads established freight depots in the area during the 1850s and several other railroads built terminals in New Jersey where goods were off-loaded for transshipment across the river to the West Side piers.

 

This increase in trade and relocation of transportation facilities coincided with a city project in 1851 widening Dey and Cortlandt Streets between Broadway and Greenwich Street that made large tracts of cleared land available for redevelopment. Within the space of two years, Dey and Cortlandt Streets were almost entirely rebuilt with store and loft buildings for wholesale dry goods businesses and similar buildings were going up on Park Place, Vesey Street, and Church Street. According to the Daily Tribune, "forthwith commenced a most astonishing migration. [The] whole mercantile community seemed to have woke from a long sleep." Over the next twenty years the wholesale dry goods trade continued to move northward into the blocks west and north of City Hall Park where merchants could take advantage of the new transportation facilities in the area. In the late 1860s, Trow’s New York City Directory observed that “The drygoods dealers, who constitute the largest business district of New York, appear to have permanently settled down upon that district of the city included between Broadway and West Broadway and extending from Park Place to Canal Street. This is the great center of the wholesale jobbers, auctioneers, and importers.”

 

The history of the Rogers, Peet & Company building site, located at the southwest corner of Broadway and Warren Street, followed closely the patterns of development that shaped the dry goods district during the 19th century. In 1827 the site was purchased from Trinity Church by Garrit Storm, a wealthy grocer and descendent of an old Dutch family in New York. The property passed in 1852 to Storm’s daughter, Glorvina Russell Hoffman, whose husband Samuel Verplanck Hoffman commissioned architect John B. Snook to design and construct a five-story commercial “palace” to replace the existing three row houses. Snook’s design, featuring a ground-story colonnade, pedimented window lintels, and a bracketed cornice, was directly influenced by the A.T. Stewart store, standing just a block north across Broadway. For many years after the building’s completion in 1854, it was known as the home of Devlin & Co., one of the first clothing houses to locate on Broadway. In 1889 when Devlin & Co. moved to a new store on Union Square, following the northward trend of retail along Broadway, the men’s clothing firm of Rogers, Peet & Company moved into the building at 258-260 Broadway (3-5 Warren Street), occupying the basement, first, and second floors.

 

Rogers, Peet & Company

 

During the second half of the 19th century, the American clothing industry underwent a dramatic shift from custom-made clothing to pre-manufactured clothing as a result of industrial expansion and the corresponding growth of urban and national markets. An important element in this change was the emergence of advertising as an industry in its own right. For most of the 19th century, bombastic or outright false ad copy had been the norm in the retail trade, and the expectation among consumers. But as mass-production of standardized goods began to take hold, and as technology improved to facilitate mass communication, companies responded by modernizing their merchandising and advertising practices.

 

Rogers, Peet & Company was founded in 1874, when Broadway clothing merchants Marvin N. Rogers and Charles B. Peet joined their respective businesses to take advantage of the growing market for ready-made men’s clothing. The other founding members of the firm, which dealt primarily in retail but also ran a wholesale operation, were Frank R. Chambers and William R. H. Martin. Following the pioneering example of John Wanamaker’s retail establishment of the 1860s and 1870s in Philadelphia, Rogers Peet early on adopted a fixed-price, quality-guaranteed policy and began to rely on truthful advertising as a primary marketing tool. An 1876 newspaper article noted the firm’s huge inventory, low prices, and use of price tags, a novelty in retail at that time. The growing emphasis on honesty, respectability, and customer service in retail was reflected in the partners’ decision, in 1886, to introduce an employee profit-sharing system as a means of encouraging professionalism, salesmanship, and productivity. By the 1890s, Rogers, Peet & Co. had gained widespread recognition for these forward-thinking business strategies, and especially for their innovative and popular advertising style.

 

Partner Frank R. Chambers (1850-1940) oversaw advertising for Rogers Peet from 1880 until 1915, writing much of the ad copy himself, and gave this simple advice on advertising: “Tell the truth. Understate. Never overstate.” The breadth, diversity, and creativity of Rogers Peet advertising demonstrated their commitment to the medium as a key to business success. In addition to publishing numerous richly-illustrated catalogs and booklets replete with detailed descriptions of clothing and accessories and advice on style, the firm advertised daily in newspapers, in theater playbills, on posters, and on street cars. A typical Rogers Peet newspaper ad of the 1890s featured a single column of text—conveying matter-of-fact information about the quality, style, and price of an item, delivered in an informal, upbeat tone using colloquial language and the familiar second-person mode of address—paired with a simple, eye-catching cartoon-style illustration that often played humorously on some aspect of the item being advertised. The Rogers Peet style of advertising stood out in contrast to the conventional clothing ad of the late 19th century, which usually featured a box of declarative text and a stock illustration, if any at all, and thus was quickly established as a standard to be emulated in the nascent advertising industry.

 

Many Rogers Peet ads were illustrated in-house, which was more expensive than using stock “cuts” (graphics) provided by a manufacturer, but allowed for the development of a consistent and identifiable graphic style.. In what might be considered an early recognition of the 20th-century marketing concept of branding, a trade writer described the Rogers Peet style in 1915, writing:

 

Everything that goes out of the store, including the boxes, bundles and envelopes, is utilized for attractive, refined, and dignified advertising. By tricks of type and designing a certain definite individuality is given to each piece of advertising, so that, however diversified the use to which it is put, it can be recognized at a glance. This idea is one that is gradually appealing to more advertisers as time goes on.

 

In 1940 Joseph H. Appel, an early advertising director at Wanamaker’s, wrote a glowing appraisal (in salesman’s lingo) of Rogers Peet’s early achievements in advertising:

 

An interesting and outstanding example of the application by other advertisers of the Wanamaker-John E.Powers [Wanamaker’s first director of advertising] advertising copy principles has been for many years the Rogers Peet Company, New York clothiers, whose unique single-column ads have been familiar for decades... the Rogers Peet ads have caused comment for many years and have retained unchanged their typographical and advertising individuality and form for a longer period of time than perhaps any other advertising in America (about 60 years).

 

The original Rogers Peet store was located at 487 Broadway, on the southwest corner of Broome Street. Within five years the firm had expanded to a second location on Broadway, and within ten years had opened a third Broadway location. In 1889, Rogers, Peet & Company opened their fourth store in the Snook-designed building at Broadway and Warren– thereafter known as their Warren Street store. By the 1950s, there were four Rogers Peet stores: the Warren Stree store, the Union Square store, a Fifth Avenue store at 41st Street, and a second Fifth Avenue store, at 48th Street.

 

The New York Skyscraper of the 1890s

 

During the 19th century, commercial buildings in New York City evolved from four-story structures modeled on Italian Renaissance palazzi to much taller skyscrapers. Made possible by technological advances, tall buildings challenged designers to fashion an appropriate architectural expression. Between 1870 and 1890, nine- and ten-story buildings transformed the streetscapes of lower Manhattan. During the building boom following the Civil War, building envelopes continued to be articulated largely according to traditional palazzo compositions, with mansarded and towered roof profiles. New York's tallest buildings— including the seven-and-ahalf-story Equitable Life Assurance Co. Building (1868-70, Gilman & Kendall and George B. Post) at Broadway and Cedar Street, the ten-story Western Union Building (1872-75, George B. Post) at Broadway and Liberty Street, and the ten-story Tribune Building (1873-75, Richard M. Hunt), all now demolished — incorporated passenger elevators, iron floor beams, and fireproof building materials. Beginning in the later 1870s, tall buildings were characterized by flat roofs and a variety of exterior arrangements, often in the form of multi-storied arcades. The period through the 1880s was characterized by stylistic experimentation in which office buildings in New York incorporated diverse influences. Fireproofing was of paramount concern as office buildings grew taller, and by 1881-82 systems had been devised to "completely fireproof" them. Ever taller skyscrapers were made possible by the increasing use and refinement of metal framing. In 1888-89, New York architect Bradford Lee Gilbert used iron skeleton framing for the first seven stories of the 11-story Tower Building at 50 Broadway (demolished). Beginning around 1890, architects began producing skyscraper designs that adhered to the tripartite baseshaft-capital arrangement associated with the classical column, a scheme that became commonly employed in New York. As steel skeleton framing was adopted for tall buildings in New York, architects and engineers introduced caisson foundations which carried the weight of the skeleton frame down to bedrock. Architects [Francis H.] Kimball & [G. Kramer] Thompson and engineer Charles Sooysmith were leaders in this effort with the Manhattan Life Insurance Co. Building (1893-94, demolished), 64-66 Broadway, credited with being the first skyscraper with a full iron and steel frame, set on pneumatic concrete caissons. This was followed by the American Surety Co. Building (1894-96, Bruce Price), 100 Broadway, also with Sooysmith, which was the first New York skyscraper with a full steel frame, set on pneumatic concrete caissons, and is today a designated New York City Landmark. An additional consideration in office building design was to provide maximum light and ventilation, for which contemporary architects devised several solutions, including interior and exterior light courts.

 

John B. Snook & Sons and Townsend, Steinle & Haskell

 

John Butler Snook, born in England, immigrated to the United States and by 1835 was established in New York City as a carpenter/builder, then as an architect in partnership with William Beer in 1837-40. By 1842, Snook found work with Joseph Trench, and they later formed the firm of Trench & Snook, which helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store (1845-46, a designated New York City Individual Landmark) at 280 Broadway, the country’s first department store and the catalyst and architectural precedent for commercial development of lower Broadway. With Trench’s departure for California in the 1850s, Snook rose to head the firm. He became a prolific architect-builder who designed structures of all types, in virtually every revival style, and expanded his practice into one of the largest in New York. The first Grand Central Terminal (1869-71, demolished) was one of his best-known works. In 1887, Snook took his three sons, James Henry (1847-1917), Samuel Booth (1857-1915), and Thomas Edward (1864?-1953), and a son-in-law, John W. Boyleston (1852-1932), into his office and the firm’s name was changed to John B. Snook & Sons. Examples of Snook’s work—and that of the firm of Snook & Sons—are also located in the Expanded Carnegie Hill, Gansevoort Market, Greenwich Village Extension, Ladies’ Mile, NoHo, SoHo-Cast Iron, Tribeca East, Tribeca West, Upper East Side, and Upper West Side/Central Park West Historic Districts. A handful of buildings designed by Snook still stand in the vicinity of City Hall; prominent among these are the A.T. Stewart store at 280 Broadway (1845-46, Joseph Trench & Co.; additions, Trench & Snook, 1850-51 and 1852-53; Frederick Schmidt, 1872; Edward D. Harris, 1884; 1921,) and the cast-iron commercial building at 287 Broadway (1871-72), both designated New York City Landmarks.

 

The firm of (Robert Samuel) Townsend, (Charles Albert) Steinle & (William Cook) Haskell formed in 1906, and is known for having designed several large apartment buildings in the Upper West Side-Central Park West Historic District, as well as commercial buildings, stores, lofts and offices in lower Midtown. Notably, the firm designed more than one building for, or on behalf of, the Rogers Peet Company. Apart from their 1909 addition to the Warren Street store, the architects were commissioned to design the Marbridge Building at 1328 Broadway (between 34th and 35th streets), completed in 1906 and housing a Rogers Peet store from its opening until 1922, and the building at 479 Broadway, completed in 1915 and housing a Rogers Peet store from its opening until the clothing firm’s final days in 1978.

 

Design and Construction of the Rogers, Peet & Company Building

 

On December 4, 1898, a catastrophic fire destroyed the building at 258 Broadway, and severely damaged its neighbors to the south, the Home Life Insurance Company Building (256257 Broadway,1892-94, Pierre Le Brun of Napoleon LeBrun & Sons, a designated New York City Landmark) and the Postal Telegraph Cable Company Building (253 Broadway, 1892-94, Harding & Gooch, a designated New York City Landmark). The fire began in the basement of 258 Broadway, which was used by the Rogers Peet Company as a store room. In the wake of the fire, critics of skyscrapers cited the extensive damage to the upper floors of the 16-story Home Life building as evidence in the case against creating tall buildings, while supporters of modern fireproofing technology argued that the Home Life building’s structure, as well as that of the Postal Telegraph building, had actually withstood the fire well and indeed prevented further spread of the fire.

 

It was in this climate of heightened public awareness of safety concerns and general uncertainty about the future of tall buildings in New York City that the owner of the property at the southwest corner of Broadway Warren Street set out to redevelop the site. Eugene A. Hoffman, a prominent and wealthy clergyman associated with the General Theological Society, appropriately chose as architects John B. Snook & Sons, the firm of the man Hoffman’s father had commissioned to design the first major commercial building for the site. The Snook & Sons office was located across Warren Street from the site, at 261 Broadway. The new building at 258 Broadway was to be a retail and office building occupied by commercial and professional tenants. Rogers, Peet & Company would occupy the basement and first two floors, with the store at street-level and show rooms above. Plans submitted to the Buildings Department early in 1899 called for an eight-story, steel-skeleton framed structure with a concrete-and-steel grillage foundation, riveted steel I-beams and girders supporting brick curtain walls, floors constructed of hollow, terra cotta-tile flat arches filled with concrete, and a flat asphalt roof. The building’s interior was designed to be open in plan on the ground floor, with an elevator bank and stairs along the south wall towards the front of the building, as well as an interior light court on the south wall above the fourth story to provide light to the interior offices. The upper stories were partitioned into offices accessed through a double-loaded central corridor running east-west. The main building entrance and a storefront entrance were located on Broadway, and the second-story was devoted to cast-iron show windows.

 

Constructed in just under a year and completed in April of 1900, the eight-story, steel-framed Rogers, Peet & Co. building embodied the latest technologies in skyscraper construction. Snook & Sons’ completed design for the Rogers, Peet & Co. building was notable principally for a strong expression of the structural steel frame on the building’s exterior, the defining characteristic of the Chicago school and comparatively rare in early New York skyscrapers. The structural grid of the Rogers, Peet & Co. Building is articulated by thin projecting masonry piers rising from the second story to the cornice, and wide window bays framed by spandrels, pilasters and thin mullions; the high ratio of window to wall area was made possible by the non-load bearing walls.

 

In addition to its spare appearance, the building is visually distinct from its skyscraping neighbors of the 1890s because it does not conform to the established base-shaft-capital composition. The steel columns supporting the building at the ground story were originally recessed behind the storefront (with the exception of a corner pier), giving the upper stories a floating appearance ; moreover, limestone rustication at the second and third stories gave the appearance of a proper base, but the “shaft” of the fourth through eighth stories, clad in buff brick, is bisected by a substantial entablature at the sixth story. Thus, a horizontal division of one-two-three-two stories is created. A similar effect is seen on the facade of 890 Broadway, completed by Snook & Sons a year earlier than 258 Broadway, in 1899. Architecture critic Montgomery Schuyler apparently called this facade treatment “wild work,” because of how it appeared to flout the popular base-shaft-capital scheme. At 258 Broadway, plain brick piers divide the building’s Broadway facade into two wide window bays. On the second and third stories, show windows are framed by cast-iron pilasters and divided by a deep cast-iron spandrel featuring a Greek key; the cast iron shows an unusual level of detail, giving the material a sumptuous quality. Above the third story, brick spandrels are decorated with terra-cotta plaques featuring stylized anthemia, foliate ornament, and escutcheons. The spandrels at each story accentuate the building’s horizontal framing members. Ornament is confined to the classical motifs decorating the spandrels, pilasters, mullions, and sixth-story entablature, but the main building entrance on Broadway is framed by a grand Italian Renaissance-inspired surround. Another prominent feature of the Chicago skyscraper was the flat roof, which is emphasized at 258 Broadway by a boldly projecting molded-copper cornice. A photo from c. 1938 shows a free-standing sign reading “Rogers Peet Company” on the roof of the building.

 

The Warren Street facade continues the rational scheme of the Broadway facade, with a slight variation in the wider window bays divided by brick piers and cast-iron mullions. The proportions of the original Snook & Sons building were altered when it was extended by three bays in 1909. Architects Townsend, Steinle & Haskell were retained to expand the existing building to occupy the three adjacent lots to the west, nos. 7, 9, and 11 Warren Street, which Rogers, Peet & Co. had leased for this purpose. A secondary entrance in the seventh bay of the Warren Street facade was part of the new design, and the architects gave this entrance a door surround that was almost identical to the Broadway entrance, but a shade less grand.

 

It remains unclear what role the elder Snook played in the Rogers, Peet & Co. building project, however it is likely that his participation was very minimal given his age at the time. Snook & Sons’ design for the new Rogers Peet building was primarily functional, defined by the parameters of the corner site, the newest construction methods then available (the steel skeleton-frame), and current standards in retail and office facilities. When compared with the original John B. Snook-designed commercial structure that stood on the site, the Rogers, Peet & Company building reflects the evolution of commercial architecture in New York, beginning with the grand “palazzi” of the mid-19th century and culminating in the modern skyscraper.

 

Later History

 

The Rogers, Peet & Company Warren Street store stayed in business from its re-opening in 1900 until the late 1970s. Rogers, Peet & Co. remained an independent retail house until 1962, when it was acquired by Cluett, Peabody & Co., Inc., manufacturers of the Arrow label in men’s clothing. The Rogers, Peet & Co. brand remained strong until the 1970s, when the urban retail landscape began to change as a result of widespread retail consolidation, suburban growth and the increasing popularity of malls, and competition from emerging national chains. Other challenges to an old-fashioned retail house such as Rogers Peet were changing tastes in men’s fashion and the increasing acceptability of casual clothing for the workplace. The Rogers, Peet & Co. Warren Street store closed its doors c. 1976, and by 1978 no Rogers Peet stores remained in New York. By 1981 the upper floors of the Rogers, Peet & Company building had been converted into apartments, with six or seven units per floor, and during the 1980s the ground-level storefront was occupied by Strawberry, a New York-based regional chain of popularly priced women’s clothing. A bank currently occupies the ground floor, which has been altered with a contemporary storefront of polished-granite veneer and plate glass.

 

Description

Broadway (east) Facade: two bays; facade clad in buff brick and stone with cast-iron and terra cotta trim; facade divided vertically by three piers rising from the second story to the cornice; piers are rusticated limestone at second and third stories, brick above; facade divided horizontally by stone entablatures at the first, third and sixth stories; main entrance with stone door surround resting on a granite plinth in first bay of the ground story, and a non-historic storefront in the second and third bays; main entrance door framed by double-surround; inner surround composed of molded returns and rosette-decorated paneling, and an entablature supported on scroll-brackets with volutes and central acroterion; decorative metal grille framed by bead-and-reel molding and eared anthemia above entablature; outer surround composed of paneled pilasters resting on plinths; pilasters have egg-and-dart molding at bases, bead-and-reel molding and stylized anthemia on shafts, and molded capitals decorated with more stylized anthemia, egg-and-dart molding and a water-leaf motif; pilasters support a molded entablature with decorative bands of raised circles with a water-leaf motif, dentils, and egg-and-dart molding; large window opening in each bay of second through eighth stories; window openings contain three windows separated by cast-iron pilasters or mullions (c. 1938 photographs shows double-hung windows); window openings have spandrels of cast-iron (at third story) and brick with terra-cotta plaques decorated with stylized classical motifs (at fifth, sixth, and eighth stories); deeply projecting pressed-metal cornice with egg-and-dart molding and dentils; possibly historic wooden water tank visible on roof from City Hall Park.

 

Alterations: original decorative bronze gate and grille at Broadway entrance removed; non-historic bronze double-door with five-light operable transom at Broadway entrance; plastic plaque and metal clete affixed to Broadway door surround; contemporary storefront infill, including boxing-out of the ground-story structural piers (1990s); replacement window sash; non-historic metal door and metal paneling at Warren Street entrance; roof-top addition/bulkhead visible on roof from City Hall Park. Warren Street (north) Facade: seven bays; seventh bay, with Warren Street entrance, is slightly narrower; repeats design of Broadway facade, except for wider window bays; window openings contain two paired windows separated by brick pilasters, each pair of windows divided by a cast-iron mullion; metal grille in a scallop pattern in fifth bay of storefront, above transom bar; glass transom above Warren Street door, metal grille in a scallop pattern above entrance. Alterations: contemporary ground-story storefront continues from Broadway facade. West facade (partially visible): red-brick party wall with engaged piers; windows; chimney. Alterations: satellite dish, antenna, and two vent heads visible on roof towards rear of building.

 

- From the 2010 NYCLPC Landmark Designation Report

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Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.

 

A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.

 

The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.

 

Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.

 

ETYMOLOGY

The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".

 

LEGEND

The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).

 

The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.

 

PATRONAGE

To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.

 

Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.

 

Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.

 

Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.

 

TEMPLE STRUCTURE

The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).

 

Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").

 

The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.

 

This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:

 

- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.

- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.

- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.

 

SIGNIFICANCE OF THE TEMPLE DESIGN

The layout and architecture of the temple is replete with philosophical meanings.

 

Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).

 

The 9 gateways signify the 9 orifices in the human body.

The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.

 

The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).

 

The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.

 

TOWERS

The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.

 

HALLS

There are 5 ambalams or sabhas (halls) inside the temple.

 

- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.

- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.

- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy

- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.

- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.

 

SHRINES

- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai

- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.

- Shrine of Sivagami.

- Ganesha shrine

- Shrine of Muruga or Pandiya nayakan

 

There are also several smaller shrines in the temple complex.

 

GOVINDARAJA SWAMY SHRINE

The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.

 

TEMPLE TANKS

The Chidambaram temple is well endowed with several water bodies within and around the temple complex.

 

- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.

- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.

- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.

- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.

- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.

- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.

- Nagaseri tank is situated to the west of the Anantha thirtham.

- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.

- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.

- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.

 

TEMPLE CAR

The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.

 

ANANDA TANDAVA

The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage Patanjali and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali who meditated in the Himalayas during krita age joins another saint, Vyaghrapada or Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for The Lord before the bees visit them). The story of sage Patanjali as well as his great student sage Upamanyu is narrated in both Vishnu Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, a deity worshipped today as Thirumoolataneswarar (Thiru - sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) - as Nataraja to these two saints on the day of the poosam star in the Tamil month of Thai (January-February).

 

THE ANANDA TANDAVA POSTURE

The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.

 

- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.

- The fire in His hand (power of destruction) means He is the destroyer of evil.

- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.

- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.

- The drum in His hand signifies the origin of life forms.

- The lotus pedestal signifies Om, the sound of the universe.

- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.

- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).

- The crescent moon in His hair signifies benevolence and beauty.

- The flowing of river Ganges through His matted hair signifies eternity of life.

- The dreading of His hair and drape signify the force of His dance.

 

Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.

 

RELIGIOUS SIGNIFICANCE OF THE TEMPLE

Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.

 

Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.

 

Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).

 

RELIGIOUS WORK AND SAINTS

There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.

 

THE CHIDAMBARA RAHASIYAM

During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.

 

The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.

Temple administration and daily rituals

 

WORSHIP FORMS

A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.

 

At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.

 

Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".

 

WORSHIP

The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.

 

DIKSHITARS

The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.

 

DAILY RITUALS

The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).

 

Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.

 

TEMPLE ADMINISTRATION

The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.

 

FESTIVALS

A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.

 

There are references in Umapathy Sivam's

Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.

 

Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.

 

HISTORY

Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."

 

The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.

 

Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.

 

At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.

 

To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.

The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.

 

INSCRIPTIONS

There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.

 

KUMBHABISHEKAM 2015

The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam

 

Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.

 

INVASIONS

The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.

 

WIKIPEDIA

Harlem, Manhattan, New York City, New York, United States

  

The Roman Catholic Church of All Saints, with its lively and animated design and exceptionally fine ornament, was created by one of New York’s leading nineteenth century architects, James Renwick, Jr., of the firm of Renwick, Aspinwall and Russell. Among the many churches he designed during his long career, the Church of All Saints has been called his best. Constructed over the course of several years, the church (1883-93), parish house (188689) and school (1902-04) formed an important anchor for the rapidly expanding Harlem neighborhood when they were built, and continue that role today. Renwick, architect of the original Smithsonian building in Washington, designed many of New York City’s most beautiful and well-known churches, including Grace Church and St. Patrick’s Cathedral.

 

The Church of All Saints is his most fully evolved Italian Gothic Revival style design, an unusual stylistic choice for a late nineteenth century church in New York. The building displayed the texture, shape and color variations that were so important during that period due to the influence of the writings of John Ruskin. The facades of All Saints combine the mixed tones of light and dark brick, terra cotta and stone, with an assortment of window shapes and sizes in a building which is both spirited and inspiring. The neighboring parish house displays elements of the Venetian Gothic Revival style, with its stone balconies pierced by pinwheeling designs, and its narrow windows topped by filled gothic arches. The school building, located north of the church along 130 Street and completed several years later by Renwick’s nephew, William W. Renwick, displays a simpler version of the Gothic Revival style, with plain brick wall surfaces juxtaposed with light-colored stone and areas of elaborate terra-cotta ornament.

 

DESCRIPTION AND ANALYSIS

 

Development of Harlem

 

After the Civil War the population of New York increased dramatically, and development spread uptown. Although the New York and Harlem Railroad had begun to run trains and horsecars from lower Manhattan to Harlem in 1837, the trip was slow and unreliable. By 1881, three lines of the elevated railroad, along Second, Third, and Eighth Avenues as far north as 129 Street, created new neighborhoods for development. The introduction of electric cable car service in 1885, on Amsterdam Avenue and along 125 Street, made Harlem even more accessible. Many residential and institutional buildings were constructed, lining the area’s newly paved avenues and streets. Rows of brownstones and exclusive apartment houses seemed to appear overnight and speculators and developers made fortunes from the large numbers of New Yorkers who wanted to live in this more open, suburban area.

 

Many elegant homes, such as those developed by David King as the King Model Houses (1891, St. Nicholas Historic District) on West 138 and 139 Streets and Astor Row (1880-83, 8-62 West 130Street, designated New York City Landmarks) helped establish Harlem as a fashionable community, while banks, businesses and cultural institutions added to the area’s appeal. Realtors and newspapers predicted that it would become one of the finest neighborhoods in the city.

 

History of All Saints Church

 

As the population in Harlem increased, so did the need for more religious facilities to serve the neighborhood, since many residents of the area came originally from Ireland and Italy. In the late-19th and early20th centuries, the Church of All Saints was among seven Catholic parish churches that were constructed (or altered) in central Harlem to meet the religious needs of the burgeoning immigrant population in the area.

 

The area was a large one however, so that even as rural tracts and big estates began to be developed, there were still large open spaces. In 1879, New York’s Cardinal John McClosky created a new parish incorporating the blocks between Eighth Avenue and the East River, from 124 Street to 150 Street on the east side, and 124and 130 Streets on the west side. The congregation of this parish first met in the abandoned streetcar barns located at Third Avenue and 129 Street. The Reverend James W. Power, who had been serving at St. Theresa’s Church on Rutgers Street in Manhattan, was appointed rector of the new church. After several months, the congregation moved to Lincoln Hall, at 129 Street and Fourth Avenue, a site that they used for two years. In 1882, the site of their services was again relocated to the old Harlem Courthouse and Market, at 125 Street near Third Avenue.

 

The property at 129 Street and Madison Avenue, which would eventually be the site of the new church, was transferred by Cardinal McCloskey to the Roman Catholic Church of All Saints in 1882. The architectural firm of Renwick, Aspinwall & Russell was hired to create a design for the new building, and the foundation stone was laid in 1883. By 1886, a basement chapel was completed and the congregation met there for the next several years. Raising money for the new structure was difficult and slowed the construction of the church, which was not resumed until 1889. By that time, the local population had soared and the church had 5,000 members. Finally, on December 10, 1893, there was an elaborate dedication ceremony for the new church, presided over by Archbishop Michael Augustine Corrigan. Local critics called the structure “one of the handsomest in the city.”

 

During the break in the church construction, the same architectural firm designed and built the rectory, located just to the east of the church. It served as home to Rev. Power who led the church until his death in 1926. He oversaw the founding of a church school for boys and one for girls in 1900, and the construction of the school building located just to the north of the church, on the corner of 130 Street and Madison Avenue. It was designed by James Renwick’s nephew, W. W. Renwick and built between 1902 and 1904. The schools were run by the Sisters of Charity and the Christian Brothers of Ireland, as Rev. Power and many of the parishioners were of Irish origin.

 

The bell in the large tower was dedicated on September 13, 1908 in a ceremony led by Right Reverend Bishop Thomas F. Cusack from the Archdiocese of New York. The bell, which was inscribed “Queen of All Saints, pray for us” symbolized the important role of the church and its many services to its neighborhood. During the 1920s and 30s, the population of the area changed from Irish to African-American and although other area parishes were losing population, the fine reputation of All Saints school helped maintain its membership. In the early 1950s, there was a sharp increase in the black population in Harlem generally and particularly at All Saints. Urban unrest of the mid 1960s brought a sudden and steep decline in church membership and a threatened school closure, which ultimately did not happen. At that time and under the leadership of Msrg. Gerald Mahoney, the church also began to attract Hispanic members through the development of a Spanish Mass.

 

The Church of All Saints has continued its long tradition of serving the religious, educational and social needs of its parishioners as its Harlem neighborhood has undergone drastic social and economic changes. In 2004 the congregation celebrated the 125anniversary of its founding.

 

Architects

 

James Renwick, Jr. (1818-1895) was one of the most renowned New York architects of the nineteenth century. In his numerous church designs, he was a sophisticated practitioner of the nineteenth century Gothic Revival style, as it evolved from its Ecclesiological beginnings to the picturesque Victorian version. Never “much of a purist,” as Montgomery Schuyler described him, Renwick was also comfortable working in the Romanesque Revival, Italianate or “modern French” styles. In addition to ecclesiastical designs, Renwick’s large body of work includes numerous institutional buildings, such as museums and hospitals, as well as private homes.

 

James Renwick, Jr. was born into a wealthy and influential American family; his mother was a descendant of the Brevoort family, while his father was a successful merchant and engineer, and later professor of physics and chemistry at Columbia College. James Jr. was educated as an engineer at Columbia College, graduating in 1836, and then received a master’s degree in 1839. His early experience was as an engineer on the Erie Railroad and then as supervisor of construction of the Distributing Resevoir of the Croton Aqueduct system. In 1843, at the age of 24, James Renwick, Jr. received the commission to design Grace Church (1843-1846, 800 Broadway, a designated New York City Landmark). This white marble church and rectory complex shows the influence of French medieval churches and is said to be the earliest American church to have a cruciform plan.

 

Other church designs by Renwick in New York City followed, including the French-inspired Romanesque revival style Church of the Puritans (1846-47) and its contemporary Calvary Church (1846-47, located within the Gramercy Park Historic District), patterned after the twin-towered French cathedrals but executed in brownstone. Near the middle of his career, Renwick received the commission for St. Patrick’s Cathedral on Fifth Avenue (1858-69, a designated New York City Landmark). The front was based on the many twin-towered, triple portalled cathedrals in Europe, such as Rheims, Amiens and Cologne, while English cathedrals provided the source for the nave design. After this project, Italian Gothic and Romanesque buildings began to be more of a source for Renwick’s designs and he used a variety of “richly colored, highly textured materials providing dazzling polychromatic effects.” More concerned with a synthesis of form and fabric than stylistic purity, in the Clinton Avenue Congregational Church, Renwick set round-arched Romanesque windows into a Gothic Revival style building (1854-55, Brooklyn), while in his Church of the Covenant (1863-65) he used stone of alternating colors to outline the arched window openings, with a rose window and gables at all the roof terminations.

 

At St. Bartholomew’s Church (1871-72, a designated New York City Landmark) Renwick lavishly used polychromy inside and out in a style that has been described variously as “Lombardo-Gothic,” “Byzantine,” and “Italian Romanesque.” St. Ann’s Episcopal Church in Brooklyn (1868-69, a designated New York City Landmark) is an exemplary version of the finely-detailed, elaborately decorated High Victorian Gothic style advocated by John Ruskin. The brownstone walls are contrasted strongly with white stone bands which give a distinctly horizontal emphasis to the design. The Church of All Saints is in this same tradition.

 

In addition to ecclesiastical work, Renwick supplied designs for numerous types of buildings executed in a wide variety of styles. Among these, the most well-known of Renwick’s work is the symmetrical, Gothic Revival style Smithsonian Institution building in Washington, D.C., for which he won the design competition in 1846. Inspired by the work on the new Louvre in Paris, he worked in the Second Empire or “Modern French” style to create the Corcoran Gallery in Washington (1859-61 and 1870-71), later renamed the Renwick Gallery, where he was able to fully integrate the complex decorative and spatial characteristics of the new style.

 

His residential work included a Romanesque Revival style house for his parents on lower Fifth Avenue (demolished), a simple Gothic style cottage (West Haven, Connecticut, 1851), the elaborate mansarded Greystone in Riverdale (for William E. Dodge, 1863-64, a designated New York City Landmark), and an Italianate townhouse at Fifth Avenue and 53 Street (1881-83, for Almy and Frederic Gallatin, demolished).

 

Among his many other designs were several Italianate style hotels from the 1850s (all demolished), the Renaissance Revival style main building of Vassar College in Poughkeepsie, NY (1861-65), and two structures on Blackwell’s Island (Lighthouse 1872, and Smallpox Hospital,1854-56, both designated New York City Landmarks).

 

As Renwick’s architectural practice expanded, especially with the increase in commercial commissions, he could no longer complete all the work himself. In 1858 he joined in partnership with Richard Tylden Auchmuty and two years later he partnered with Joseph Sands. Sands died in 1880 and in 1883 Renwick promoted his wife’s cousin, James Lawrence Aspinwall and William H. Russell to partnerships in the firm, which became Renwick, Aspinwall & Russell. Aspinwall (1854-1936), born in New York City, probably studied under French architect/engineer L. Colian, and had entered Renwick’s office as a draftsman in 1875.

 

William Whetten Renwick (1864-1933), a nephew of James Renwick, Jr., was born in Lenox, Mass., graduated from the Stevens Institute of Technology in 1885 after studying mechanical engineering, and entered the office of his uncle as a draftsman. He was admitted as a junior partner in 1890, and the firm became Renwick, [James Lawrence] Aspinwall & Renwick in 1892. After the senior Renwick's death in 1895, it changed to Renwick, Aspinwall & [Walter T.] Owen, with Aspinwall as senior partner.

 

In his uncle’s office, William Renwick had participated in the design and decoration of several churchs, including All Saints. In his independent practice after 1900, he specialized in ecclesiastical architecture and decoration. Among his major commissions were St. Aloysius (1902-04); All Saints Roman Catholic Church School (1902-04), Grace Church south porch and open-air pulpit (1910), and alterations to the Chantry (1879, Edward T. Potter); and the Cathedral of Saints Peter and Paul, Indianapolis. He is credited with developing the process of “fresco relief,” a type of mural decoration which combined both bas-relief sculpture and painting. All Saints Church has two of these murals, installed in 1918.

 

Gothic Revival Architecture

 

By the mid-nineteenth century in America, most people believed that “Gothic architecture is, in the highest sense, the only Christian architecture.” Whether based on English, French, German or Italian precedents, Gothic forms had become the standard for church building in the United States.

 

This came about due to a confluence of several trends, most notably the popular writings of a group of Anglican religious leaders at Oxford University who formed the Cambridge Camden Society. Writing as part of the Ecclesiological Movement in England in the 1830s, this group advocated “a reform movement in the Anglican Church which called for a return to traditional medieval forms both in ritual and church building” as a response to an increasing secularism within society. In design this meant that anything associated with the previous (eighteenth century) classic period was rejected in favor of nostalgia for an earlier, simpler, and “truer” time, the medieval era, including buildings and furniture in the Gothic style.

 

According to these theorists, the art and architecture of a particular period became associated with the society that created it, such that the “architecture of an age illustrates its inner nature, strengths and weaknesses, and that the architect may influence, for good or bad, the lives of those around him.” Thus art and architecture came to have associations over and above their basic function and these symbolic values took on a dominant role. Roman designs could be acceptable for civic buildings and Greek architecture could be used for courthouses and other buildings associated with democratic institutions. Egyptian designs suggested permanence and were used for jails, and Gothic was for religious buildings.

 

These ideas traveled rapidly across the Atlantic, where they were immediately accepted. Between 1840 and 1845, of the 10 major churches constructed in the United States, nine were in the Gothic Revival style, including Richard Upjohn’s Church of the Ascension (1840-41, 36-38 Fifth Avenue, located within the Greenwich Village Historic District), Christ Church, (1840-41, corner of Clinton and Kane Streets, Brooklyn, located within the Cobble Hill Historic District) and Trinity Church (1839-46, Boadway at Wall Street, a designated New York City Landmark).

 

While many of these churches (including Trinity) reflected the Ecclesiologist’s ideal of the English parish church, James Renwick’s Grace Episcopal Church was an elaborate expression of the later, Decorated Gothic period and showed the influence of the writings of English architect A.W.N. Pugin. Trinity and Grace Churches were extremely influential on subsequent church design and helped promote the English doctrine. Both Upjohn and Renwick were prolific architects, who designed many churches in variations of the Gothic Revival style, and whose work was widely known and emulated. Although Renwick’s earliest designs were more historically accurate, through study and travel abroad he was exposed to work beyond England. He began to incorporate the influences of many different historical precedents and combined them in original ways or made them more elaborate such as the twin-towered St. Patrick’s Cathedral.

 

After mid-century, American designers were less bound by religious doctrine and developed a greater emphasis on picturesque designs, accomplished by a mixing of forms, shapes, materials and textures on a single building. The writings of English critic John Ruskin helped establish the legitimacy of works from other countries beyond England as sources of inspiration, especially Italy, with a resulting interest in polychrome and more elaborate surface decoration. With time, designers worked to ensure that the detailing of a building in a revival style be historically accurate, while combining these details in new and unique ways. Thus “Christian” architecture, associated with the Gothic Revival style, was contrasted with the “pagan” classical traditions. This was especially true of denominations such as Episcopals and Roman Catholics who wanted to emphasize their differences from more evangelical sects.

 

Catholics also needed to adapt the plans of their churches to their particular liturgical needs, which were different from those of the early English churches. This historical melding of styles, planning, and details can be seen in Renwick’s last work, the Roman Catholic Church of All Saints, where he used a plan and surface decoration inspired by twelfth century Italian Gothic churches, combined them with façade details from other locations and eras, and adapted the ensemble for placement on an urban American streetscape, all the while still evoking the religious sentiments intended by the use of the Gothic style.

 

Roman Catholic Church of All Saints

 

A compact structure facing on a narrow side street, the Church of All Saints is a dramatically massed building, with forms derived from numerous sources. According to an article by Montgomery Schuler, it was designed by James Renwick, Jr. in 1875, and finely detailed later by Renwick’s nephew under his supervision.Renwick’s design for the church shares many similarities with the Italian Gothic cathedrals at Sienna, Orvieto, and Florence but it is rendered in more modern materials, rather than multi-colored stone, and is scaled to fit onto a New York street corner. Like the churches at Sienna and Orvieto, the front façade of All Saints has a tripartite division, but the New York church has a single, central entrance set in a molded, pointed archway instead of the three doors of the Italian churches. They all have a large, central traceried rose window above the main entrance.

 

In all of them, the three gabled bays are flanked by narrow piers topped by spires (although the spires were removed on All Saints). The Italian churches have lively facades composed of multi-colored stone and diverse ornamentation. On All Saints Church, the facades have different colors of brick, terra cotta and stone. The gables are faced with terra-cotta panels and projecting stars, and the horizontal bands are either flat or projecting, all working to enhance the textural diversity of the façade. The architectural terra cotta which faces the gables, as well as the spires, the mullions in the rose windows, and other decorative niches and string courses was manufactured by the New York Architectural Terra Cotta Company. Renwick began using architectural terra cotta as a recognizable building material beginning in the 1850s and promoted its use well before it was clearly accepted by many of his fellow architects.

 

Along the nave, the church sets back one bay to a series of round clerestory windows, a very unusual motif on American churches. There are precedents however, in churches in Florence and Bologna, as well as the English Southwell Collegiate Church. The rose window on the front facade has been compared to that in certain French churches, including Reims and Clermont Ferrand. The stained glass in the church was created by Franz Mayer of Munich, a company started in 1847 in Germany by Joseph Gabriel Mayer as the Institute for Christian Art Works. In 1888, they opened a branch in New York to promote their business which had become worldwide.

 

The arms of the transept extend in a multi-angled bay to give further variety and picturesqueness to the side facade. The tower, which is located next to the crossing, originally had a tall, hipped roof and four narrow pinnacles, as on the Siennese cathedral, although the proportions are much shorter. It does retain its horizontal banding, a simplified version of the campanile of the church at Sienna.

 

To the east is a five story rectory. Two bays wide, the entrance is reached by stairs on the eastern bay to a non-historic doorway. The stone and terra-cotta balconies of the second and third stories are fronted by unusual designs which evoke turning wheels. These balconies, as well as the narrow, pointed-arch windows on the second and third stories, and the dormers recall Venetian town houses but with more original details.

 

The school, which was built several years later and was designed by Renwick’s nephew William, continues the Gothic Revival style, but in a simplified, more orderly arrangement. The brick is lighter, and there is more use of plain stone bands. The ornament consists of many similar motifs to those on the church, including the terra-cotta quatrefoil motifs and the geometric light brick designs inset in the brick piers. It is more limited in its application however and is confined to specific areas on the Madison Avenue façade, and above the windows and doors of the first story of the 130Street façade. There are also several instances of the “triangular gable flanked by narrow spires” motif which is used throughout the church.

 

The terra-cotta moldings in ropes and foliate designs used around the main entrance on Madison Avenue are the same as those William Renwick used on St. Aloysius Roman Catholic Church on 132 Street, which he had designed at the same time. A highly embellished screen was built along Madison Avenue, in front of the apse, to connect the church to the new school. Composed of terra-cotta arches on a stone lintel, with a central niche, this area uses many of the same decorative motifs to create a visual as well as a physical link between the two buildings.

 

The school originally extended for four bays along 130 Street, but in 1907, an increasing enrollment created the need for a larger building. An addition was designed by the architectural firm of Neville & Bagge, which had its offices nearby on 125 Street. This architectural partnership was established in 1892 and lasted through the 1920s. They were an extremely prolific firm, known for their apartment and row house designs, which were familiar throughout the Upper West Side, Morningside Heights and Harlem. They added the fifth bay on 130 Street and extended the building back toward the rectory, which is not visible from the street. This bay is similar to the others on130th Street, but has only three windows instead of five, is set off by flanking piers, and extends up through five stories instead of four. A fifth story was also added along the southern half of the roof. This is barely visible over the church but is made evident by the copper screen of gothic arches at the top of the wall.

 

Description

 

Church: The church building fronts onto East 129 Street and extends north along Madison Avenue. Designed in a cruciform plan, the nave and western transept are visible on Madison Avenue, as is the tower, which is located over the crossing. The building retains almost all of its original façade material and details except that the tower and the four spires of the front elevation have been truncated. The building is faced primarily in dark, ironspot brick, with stone, terra-cotta and light brick ornament. Flat bands and string courses of terra cotta ring the building, creating horizontal divisions. The church sits on a raised basement faced with Manhattan schist in a random ashlar pattern and topped by a stone water table. The large basement windows, across open areaways, have brick arches and have been sealed closed. Two historic iron fences, one on each facade, separate the areaways from the sidewalk. The steeply pitched roof is covered with slate and has copper gutters, downspouts and ridgeline.

 

The 129 Street façade is divided into three bays, each flanked by four narrow piers that were originally topped by openwork spires. Each pier is now finished by a sheet metal cap with a hipped roof. The piers are distinguished by sting courses and geometric designs of light-colored brick that are embedded on each of their facades. The two piers closest to the center are taller than the outer ones and near the top of each façade of the taller piers there originally were two lancet openings which are now enclosed by bricks.

 

A short flight of stairs leads to the main entry portal in the center bay. The double wooden doors and transom are intricately carved and deeply recessed beneath a heavily molded entrance porch. Small, non-historic metal and glass light fixtures flank the entry. The arch is framed by a gothic hood resting on stone columns and filled with terra-cotta sexfoils. Terra-cotta crockets emerge from both angles of the hood, which is also crowned by an elaborate extended cross at its peak. Behind and just above the projecting hood is a blind arcade that runs across the central bay. This is topped by a large, traceried rose window featuring sexfoil shapes within it and in its spandrels. The center bay is crowned by a triangular pediment faced with light brick studded with projecting terracotta stars and edged in dark brick. In the center of the gable is a grille in an ovoid-shaped opening, framed by terra cotta. Crockets enhance the edges of the pediment, which is crowned by another cross.

 

The two side bays are identical. On the ground story is a pair of pointed-arch windows filled with traceried stained glass, set on a projecting string course, and topped by a narrow terra-cotta hood molding. A traceried rose window is located above this, framed by a wheel of alternating sections of light and dark brick. The four spandrels around this window are filled by foliate terra-cotta ornament. At the top of the bay is a triangular pediment faced with terra cotta in a diaper pattern with a Star of David in the center. The pediment is enhanced by crockets and a cross at the peak.

 

The nave on Madison Avenue has five bays, separated by projecting wall buttresses. The lower part of the wall is subdivided by horizontal flat terra-cotta bands and projecting string courses. On the main story, each bay has a large, pointed-arch window filled with traceried stained glass, set on a copper sill, crowned by a taller, triangular hood, enhanced by terra-cotta, quatrefoil ornament. The nave sets back one bay above this level, which is capped by a narrow terra-cotta parapet composed of open quatrefoil motifs. The projecting wall buttresses extend above the roofline and culminate in a four-sided gable ending in a pyramid.

 

The clerestory windows are round, traceried openings, similar to those in the side bays of the front. They are set within similar light and dark brick enframents with foliate terra cotta in their spandrels. Wall buttresses continue from below and extend with gabled tops above the terra-cotta parapet, similar to that on the level below. A steeply pitched roof rises over the nave with its ridgeline parallel to Madison Avenue.

 

A gabled entry porch extends from the southernmost bay of the nave, toward Madison Avenue. It is reached by a short flight of stairs that lead to a pair of carved wooden doors. The doors are located within a molded terra-cotta pointed arch set on stone columns. Above the door is terra-cotta quatrefoil ornament and the hood, crowned by a cross. Buttressed piers flank the doorway and are topped by small spires. The gabled end of the porch roof has crockets with an enhanced cross at its crest. The side walls of the porch have two small, pointed arch openings set on a continuous string course. The windows on the southern side have stained glass while those on the northern side have been closed.

 

Toward the northern end of this façade, the western arm of the transept extends toward Madison Avenue. It is composed of five bays that have similar decorative motifs to those on the nave as well as a similar, steeply, pitched and angled roofline. The terra-cotta parapet and wall buttresses are similar to those on the nave. The two bays, which project at right angles from the nave have round traceried windows at the second story. The three angled bays closest to the street have tall, pointed-arch windows filled with traceried stained glass, similar to those on the main story of the nave. At the center bay, this window is enriched by a tall, terra-cotta hood and crowned by a triangular gable and a cross. The gable is faced with terra cotta bearing a five pointed star, and the wall buttresses rise above the cornice line to form spires. At the ground story, two angled, projecting bays adjoin the transept close to Madison Avenue.

 

Both elevations of these bays have a small, pointed-arch window and are topped by a gable enriched by a terra-cotta quatrefoil motif and a copper roof. The front bay of the transept holds a terra-cotta niche flanked by buttressed piers with spires and topped by a pointed arch with crockets and other terra-cotta ornament.

 

North of the transept arm, an angled, multi-bay apse is visible above a highly decorated screen on the ground story. The apse continues the same decorative motifs of tall stained-glass windows in each bay at the clerestory level while beneath it are smaller, stained-glass windows -- two to each bay. Connecting the church to the school building is a screen formed by a series of decorated blind gothic arches in terra cotta set on a waist-high stone string course. At the center is a decorated niche reached by two stairs.

 

Rising beyond the crossing is the bell tower. Square in plan, it is faced with dark brick but is embellished by several horizontal bands of light brick. Each facade has a large, pointed arch opening and the corner piers are buttresses just above where it meets the church. A plain copper cornice completes the tower, which originally had a pointed roof with spires at each corner.

 

School: The school building adjoins the church on its northern façade. The main entrance to the school is centrally located on the Madison Avenue façade, and the building extends for five bays eastward along 130 Street where it is fronted by an historic iron fence. It is faced with orange brick highlighted by light stone and terra cotta and is four stories tall with a flat roof. All of the windows have 1/1 aluminum replacement sash. Numerous stone and terra cotta band courses wrap the building horizontally, on both visible facades.

 

The Madison Avenue façade is three bays wide, formed by two pairs of slightly projecting piers, flanking the central bay and on both ends of the façade. The piers are marked by the continuous band courses and cornices that wrap the building, as well as inset light brick geometric designs similar to those on the piers of the church. The facade is symmetrically arranged around a large gothic portal in the center bay. A pair of non-historic doors are set within an ornate enframement and topped by a highly detailed, molded pointed arch. The painted, terracotta moldings include twisted columns and foliate designs, similar to those on the front façade of St. Aloysius Church on West 132 Street. Two delicate, openwork spires arise from the piers that flank the entrance. The recessed bay to the north of the portal is blank, while that to the south holds a small window enframed by terracotta molding.

 

A terra-cotta cornice bearing quatrefoil motifs runs across the façade, above the main portal. A large pointed arch opening filled with several stained glass windows sits atop this cornice. It has a terra-cotta spandrel and is topped by an ornamented, pointed-arch hood. In each side bay is a niche framed by a terra-cotta gable and spire motif that echoes the main entrance and the roof-level pediment.

 

The front façade is crowned by a terra-cotta cornice above which rises a central gable flanked by two spires. The gable is faced with terra cotta and has a six pointed star in the middle and crockets along the angles. It is crowned by a cross. To each side of this gable, piers rise up above the cornice level. On the southern half of the roof, a copper arcade runs between the gable and the corner pier. The same area on the northern side is enclosed by a wire fence. The copper arcade continues around the corner on the southern façade of the school building. Beneath this cornice the southern façade above the church is mostly blank with a few irregularly placed windows.

 

The school building is five bays wide along 130 Street. All of the bays are identical except the easternmost bay. The building, set on a raised basement with segmentally-arched windows, is separated from it by a flat stone band. Each bay of the first story holds three recessed window openings, set on a continuous stone sill and separated from each other by a brick pier with a terra-cotta capital. Each rectangular window opening is topped by a pointed-arch terra-cotta molding filled with terra-cotta quatrefoil ornament. There is a small grille located beneath each window which is framed by a terra-cotta quatrefoil motif. Similar grilles are located in the spandrel areas between the windows, two to each bay.

 

The second, third and fourth stories have five plain windows in each bay. They are framed by a continuous stone sill and continuous stone lintel above them. Narrow stone piers separate each window, within the bays. Two small grilles are located between each floor. Above the fourth story is a terra-cotta cornice topped by a non-historic iron railing.

 

The easternmost bay is distinguished by two slightly projecting piers on each side that have light brick designs like those on the piers of the church inset in the darker brick. This bay is narrower than the others, with only three windows per floor, and three grilles between each floor. This bay has a gable-fronted fifth story with a single window set on a broad terra-cotta band and capped by a highly ornamented terra-cotta arched hood. The angles of the gable are finished by terra-cotta blocks and the flanking piers have copper caps.

 

The entrance is located on the ground story in the fourth bay from the west. It is comprised of two non-historic metal doors topped by a glass transom painted with the name of the school and fronted by a grille. This entrance is surrounded by a flat rectangular stone enframement with rope moldings and two non-historic light fixtures. Two angels’ heads and wings are located at the outside top corners of this enframent, which is also crowned by a cornice. Above this is a small rectangular window set within an elaborate, terra-cotta arch enriched by foliate and quatrefoil motifs and rope moldings, and flanked by small, elaborate spires.

 

Parish House: The parish house is located just east of the church, facing 129 Street. Two bays wide, it is faced in iron-spot brick, with terra-cotta trim. The entrance is in the eastern bay, reached by two steps up to a wide stoop. The stoop has been refaced, with iron fences atop the side walls. The double, wooden entrance doors are not historic nor is the first story window. Both the window and door are topped by traceried stained glass transoms framed by terra-cotta arched moldings carried on stone columns. The window has a non-historic metal grille in front of it and a non-historic brick wall beneath it. Flat terra-cotta bands run horizontally across the brickwork of the first story. In front of the western bay are steps down to a non-historic basement entrance.

 

The two windows of the second story are fronted by a continuous balcony carried on brackets. The base of the balcony is stone and the brackets are heavily ornamented terra cotta. The front of the balcony is composed of a series of openwork circles in terra cotta that create the impression of rolling wheels. The two original windows have wood-framed and leaded glass, double-hung sash, with pointed-arch transoms. They are set within vertical terra-cotta moldings creating separate areas above the windows that are faced with light brick.

 

The third story has two windows with separate balconies. The windows are plain glass, wood-framed, double-hung sash and the balcony motifs are circular, but different from those on the second story. A terra-cotta molding in a pointed arch motif rises above each window and is filled by terra-cotta ornament. The vertical moldings continue up from the second story on each side of the windows, reaching to the cornice, and framing light brick sections. Two circular disks faced in marble are located above the windows, near the cornice. Terra-cotta quoins finish the eastern edge of the building, on the second and third stories, along with a rope molding running vertically along the edge.

 

Above the third story is an elaborate cornice carried on terra-cotta brackets fronted by heads. The cornice is formed of copper-backed foliate swags and other terra-cotta moldings. A steeply pitched roof rises above the cornice. Two hipped-roof dormers are at the fourth story, with a similar one centered above them, at the fifth story. Each dormer is framed by terra-cotta moldings and is comprised of two narrow, double-hung windows separated by an engaged column and topped by pointed arches and terra-cotta quatrefoil infill. The upper dormer is identical but has been painted black. There is a brick chimney on the eastern side of the building and another one which rises from beyond the ridge of the roof. Terra-cotta tiles edge the sides of the roof, which also has copper gutters and ridge cap.

 

- From the 2007 NYCLPC Landmark Designation Report

GEELONG has claimed the club's ninth premiership with a stunning 38-point Grand Final win against Collingwood.

 

The Cats and the Pies were the two best teams of the season and they played out an epic contest in front of 99,537 fans at the MCG, with Chris Scott's men prevailing 18.11 (119) to 12.9 (81).

 

Geelong eked out a seven-point lead at three-quarter time after a see-sawing third term that saw the lead change hands five times, but in the last quarter the Magpies couldn't go with the Cats, who finished full of running.

 

Jimmy Bartel and Joel Selwood both had an enormous influence around the stoppages and it was Bartel who got the nod for the Norm Smith Medal for his 26-possession, three-goal performance.

 

Tom Hawkins played the game of his career in the absence of James Podsiadly, who was knocked out of the game in the second quarter. After a goalless first half, Hawkins became a focal point when the game was on the line and finished with three goals and gave another to Steve Johnson.

 

Travis Varcoe got his team off to a dream start when he goaled with just 10 seconds on the clock and the Pies had to defend grimly in the opening minutes.

 

The Magpies were able to soak up the early pressure and hit back mainly through Travis Cloke, who proved a handful for Harry Taylor, and hit the front early in the second quarter after trailing by a point at the first break.

 

The Cats lost Podsiadly midway through the second quarter when he was up-ended in a marking contest by Ben Reid, who had spoiled strongly. The Geelong forward crashed to the turf on his right shoulder and he was stretchered from the field, with his spot taken by substitute Mitch Duncan.

 

Scott Pendlebury struggled with a Joel Corey tag early, but he worked into the game well to finish with 33 touches and 10 clearances. He was important in the third quarter when both teams refused to be bowed, but couldn't stop the Cats edging in front.

 

The Pies needed a lift from Brownlow medallist Dane Swan in the last quarter, but Cameron Ling had successfully nullified him all day and he couldn't shake the tag.

 

Johnson, who had been under an injury cloud all week, capped an excellent game with the first goal of the final term and when Bartel pushed that advantage out past four goals the premiership cup was headed back to Geelong for the third time in five years.

 

Scott coached the Cats to a flag in his first year in charge - a feat last accomplished by Alan Joyce at Hawthorn in 1988.

 

Twelve Cats - Bartel, Andrew Mackie, Brad Ottens, James Kelly, Corey, David Wojcinski, Ling, Matthew Scarlett, Paul Chapman, Selwood, Corey Enright and Johnson - are now triple premiership players, while Podsiadly, Tom Lonergan, Duncan, Trent West and Allen Christensen are premiership players for the first time.

 

Collingwood 4.2 9.3 12.6 12.9 (81)

Geelong 4.3 8.6 13.7 18.11 (119)

 

GOALS

Collingwood: Cloke, Krakouer 3, Sidebottom 2, Ball, Johnson, Wellingham, Brown

Geelong: Johnson 4, Hawkins, Bartel, Varcoe 3, Selwood 2, Stokes, Duncan, Ling

 

BEST

Collingwood: Pendlebury, Thomas, Sidebottom, Tarrant, Ball, Brown, Cloke

Geelong: Bartel, Selwood, Hawkins, Ling, Johnson, Chapman, Ottens, Varcoe

 

NORM SMITH MEDALLIST

Jimmy Bartel (Geelong)

 

INJURIES

Collingwood: Nil

Geelong: Podsiadly (shoulder)

 

SUBSTITUTES

Collingwood: Jarryd Blair replaced by Alex Fasolo in the fourth quarter Geelong: James Podsiadly replaced by Mitch Duncan in the second quarter

 

Reports: Nil

 

Umpires: Donlon, Ryan, Rosebury

 

Official crowd: 99,537 at the MCG

Source: en.wikipedia.org/wiki/Philadelphia

 

Philadelphia, commonly referred to as Philly, is the most populous city in the U.S. state of Pennsylvania and the second-most populous city in the Northeast megalopolis and Mid-Atlantic regions after New York City. Philadelphia is known for its extensive contributions to United States history, especially the American Revolution, and served as the nation's capital until 1800. It maintains contemporary influence in business and industry, culture, sports, and music. Philadelphia is the nation's sixth-most populous city with a population of 1,603,797 as of the 2020 census and is the urban core of the larger Delaware Valley (or Philadelphia metropolitan area), the nation's seventh-largest and one of the world's largest metropolitan regions consisting of 6.245 million residents in the metropolitan statistical area and 7.366 million residents in its combined statistical area.

 

Philadelphia was founded in 1682 by William Penn, an English Quaker and advocate of religious freedom. The city served as the capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence following the Revolutionary War. Philadelphia hosted the First Continental Congress in 1774, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, the Battle of Germantown and the siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and it served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 during the construction of the new national capital of Washington, D.C.

 

With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2018, the Philadelphia metropolitan area was the state's largest and nation's ninth-largest metropolitan economy with a gross metropolitan product of US$444.1 billion. The city is home to five Fortune 500 corporate headquarters as of 2022. As of 2023, metropolitan Philadelphia ranks among the top five U.S. venture capital centers, facilitated by its proximity to New York City's entrepreneurial and financial ecosystems. The Philadelphia Stock Exchange, owned by Nasdaq since 2008, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, includes Philadelphia International Airport, and the rapidly-growing PhilaPort seaport. A migration pattern has been established from New York City to Philadelphia by residents opting for a large city with relative proximity and a lower cost of living.

 

Philadelphia is a national cultural center, hosting more outdoor sculptures and murals than any other city in the nation. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest and the world's 45th-largest urban park. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in economic impact to the city and its surrounding Pennsylvania counties.

 

With five professional sports teams and one of the nation's most loyal fan bases, Philadelphia is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.

 

Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places.

 

Source: en.wikipedia.org/wiki/Geno%27s_Steaks

 

Geno's Steaks is a Philadelphia restaurant specializing in cheesesteaks, founded in 1966 by Joey Vento. Geno's is located in South Philadelphia at the intersection of 9th Street and Passyunk Avenue, directly across the street from rival Pat's King of Steaks, which is generally credited with having invented the cheesesteak in 1933. The cheesesteak has since become a signature dish for Philadelphia.

 

The restaurant is known for its distinctive appearance, featuring hundreds of bright neon lights and signs that illuminate the corner of 9th and Passyunk. The establishment operates 24 hours a day, seven days a week, and serves an estimated 30,000 sandwiches per month.

 

Under Geno Vento's leadership, the restaurant underwent a significant renovation in 2016, its first major update in 50 years. The renovation included expanded outdoor seating, updated ordering windows, and new interior designs while maintaining the iconic exterior appearance. The restaurant has been featured in numerous television shows, including appearances on The Tonight Show, Food Network, and Travel Channel programs.

 

Like its rival Pat's, Geno's is known for its specific ordering procedure, where customers are expected to order quickly and with precise terminology: specifying the type of cheese (including "wit" or "witout" onions) and following a particular sequence.

 

Additional Foreign Language Tags:

 

(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"

 

(Pennsylvania) "بنسلفانيا" "宾夕法尼亚州" "Pennsylvanie" "पेंसिल्वेनिया" "ペンシルベニア" "펜실베니아" "Пенсильвания" "Pensilvania"

 

(Philadelphia) "فيلادلفيا" "费城" "Philadelphie" "फिलाडेल्फिया" "フィラデルフィア" "필라델피아" "Филадельфия" "Filadelfia"

The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.

 

The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.

 

Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.

 

Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.

 

The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.

The famous 3,600 seat Chicago Theater is located on North State Street in the Loop area, one block from the river.

 

The theater was built in 1921 by as the flagship for the Balaban and Katz (B&K) group, run by A. J. Balaban, his brother Barney Balaban and partner Sam Katz. It is currently owned by Madison Square Garden Inc., which also runs the famous New York City arena.

 

Standing seven stories tall, it occupies nearly one half of a city block. The exterior of the building is covered in off-white architectural terracotta, while the inside is French Baroque influenced from the Second French Empire.

 

The building was added to the National Register of Historic Places in 1979 and was listed as a Chicago Landmark in 1983. The distinctive Chicago Theatre marquee appears frequently in film, television, artwork, and photography.

 

Public tours are offfered daily to the public during non-show times.

 

June 2014

Illustration of The Armed Man composed by Karl Jenkins

June 2014

Illustration of The Armed Man composed by Karl Jenkins

 

SECTION 1: L'Homme Arme

This piece is based on the 15th century French Renaissance song of the same title. It is thought to have been composed for the lead up to a new crusade against the Turks. It roughly translates to ‘The man, the man, the armed man, the armed man, the armed man should be feared, should be feared. Everywhere it has been proclaimed, that each man shall arm himself, with a coat of iron mail.’ As chainmail is so heavily referenced, I decided to start with this. I went to the National Army Museum in Chelsea and looked at different kinds of uniform and armour, but found most of it was too contemporary for this piece, although much of it was of use for later sections of the scroll. I then went to the Wallace Collection, also in London, and looked particularly at the European armour and chainmail. I drew some examples and wrote notes about which types were particularly useful for the design I wanted to create, so I looked at the 4-1 method of chainmail manufacture, as it was used closest to the time of the song, and also looks aesthetically pleasing. From the 14th century onwards, rivets were used so that the structure of the mail is strong, enabling it to stand the blows of swords and arrows. The repetitive structure of the chainmail links well to the music, as it is a repeated melody. The actual score of the music has repeated motifs, the notes are equidistant and follow a pattern. This instantly made me look into print making, in order to achieve the effect of chainmail and demonstrate my understanding of rhythm in the composition and the music. I also looked into Morse code as this is a typical ‘language’ associated with warfare. However, I found that circles of chainmail was more effective to use when printing. I measured my section of the scroll and found that in order to have a successful pattern, I needed to have each circle roughly 1 inch diameter and a half drop pattern, fitting in with the 4-1 pattern of chainmail. I also used imagery from a famous World War One photograph, showing exhausted soldiers walking in a line. I chose to show just their silhouettes, and to rip the paper to show the damage war has inflicted on them, and to contrast with the cleaner prints of the chainmail.

 

SECTION 2: Adhaan

This piece is the Islamic call to prayer, or Adhaan, sang by a Muezzin soloist. My choir performed this in a church, which gave an interesting contrast to the traditional Christian architecture and imagery, by having this beautiful Arabic voice praising Allah. I went to the V&A museum in London to look at the screens and tiles on display, focusing mainly on geometric repeating patterns. I happened to discover the Jameel Prize exhibition on my way out, which is a collection of modern Islamic art, often inspired by more traditional pieces. One piece was an installation looking at a prayer’s soundwaves, and how the sound looks when printed out. Another looked like a huge, moving machine made up of many different pieces of calligraphy arranged in circles. I found these pieces extremely influential to my work, and used both traditional and contemporary research to develop my own pattern and design for this section. Also, in the summer, I went to an exhibition in Amsterdam on Escher and his works relationship with Islamic art. I found one particular screen that I felt captured the essence of war; the pattern is beautiful, yet the shape used could be seen as an axe, a hammer or another weapon. I tried to replicate the pattern using graph paper, like Islamic architects used when designing their patterns, then used stencil card, string blocks and tracing paper to transfer the design onto the scroll. I also used a photo of a typical Islamic skyline to break up the pattern, and give a border to the two tones used; a sandy earth colour, and grey scale.

 

SECTION 3: Kyrie

Kyrie refers to a lamp lighting ceremony in Jerusalem, so I decided to look at effects of dark and light in contrast. I used ink, paint and charcoal for the dark, and wax, paint and bleach for the light. It reminded me of a quote from Anne Frank, ‘look how this candle both defies and defines the darkness’, which I thought summarises this section perfectly. You cannot have light without dark, just as you cannot have peace without war. This piece is probably the most influenced by my mark making drawings of the music. The direction for the piece is ‘compassionate, pitying’, and I wanted to reflect this in my work. ‘Kyrie eleison’ (lord, have mercy) is the main repeated phrase, which I found had a particular set of marks in my drawing, so I used these lines to represent each time the phrase is sang. When at the V&A I noticed a display highlighting the similarities in a sun motif between a catholic priests robe and an Islamic pattern. I wanted to show that my motif was similar to written Arabic, particularly to the call of prayer. This links Islam and Catholicism in my work, also as the two sections are next to each other. Impressionism was the style I was aiming to reference, as the music is blurred and beautiful, and I wanted to suggest a feeling, rather than state one. Debussy’s view on impressionist music supports my ideas, as he used chords for the colours, and harmonies for tone. Music and art are the same thing, just using different words.

 

SECTION 4: Save Me From Bloody Men

This piece uses text from the Book of Psalms, documenting a plea for God’s help. The piece is sung in the style of a Gregorian Chant, so all male voices (TB) and no orchestra. It is extremely powerful and sounds incredible in a church, as it echoes and creates a feeling of menace and foreboding. The percussion beat at the end made a lot of people jump when we performed it, as it’s incredibly loud and sudden, like a gunshot. I wanted to focus on this key moment, so I looked at William Klein’s Tokyo series of a boxer punching a wall with paint. I wanted to recreate this violence, so made myself a boxing/paint brush, and experimented by listening to the track and punching the wall on the drum beat. I used lots of paint on the glove to give a spattering effect, to show the echo of the music, but also of war. War is not a single clean battle, it is the echoes of conflict that continue the destruction. I used my mark making to describe the voices singing, and found that sharp lines and square shapes worked best for the rich, low tone of the music. It also reminded me of morse code, so I combined some words in code into the marks. I wanted to find a way of incorporating the punch, so I used fragile tissue paper as an overlay. This is in contrast to the strong, thick lines and large punch mark.

 

SECTION 5: Sanctus

This piece is also a part of the traditional Catholic mass, but uses a repeating bass line of ‘Sanctus’ (Holy) as a beat, giving it an ever more sinister and menacing feel as the music goes on. For this reason, I decided to use red paint sparingly at the left side, then more frequently and finally culminating in a frenzy of slashes and spatters. To reference the Catholic roots, I decided to observe church spires, both locally and worldwide, as traditionally these were very high to link God and the congregation, or heaven and earth. This also links to the line ‘Hosannah in excelsis’ which is sudden, loud and high pitched, especially in the part I sing as I am a first soprano. I used very careful observations of church spires and towers to the left, then gradually getting more fractured and shattered as the piece goes on. Both the music and art get steadily more sinister and abstract, giving a sense of unease to the viewer, and suggesting that battle is imminent.

 

SECTION 6: Hymn Before Action

The text from this piece is taken from the first two stanzas of Rudyard Kiplings poem of the same title. The words conjure a lot of imagery surrounding war, preparing for battle and patriarchy. The last line, ‘lord grant us strength to die’ is repeated three times, highlighting the plea and linking to the previous piece, ‘Save Us From Bloody Men’. I have been inspired by ‘The Book Thief’ by Markus Zusak, in which Death, the narrator, describes his experience of war. This book has been very influential, as its descriptions use colour and strong imagery to describe war, rather than conventional writing techniques, for example, ‘A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them. ‘ I wanted my work to give a similar effect; not using figurative studies, instead creating a feeling using colours and shapes. I went to the Wallace Collection and looked at mostly Iranian, Indian and European daggers and swords, both functional and ceremonial. I drew some of these, and found the detail used on these horrific weapons to be incredibly intricate, which caused a juxtaposition of creation and destruction on the same object. There was even a gun, beautifully carved with inlay of gold, pearl and coral, which had a small detail on the barrel of a couple having sexual intercourse. I felt this shocking contrast was important to explore in my work, so experimented by using destructive techniques to create art. Destruction is creation. After all, a drawing is a destroyed pencil and paper. I used a white background of acrylic paint to give a base to this section, as I wanted a greater contrast between black and white, war and peace. I simplified the intricate swords into simpler shapes suitable for printing, and cut stencils. I used black and crimson to symbolise blood, giving the viewer a sense of foreboding about the next section.\

 

SECTION 7: Charge!

I chose to use this piece of music for my final piece because it is central to the message of the music. It is the 7th in 13 songs, so in the middle, and is also the longest and most dramatic. It covers the lead up to battle, preparations and arming, and then the charge, increasing in tempo and volume until 8 drum beats, then a crescendo of screaming. The direction in the music score has no notes; just a written description, ‘sing any notes and randomly gliss. up & down until ‘J’, then hold. Breathe individually as necessary. Convey horror.’ Jenkins culminates this section with an ffff direction for all voices and instruments- very very loud. Then, a roughly 30 second long silence gives time for the audience to reflect, and the echoes to die down. A lone bugler plays ‘The Last Post’ offstage. I left a large space of blank wood to symbolise the silence, then interpreted The Last Post into small black marks around the edge.The other side features camouflage typically used by the French in the Somme in the First World War. Continuing on this theme, I researched the trenches and incorporated a map of Flanders into the left side. This emotionally harrowing piece struck me as something that was not contained in the bounds of the scroll, and therefore I decided to use a larger piece to convey the emotion, horror and overall power that this piece has. I chose a circle because it remarks on the fact that war and peace are a never ending cycle, and that you cannot have one without the other. I also wanted it to look similar to some of the weapons I have been researching, chiefly the shields in the Wallace collection. I noticed that a great deal of them had large spikes pushing out from the centre. From the side, these were sharp and but not particularly menacing; yet from the front on, it seemed that the spike was coming directly at you, giving an extremely threatening feel. I wanted to recreate this feeling of terror when something is advancing straight for you, and so made my own spike for the centre of my shield. I chose a particular shape when creating it, to reference how a crescendo is written in music (<) as this piece continually gets louder towards the climax. I experimented with the Ready Morse method typography to write ‘Charge’ on the spike, and used photograms to capture it. I felt this was appropriate because a photogram switches black and white, light and dark, just as war turns everything on its head. I want the viewer to feel frightened, confused and like they are in the middle of the conflict. For this reason, I chose to incorporate a broken mirror into my design, as the viewer will move along the scroll, feeling somewhat separate from the action, as none of this horror happened in their life. Then, at eye level, a broken mirror puts them directly inside the artwork, and they see that anyone can be affected by war. I broke it because I wanted to explore violence in creation, and the act of smashing something creates a new effect. It also means that the viewer may not initially recognise themselves in the reflection, as they are distorted and manipulated, similar to wars effect on people and nature. Broken mirrors were also used by a group of rebel fighters, The West Side Boys, in the Sierra Leone conflict. They used the mirrors to deflect attention from their positions and confuse the enemy. Additionally, I want to remind people that war is not something separate to humans; it is started, fought and ended by us. Yet the effects of war render us dehumanised. As Death, the narrator of The Book Thief remarks, ‘A small but noteworthy note. I've seen so many young men over the years who think they're running at other young men. They are not. They are running at me.’

 

SECTION 8: Angry Flames

Angry flames was written by Sankichi Toge, who survived the Hiroshima bombings. It documents the destruction he saw, and his feelings. I have always been interested in photojournalism, particularly work by Don McCullin, so decided to research more photos like his. I focused mainly on black and white ones, and most importantly, images that told a story. I compiled all these images using pinterest (www.pinterest.com/pshelleysmith/the-armed-man/ ) and used emulsion printing to capture these on my scroll. This printing technique symbolises the strange effect that the atomic blast had on humans; it would cast a sort of black shadow of their form onto the ground, wherever they fell, as the heat of the explosion was so great. I chose to use white paint to capture the images to contrast with this horrific phenomenon, photographs of this can be seen on my pinterest board. I then used charcoal, as it is burnt wood, to draw a mushroom cloud over the images, and chalk to create highlights. When standing back, the full mushroom cloud is visible, and when up close, the photographs come into focus. This is similar to how the bomb was created; it was designed to destruct, but the true horror is only visible when up close. Photojournalism is the bridge between the victims and the public, just as my work is a bridge between music and art. I also wanted the photos incorporated in my piece to create a sort of memorial to the suffering that was endured in the lead up to each photo, during, and afterwards; not just the subject of the photo but also the photographer, who is often forgotten. A great many journalists risk and sometimes lose their lives to report on conflict.

 

SECTION 9: Torches

This piece has text taken from the Mahabharata, an Indian epic narrative thought to date back to 400BC. It is the longest poem ever written, and documents the conflict of the Kurukshetra War and the fates of the Kaurava and the Pandava princes. This particular section describes animals and humans fleeing from a fire. At the Wallace Collection, I looked at a great deal of armour, particularly European. The helmets were intimidating and dehumanising, showing only a glimpse of eyes beneath a towering mass of metal. They were often distorted and given sharp points and exaggerated features to scare the enemy. Horses were also concealed in this way, given horns or tusks perhaps as weapons, or just decoration. I read poetry documenting the First World War, particularly poems by Wilfred Owen and Siegfried Sassoon. One poem, Mental Cases, compares the soldiers to animals, ‘Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked’ I found this poem extremely powerful and hard hitting, as it shows that war is not a human affair. Therefore I developed unhuman, monstrous creatures to show a more abstract vision of war and destruction, inspired by the helmets, poems and work by Francis Bacon. Another piece that influenced this decision is Guernica by Picasso. The scale of the work is colossal, and must be intimidating to view. I wanted to capture this feeling of discomfort when viewing something truly horrific. I again used charcoal, as it is living flesh destroyed by fire. The majority of this piece of music seems fairly bland in comparison to the other sections; it uses a fairly regular rhythm, and emphasises a few of the phrases, with alto and soprano dominant and occasional use of all four parts. However, at the end, percussion and an ff direction causes the repetition of ‘torches’ to shock the audience. In a way, the slow, chanting rhythm of the rest of the piece bares a contrast to these last few bars, and makes it seem more horrific. A Hindu method of storytelling is to remain completely detached from the story, and let the words speak for themselves. Perhaps Jenkins was using this technique to emphasise the horror.

 

SECTION 10: Agnus Dei

This piece is also based on the traditional catholic mass, where Agnus Dei translates to ‘Lamb of God’. I decided to look at influential figures and words of war, from both sides as it were, so ranging from Hitler to Anne Frank, Gandhi, Churchill, J.F. Kennedy, protesters boards, Wilfred Owen, Vera Brittain, many other war poems, songs, films and books, and even biblical passages. I separated these by having the more destructive, pro war quotes on the left, towards the destruction, and the positive, pacifist ones on the right. I see this section of music as the turning point in the piece, as it begins to introduce a more positive sound, and soft, lilting melody. It reminded me of rivers or the sea, and the marks I made while listening to it also had this look of ripples and swirls. Therefore, I grouped the text in a similar way, sketching out first then filling in the quotes. They do not all read perfectly in order, as I chose to mix them up slightly. This has the effect of showing that after war, even though the right intentions are there, the world is forever in turmoil, and the order of peace cannot be restored.

 

SECTION 11: Now The Guns Have Stopped

The lyrics of this piece were written by Guy Wilson, the master of the Royal Armouries museum, as part of a display on the guilt that was felt by surviving soldiers of WW1. It reminded me of the poetry I had studied from the First World War, and I decided to find out more about this time. I researched uniforms, cap badges, gas masks and memoirs, particularly English ones about guilt and grief. I felt the most powerful imagery of this time was the mass graves in France and Belgium, the rows of white crosses. I decided to draw these recognisable symbols, but do so in a style that was rough and free, rather than perfectly measured crosses. I experimented ways of creating these iconic crosses using a variety of media; I used masking tape, masking fluid and wax to leave areas white, and then a black ink wash, and finally white acrylic paint and bleach to reveal sections. The bleach reacted with the paint to give a rusty red colour, reminding the viewer of blood. The dark ink gives a stark contrast to the sections either side of it, and makes the crosses seem even brighter. Appropriately, this is the 11th section of the music and my artwork.

 

SECTION 12: Benedictus

This piece starts with a long and stunningly beautiful cello solo, with a repeating melody that the choir sings later. However, it also has a sad undertone, specifically when the choir sings ‘Hosanna in Excelsis’. I went to a talk hosted by the Royal British Legion to draw, which had three speakers; a Naval officer from the Cold War, an intelligence worker responsible for electronic CSAR units (combat search and rescue) used from the Vietnamese war up to today’s conflict in Afghanistan. The last speaker impacted me the most, as he was a rear gunner in the RAF. He was 94, yet stood for the duration of his speech, and told many jokes, despite his difficult subject matter. He described his training and first operations, and how he signed up; he went to the registry office, gave his true age, 17, to the officer. The officer told him to walk outside and try again. He came back, said he was 19, and was immediately accepted. I drew him as he spoke, and the sketch that is most poignant in my opinion is the one when he was speaking about the death of his childhood best friend, and his feeling of guilt that he would come home to his family, while at his friend’s house, there would be a feeling of emptiness. His eyes started to water at this point, even after 70 odd years. I felt my drawing captured the beauty and sadness of this piece, and so scaled up and developed the sketch for the final draft of the scroll.

 

SECTION 13: Better Is Peace

The final piece is a reprise of L’Homme Armé, but is in a major key, giving a more positive sound. The lyrics are sometimes replaced with ‘better is peace than always war’, and the piece is sung by soloists and choir SATB. I chose to look at traditional symbols of peace, particularly the dove, as this is used as the album artwork and on posters relating to the music. I looked at symbolism of birds flying upwards to indicate peace, positivity and happiness, and a bird flying down being a bad omen for war, death and destruction. I therefore decided to draw birds. Unfortunately, while I was studying birds, perhaps as another strange moment of fate, my mum ran over a pure white pigeon (by accident). We took it home and I photographed and drew this beautiful and tragic creature, and developed my idea of having two birds in the image; one to the left, dead and seemingly flying down, to indicate the death and destruction that my piece has journeyed through, and a second bird to the right, flying upwards in a burst of light to symbolise the new hope for peace expressed through the lyrics. Between the two, I decided to give a reprise of the chainmail print from the first section, like the reprise in the music, but this time printed using very light grey and pure white. Additionally, I included the marks I made when listening to the piece, this time done in a white oily pencil. The second part of this piece, ‘God shall wipe away all tears…’ strips back the orchestra for the choir to sing a capella in beautiful harmonies. For our performance, the orchestra joined in to sing with us. In the music score, there is an optional solo part at the very end of this piece for the soprano soloist. The official The Armed Man CD does not include this last note, but in our performance, the soloist decided to do it. It is right at the very end, when all other parts gradually fall into a beautiful harmony, one voice soars above the rest, a very pure and high note. This reminded me of the dove flying upwards, and I wanted to recreate this ascent, perhaps to heaven, to peace, and to hope.

Beaver Dam, Gloucester, VA.

Gautama Buddha, also known as Siddhārtha Gautama, Shakyamuni, or simply the Buddha, was a sage on whose teachings Buddhism was founded. He is believed to have lived and taught mostly in northeastern India sometime between the sixth and fourth centuries BCE.

 

The word Buddha means "awakened one" or "the enlightened one". "Buddha" is also used as a title for the first awakened being in a Yuga era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha (Pali sammāsambuddha, Sanskrit samyaksaṃbuddha) of the present age. Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the śramaṇa movement common in his region. He later taught throughout regions of eastern India such as Magadha and Kosala.

 

Gautama is the primary figure in Buddhism and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later.

 

CONTENTS

HISTORICAL SIDDHARTA GAUTAMA

Scholars are hesitant to make unqualified claims about the historical facts of the Buddha's life. Most accept that he lived, taught and founded a monastic order during the Mahajanapada era during the reign of Bimbisara, the ruler of the Magadha empire, and died during the early years of the reign of Ajasattu, who was the successor of Bimbisara, thus making him a younger contemporary of Mahavira, the Jain tirthankara. Apart from the Vedic Brahmins, the Buddha's lifetime coincided with the flourishing of other influential śramaṇa schools of thoughts like Ājīvika, Cārvāka, Jainism, and Ajñana. It was also the age of influential thinkers like Mahavira, Pūraṇa Kassapa , Makkhali Gosāla, Ajita Kesakambalī, Pakudha Kaccāyana, and Sañjaya Belaṭṭhaputta, whose viewpoints the Buddha most certainly must have been acquainted with and influenced by. Indeed, Sariputta and Moggallāna, two of the foremost disciples of the Buddha, were formerly the foremost disciples of Sañjaya Belaṭṭhaputta, the skeptic. There is also evidence to suggest that the two masters, Alara Kalama and Uddaka Ramaputta, were indeed historical figures and they most probably taught Buddha two different forms of meditative techniques. While the general sequence of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" is widely accepted, there is less consensus on the veracity of many details contained in traditional biographies.

 

The times of Gautama's birth and death are uncertain. Most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE. More recently his death is dated later, between 411 and 400 BCE, while at a symposium on this question held in 1988, the majority of those who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death. These alternative chronologies, however, have not yet been accepted by all historians.

 

The evidence of the early texts suggests that Siddhārtha Gautama was born into the Shakya clan, a community that was on the periphery, both geographically and culturally, of the northeastern Indian subcontinent in the 5th century BCE. It was either a small republic, in which case his father was an elected chieftain, or an oligarchy, in which case his father was an oligarch. According to the Buddhist tradition, Gautama was born in Lumbini, nowadays in modern-day Nepal, and raised in the Shakya capital of Kapilavastu, which may have been in either present day Tilaurakot, Nepal or Piprahwa, India. He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, and died in Kushinagar.

 

No written records about Gautama have been found from his lifetime or some centuries thereafter. One Edict of Asoka, who reigned from circa 269 BCE to 232 BCE, commemorates the Emperor's pilgrimage to the Buddha's birthplace in Lumbini. Another one of his edicts mentions several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Maurya era and which may be the precursors of the Pāli Canon. The oldest surviving Buddhist manuscripts are the Gandhāran Buddhist texts, reported to have been found in or around Haḍḍa near Jalalabad in eastern Afghanistan and now preserved in the British Library. They are written in the Gāndhārī language using the Kharosthi script on twenty-seven birch bark manuscripts and date from the first century BCE to the third century CE.

 

TRADITIONAL BIOGRAPHIES

BIOGRAPHICAL SOURCES

The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā. Of these, the Buddhacarita is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE. The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE. The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra, and various Chinese translations of this date between the 3rd and 6th century CE. The Nidānakathā is from the Theravada tradition in Sri Lanka and was composed in the 5th century by Buddhaghoṣa.

 

From canonical sources, the Jataka tales, the Mahapadana Sutta (DN 14), and the Achariyabhuta Sutta (MN 123) which include selective accounts that may be older, but are not full biographies. The Jātakas retell previous lives of Gautama as a bodhisattva, and the first collection of these can be dated among the earliest Buddhist texts. The Mahāpadāna Sutta and Achariyabhuta Sutta both recount miraculous events surrounding Gautama's birth, such as the bodhisattva's descent from the Tuṣita Heaven into his mother's womb.

 

NATURE OF TRADITIONAL DEPICTIONS

In the earliest Buddhists texts, the nikāyas and āgamas, the Buddha is not depicted as possessing omniscience (sabbaññu) nor is he depicted as being an eternal transcendent (lokottara) being. According to Bhikkhu Analayo, ideas of the Buddha's omniscience (along with an increasing tendency to deify him and his biography) are found only later, in the Mahayana sutras and later Pali commentaries or texts such as the Mahāvastu. In the Sandaka Sutta, the Buddha's disciple Ananda outlines an argument against the claims of teachers who say they are all knowing while in the Tevijjavacchagotta Sutta the Buddha himself states that he has never made a claim to being omniscient, instead he claimed to have the "higher knowledges" (abhijñā). The earliest biographical material from the Pali Nikayas focuses on the Buddha's life as a śramaṇa, his search for enlightenment under various teachers such as Alara Kalama and his forty five year career as a teacher.

 

Traditional biographies of Gautama generally include numerous miracles, omens, and supernatural events. The character of the Buddha in these traditional biographies is often that of a fully transcendent (Skt. lokottara) and perfected being who is unencumbered by the mundane world. In the Mahāvastu, over the course of many lives, Gautama is said to have developed supra-mundane abilities including: a painless birth conceived without intercourse; no need for sleep, food, medicine, or bathing, although engaging in such "in conformity with the world"; omniscience, and the ability to "suppress karma". Nevertheless, some of the more ordinary details of his life have been gathered from these traditional sources. In modern times there has been an attempt to form a secular understanding of Siddhārtha Gautama's life by omitting the traditional supernatural elements of his early biographies.

 

Andrew Skilton writes that the Buddha was never historically regarded by Buddhist traditions as being merely human:

It is important to stress that, despite modern Theravada teachings to the contrary (often a sop to skeptical Western pupils), he was never seen as being merely human. For instance, he is often described as having the thirty-two major and eighty minor marks or signs of a mahāpuruṣa, "superman"; the Buddha himself denied that he was either a man or a god; and in the Mahāparinibbāna Sutta he states that he could live for an aeon were he asked to do so.The ancient Indians were generally unconcerned with chronologies, being more focused on philosophy. Buddhist texts reflect this tendency, providing a clearer picture of what Gautama may have taught than of the dates of the events in his life. These texts contain descriptions of the culture and daily life of ancient India which can be corroborated from the Jain scriptures, and make the Buddha's time the earliest period in Indian history for which significant accounts exist. British author Karen Armstrong writes that although there is very little information that can be considered historically sound, we can be reasonably confident that Siddhārtha Gautama did exist as a historical figure. Michael Carrithers goes a bit further by stating that the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true.

 

BIOGRAPHY

CONCEPTION AND BIRTH

The Buddhist tradition regards Lumbini, in present-day Nepal to be the birthplace of the Buddha. He grew up in Kapilavastu. The exact site of ancient Kapilavastu is unknown. It may have been either Piprahwa, Uttar Pradesh, present-day India, or Tilaurakot, present-day Nepal. Both places belonged to the Sakya territory, and are located only 15 miles apart from each other.

 

Gautama was born as a Kshatriya, the son of Śuddhodana, "an elected chief of the Shakya clan", whose capital was Kapilavastu, and who were later annexed by the growing Kingdom of Kosala during the Buddha's lifetime. Gautama was the family name. His mother, Maya (Māyādevī), Suddhodana's wife, was a Koliyan princess. Legend has it that, on the night Siddhartha was conceived, Queen Maya dreamt that a white elephant with six white tusks entered her right side, and ten months later Siddhartha was born. As was the Shakya tradition, when his mother Queen Maya became pregnant, she left Kapilvastu for her father's kingdom to give birth. However, her son is said to have been born on the way, at Lumbini, in a garden beneath a sal tree.

 

The day of the Buddha's birth is widely celebrated in Theravada countries as Vesak. Buddha's Birthday is called Buddha Purnima in Nepal and India as he is believed to have been born on a full moon day. Various sources hold that the Buddha's mother died at his birth, a few days or seven days later. The infant was given the name Siddhartha (Pāli: Siddhattha), meaning "he who achieves his aim". During the birth celebrations, the hermit seer Asita journeyed from his mountain abode and announced that the child would either become a great king (chakravartin) or a great sadhu. By traditional account, this occurred after Siddhartha placed his feet in Asita's hair and Asita examined the birthmarks. Suddhodana held a naming ceremony on the fifth day, and invited eight Brahmin scholars to read the future. All gave a dual prediction that the baby would either become a great king or a great holy man. Kondañña, the youngest, and later to be the first arhat other than the Buddha, was reputed to be the only one who unequivocally predicted that Siddhartha would become a Buddha.

 

While later tradition and legend characterized Śuddhodana as a hereditary monarch, the descendant of the Suryavansha (Solar dynasty) of Ikṣvāku (Pāli: Okkāka), many scholars think that Śuddhodana was the elected chief of a tribal confederacy.

 

Early texts suggest that Gautama was not familiar with the dominant religious teachings of his time until he left on his religious quest, which is said to have been motivated by existential concern for the human condition. The state of the Shakya clan was not a monarchy, and seems to have been structured either as an oligarchy, or as a form of republic. The more egalitarian gana-sangha form of government, as a political alternative to the strongly hierarchical kingdoms, may have influenced the development of the śramanic Jain and Buddhist sanghas, where monarchies tended toward Vedic Brahmanism.

 

EARLY LIFE AND MARRIAGE

Siddhartha was brought up by his mother's younger sister, Maha Pajapati. By tradition, he is said to have been destined by birth to the life of a prince, and had three palaces (for seasonal occupation) built for him. Although more recent scholarship doubts this status, his father, said to be King Śuddhodana, wishing for his son to be a great king, is said to have shielded him from religious teachings and from knowledge of human suffering.

 

When he reached the age of 16, his father reputedly arranged his marriage to a cousin of the same age named Yaśodharā (Pāli: Yasodharā). According to the traditional account, she gave birth to a son, named Rāhula. Siddhartha is said to have spent 29 years as a prince in Kapilavastu. Although his father ensured that Siddhartha was provided with everything he could want or need, Buddhist scriptures say that the future Buddha felt that material wealth was not life's ultimate goal.

 

RENUNCIATION AND ASCETIC LIFE

At the age of 29, the popular biography continues, Siddhartha left his palace to meet his subjects. Despite his father's efforts to hide from him the sick, aged and suffering, Siddhartha was said to have seen an old man. When his charioteer Channa explained to him that all people grew old, the prince went on further trips beyond the palace. On these he encountered a diseased man, a decaying corpse, and an ascetic. These depressed him, and he initially strove to overcome aging, sickness, and death by living the life of an ascetic.

 

Accompanied by Channa and riding his horse Kanthaka, Gautama quit his palace for the life of a mendicant. It's said that, "the horse's hooves were muffled by the gods" to prevent guards from knowing of his departure.

 

Gautama initially went to Rajagaha and began his ascetic life by begging for alms in the street. After King Bimbisara's men recognised Siddhartha and the king learned of his quest, Bimbisara offered Siddhartha the throne. Siddhartha rejected the offer, but promised to visit his kingdom of Magadha first, upon attaining enlightenment.

 

He left Rajagaha and practised under two hermit teachers of yogic meditation. After mastering the teachings of Alara Kalama (Skr. Ārāḍa Kālāma), he was asked by Kalama to succeed him. However, Gautama felt unsatisfied by the practice, and moved on to become a student of yoga with Udaka Ramaputta (Skr. Udraka Rāmaputra). With him he achieved high levels of meditative consciousness, and was again asked to succeed his teacher. But, once more, he was not satisfied, and again moved on.

 

Siddhartha and a group of five companions led by Kaundinya are then said to have set out to take their austerities even further. They tried to find enlightenment through deprivation of worldly goods, including food, practising self-mortification. After nearly starving himself to death by restricting his food intake to around a leaf or nut per day, he collapsed in a river while bathing and almost drowned. Siddhartha was rescued by a village girl named Sujata and she gave him some payasam (a pudding made from milk and jaggery) after which Siddhartha got back some energy. Siddhartha began to reconsider his path. Then, he remembered a moment in childhood in which he had been watching his father start the season's ploughing. He attained a concentrated and focused state that was blissful and refreshing, the jhāna.

 

AWAKENING

According to the early Buddhist texts, after realizing that meditative dhyana was the right path to awakening, but that extreme asceticism didn't work, Gautama discovered what Buddhists call the Middle Way - a path of moderation away from the extremes of self-indulgence and self-mortification, or the Noble Eightfold Path, as was identified and described by the Buddha in his first discourse, the Dhammacakkappavattana Sutta. In a famous incident, after becoming starved and weakened, he is said to have accepted milk and rice pudding from a village girl named Sujata. Such was his emaciated appearance that she wrongly believed him to be a spirit that had granted her a wish.

 

Following this incident, Gautama was famously seated under a pipal tree - now known as the Bodhi tree - in Bodh Gaya, India, when he vowed never to arise until he had found the truth. Kaundinya and four other companions, believing that he had abandoned his search and become undisciplined, left. After a reputed 49 days of meditation, at the age of 35, he is said to have attained Enlightenment. According to some traditions, this occurred in approximately the fifth lunar month, while, according to others, it was in the twelfth month. From that time, Gautama was known to his followers as the Buddha or "Awakened One" ("Buddha" is also sometimes translated as "The Enlightened One").

 

According to Buddhism, at the time of his awakening he realized complete insight into the cause of suffering, and the steps necessary to eliminate it. These discoveries became known as the "Four Noble Truths", which are at the heart of Buddhist teaching. Through mastery of these truths, a state of supreme liberation, or Nirvana, is believed to be possible for any being. The Buddha described Nirvāna as the perfect peace of a mind that's free from ignorance, greed, hatred and other afflictive states, or "defilements" (kilesas). Nirvana is also regarded as the "end of the world", in that no personal identity or boundaries of the mind remain. In such a state, a being is said to possess the Ten Characteristics, belonging to every Buddha.

 

According to a story in the Āyācana Sutta (Samyutta Nikaya VI.1) - a scripture found in the Pāli and other canons - immediately after his awakening, the Buddha debated whether or not he should teach the Dharma to others. He was concerned that humans were so overpowered by ignorance, greed and hatred that they could never recognise the path, which is subtle, deep and hard to grasp. However, in the story, Brahmā Sahampati convinced him, arguing that at least some will understand it. The Buddha relented, and agreed to teach.

 

FORMATION OF THE SANGHA

After his awakening, the Buddha met Taphussa and Bhallika — two merchant brothers from the city of Balkh in what is currently Afghanistan - who became his first lay disciples. It is said that each was given hairs from his head, which are now claimed to be enshrined as relics in the Shwe Dagon Temple in Rangoon, Burma. The Buddha intended to visit Asita, and his former teachers, Alara Kalama and Udaka Ramaputta, to explain his findings, but they had already died.

 

He then travelled to the Deer Park near Varanasi (Benares) in northern India, where he set in motion what Buddhists call the Wheel of Dharma by delivering his first sermon to the five companions with whom he had sought enlightenment. Together with him, they formed the first saṅgha: the company of Buddhist monks.

 

All five become arahants, and within the first two months, with the conversion of Yasa and fifty four of his friends, the number of such arahants is said to have grown to 60. The conversion of three brothers named Kassapa followed, with their reputed 200, 300 and 500 disciples, respectively. This swelled the sangha to more than 1,000.

 

TRAVELS AND TEACHING

For the remaining 45 years of his life, the Buddha is said to have traveled in the Gangetic Plain, in what is now Uttar Pradesh, Bihar and southern Nepal, teaching a diverse range of people: from nobles to servants, murderers such as Angulimala, and cannibals such as Alavaka. Although the Buddha's language remains unknown, it's likely that he taught in one or more of a variety of closely related Middle Indo-Aryan dialects, of which Pali may be a standardization.

 

The sangha traveled through the subcontinent, expounding the dharma. This continued throughout the year, except during the four months of the Vāsanā rainy season when ascetics of all religions rarely traveled. One reason was that it was more difficult to do so without causing harm to animal life. At this time of year, the sangha would retreat to monasteries, public parks or forests, where people would come to them.

 

The first vassana was spent at Varanasi when the sangha was formed. After this, the Buddha kept a promise to travel to Rajagaha, capital of Magadha, to visit King Bimbisara. During this visit, Sariputta and Maudgalyayana were converted by Assaji, one of the first five disciples, after which they were to become the Buddha's two foremost followers. The Buddha spent the next three seasons at Veluvana Bamboo Grove monastery in Rajagaha, capital of Magadha.

 

Upon hearing of his son's awakening, Suddhodana sent, over a period, ten delegations to ask him to return to Kapilavastu. On the first nine occasions, the delegates failed to deliver the message, and instead joined the sangha to become arahants. The tenth delegation, led by Kaludayi, a childhood friend of Gautama's (who also became an arahant), however, delivered the message.

 

Now two years after his awakening, the Buddha agreed to return, and made a two-month journey by foot to Kapilavastu, teaching the dharma as he went. At his return, the royal palace prepared a midday meal, but the sangha was making an alms round in Kapilavastu. Hearing this, Suddhodana approached his son, the Buddha, saying:

 

"Ours is the warrior lineage of Mahamassata, and not a single warrior has gone seeking alms."

 

The Buddha is said to have replied:

 

"That is not the custom of your royal lineage. But it is the custom of my Buddha lineage. Several thousands of Buddhas have gone by seeking alms."

 

Buddhist texts say that Suddhodana invited the sangha into the palace for the meal, followed by a dharma talk. After this he is said to have become a sotapanna. During the visit, many members of the royal family joined the sangha. The Buddha's cousins Ananda and Anuruddha became two of his five chief disciples. At the age of seven, his son Rahula also joined, and became one of his ten chief disciples. His half-brother Nanda also joined and became an arahant.

 

Of the Buddha's disciples, Sariputta, Maudgalyayana, Mahakasyapa, Ananda and Anuruddha are believed to have been the five closest to him. His ten foremost disciples were reputedly completed by the quintet of Upali, Subhoti, Rahula, Mahakaccana and Punna.

 

In the fifth vassana, the Buddha was staying at Mahavana near Vesali when he heard news of the impending death of his father. He is said to have gone to Suddhodana and taught the dharma, after which his father became an arahant.The king's death and cremation was to inspire the creation of an order of nuns. Buddhist texts record that the Buddha was reluctant to ordain women. His foster mother Maha Pajapati, for example, approached him, asking to join the sangha, but he refused. Maha Pajapati, however, was so intent on the path of awakening that she led a group of royal Sakyan and Koliyan ladies, which followed the sangha on a long journey to Rajagaha. In time, after Ananda championed their cause, the Buddha is said to have reconsidered and, five years after the formation of the sangha, agreed to the ordination of women as nuns. He reasoned that males and females had an equal capacity for awakening. But he gave women additional rules (Vinaya) to follow.

 

MAHAPARINIRVANA

According to the Mahaparinibbana Sutta of the Pali canon, at the age of 80, the Buddha announced that he would soon reach Parinirvana, or the final deathless state, and abandon his earthly body. After this, the Buddha ate his last meal, which he had received as an offering from a blacksmith named Cunda. Falling violently ill, Buddha instructed his attendant Ānanda to convince Cunda that the meal eaten at his place had nothing to do with his passing and that his meal would be a source of the greatest merit as it provided the last meal for a Buddha. Mettanando and Von Hinüber argue that the Buddha died of mesenteric infarction, a symptom of old age, rather than food poisoning. The precise contents of the Buddha's final meal are not clear, due to variant scriptural traditions and ambiguity over the translation of certain significant terms; the Theravada tradition generally believes that the Buddha was offered some kind of pork, while the Mahayana tradition believes that the Buddha consumed some sort of truffle or other mushroom. These may reflect the different traditional views on Buddhist vegetarianism and the precepts for monks and nuns.

 

Waley suggests that Theravadin's would take suukaramaddava (the contents of the Buddha's last meal), which can translate as pig-soft, to mean soft flesh of a pig. However, he also states that pig-soft could mean "pig's soft-food", that is, after Neumann, a soft food favoured by pigs, assumed to be a truffle. He argues (also after Neumann) that as Pali Buddhism was developed in an area remote to the Buddha's death, the existence of other plants with suukara- (pig) as part of their names and that "(p)lant names tend to be local and dialectical" could easily indicate that suukaramaddava was a type of plant whose local name was unknown to those in the Pali regions. Specifically, local writers knew more about their flora than Theravadin commentator Buddhaghosa who lived hundreds of years and kilometres remote in time and space from the events described. Unaware of an alternate meaning and with no Theravadin prohibition against eating animal flesh, Theravadins would not have questioned the Buddha eating meat and interpreted the term accordingly.

 

Ananda protested the Buddha's decision to enter Parinirvana in the abandoned jungles of Kuśināra (present-day Kushinagar, India) of the Malla kingdom. The Buddha, however, is said to have reminded Ananda how Kushinara was a land once ruled by a righteous wheel-turning king that resounded with joy:

 

44. Kusavati, Ananda, resounded unceasingly day and night with ten sounds - the trumpeting of elephants, the neighing of horses, the rattling of chariots, the beating of drums and tabours, music and song, cheers, the clapping of hands, and cries of "Eat, drink, and be merry!"

 

The Buddha then asked all the attendant Bhikkhus to clarify any doubts or questions they had. They had none. According to Buddhist scriptures, he then finally entered Parinirvana. The Buddha's final words are reported to have been: "All composite things (Saṅkhāra) are perishable. Strive for your own liberation with diligence" (Pali: 'vayadhammā saṅkhārā appamādena sampādethā'). His body was cremated and the relics were placed in monuments or stupas, some of which are believed to have survived until the present. For example, The Temple of the Tooth or "Dalada Maligawa" in Sri Lanka is the place where what some believe to be the relic of the right tooth of Buddha is kept at present.

 

According to the Pāli historical chronicles of Sri Lanka, the Dīpavaṃsa and Mahāvaṃsa, the coronation of Emperor Aśoka (Pāli: Asoka) is 218 years after the death of the Buddha. According to two textual records in Chinese (十八部論 and 部執異論), the coronation of Emperor Aśoka is 116 years after the death of the Buddha. Therefore, the time of Buddha's passing is either 486 BCE according to Theravāda record or 383 BCE according to Mahayana record. However, the actual date traditionally accepted as the date of the Buddha's death in Theravāda countries is 544 or 545 BCE, because the reign of Emperor Aśoka was traditionally reckoned to be about 60 years earlier than current estimates. In Burmese Buddhist tradition, the date of the Buddha's death is 13 May 544 BCE. whereas in Thai tradition it is 11 March 545 BCE.

 

At his death, the Buddha is famously believed to have told his disciples to follow no leader. Mahakasyapa was chosen by the sangha to be the chairman of the First Buddhist Council, with the two chief disciples Maudgalyayana and Sariputta having died before the Buddha.

 

While in the Buddha's days he was addressed by the very respected titles Buddha, Shākyamuni, Shākyasimha, Bhante and Bho, he was known after his parinirvana as Arihant, Bhagavā/Bhagavat/Bhagwān, Mahāvira, Jina/Jinendra, Sāstr, Sugata, and most popularly in scriptures as Tathāgata.

 

BUDDHA AND VEDAS

Buddha's teachings deny the authority of the Vedas and consequently [at least atheistic] Buddhism is generally viewed as a nāstika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.

 

RELICS

After his death, Buddha's cremation relics were divided amongst 8 royal families and his disciples; centuries later they would be enshrined by King Ashoka into 84,000 stupas. Many supernatural legends surround the history of alleged relics as they accompanied the spread of Buddhism and gave legitimacy to rulers.

 

PHYSICAL CHARACTERISTICS

An extensive and colorful physical description of the Buddha has been laid down in scriptures. A kshatriya by birth, he had military training in his upbringing, and by Shakyan tradition was required to pass tests to demonstrate his worthiness as a warrior in order to marry. He had a strong enough body to be noticed by one of the kings and was asked to join his army as a general. He is also believed by Buddhists to have "the 32 Signs of the Great Man".

 

The Brahmin Sonadanda described him as "handsome, good-looking, and pleasing to the eye, with a most beautiful complexion. He has a godlike form and countenance, he is by no means unattractive." (D, I:115)

 

"It is wonderful, truly marvellous, how serene is the good Gotama's appearance, how clear and radiant his complexion, just as the golden jujube in autumn is clear and radiant, just as a palm-tree fruit just loosened from the stalk is clear and radiant, just as an adornment of red gold wrought in a crucible by a skilled goldsmith, deftly beaten and laid on a yellow-cloth shines, blazes and glitters, even so, the good Gotama's senses are calmed, his complexion is clear and radiant." (A, I:181)

 

A disciple named Vakkali, who later became an arahant, was so obsessed by the Buddha's physical presence that the Buddha is said to have felt impelled to tell him to desist, and to have reminded him that he should know the Buddha through the Dhamma and not through physical appearances.

 

Although there are no extant representations of the Buddha in human form until around the 1st century CE (see Buddhist art), descriptions of the physical characteristics of fully enlightened buddhas are attributed to the Buddha in the Digha Nikaya's Lakkhaṇa Sutta (D, I:142). In addition, the Buddha's physical appearance is described by Yasodhara to their son Rahula upon the Buddha's first post-Enlightenment return to his former princely palace in the non-canonical Pali devotional hymn, Narasīha Gāthā ("The Lion of Men").

 

Among the 32 main characteristics it is mentioned that Buddha has blue eyes.

 

NINE VIRTUES

Recollection of nine virtues attributed to the Buddha is a common Buddhist meditation and devotional practice called Buddhānusmṛti. The nine virtues are also among the 40 Buddhist meditation subjects. The nine virtues of the Buddha appear throughout the Tipitaka, and include:

 

- Buddho – Awakened

- Sammasambuddho – Perfectly self-awakened

- Vijja-carana-sampano – Endowed with higher knowledge and ideal conduct.

- Sugato – Well-gone or Well-spoken.

- Lokavidu – Wise in the knowledge of the many worlds.

- Anuttaro Purisa-damma-sarathi – Unexcelled trainer of untrained people.

- Satthadeva-Manussanam – Teacher of gods and humans.

- Bhagavathi – The Blessed one

- Araham – Worthy of homage. An Arahant is "one with taints destroyed, who has lived the holy life, done what had to be done, laid down the burden, reached the true goal, destroyed the fetters of being, and is completely liberated through final knowledge."

 

TEACHINGS

TRACING THE OLDEST TEACHINGS

Information of the oldest teachings may be obtained by analysis of the oldest texts. One method to obtain information on the oldest core of Buddhism is to compare the oldest extant versions of the Theravadin Pali Canon and other texts. The reliability of these sources, and the possibility to draw out a core of oldest teachings, is a matter of dispute. According to Vetter, inconsistencies remain, and other methods must be applied to resolve those inconsistencies.

 

According to Schmithausen, three positions held by scholars of Buddhism can be distinguished:

 

"Stress on the fundamental homogeneity and substantial authenticity of at least a considerable part of the Nikayic materials;"

"Scepticism with regard to the possibility of retrieving the doctrine of earliest Buddhism;"

"Cautious optimism in this respect."

 

DHYANA AND INSIGHT

A core problem in the study of early Buddhism is the relation between dhyana and insight. Schmithausen, in his often-cited article On some Aspects of Descriptions or Theories of 'Liberating Insight' and 'Enlightenment' in Early Buddhism notes that the mention of the four noble truths as constituting "liberating insight", which is attained after mastering the Rupa Jhanas, is a later addition to texts such as Majjhima Nikaya 36

 

CORE TEACHINGS

According to Tilmann Vetter, the core of earliest Buddhism is the practice of dhyāna. Bronkhorst agrees that dhyana was a Buddhist invention, whereas Norman notes that "the Buddha's way to release [...] was by means of meditative practices." Discriminating insight into transiency as a separate path to liberation was a later development.

 

According to the Mahāsaccakasutta, from the fourth jhana the Buddha gained bodhi. Yet, it is not clear what he was awakened to. "Liberating insight" is a later addition to this text, and reflects a later development and understanding in early Buddhism. The mentioning of the four truths as constituting "liberating insight" introduces a logical problem, since the four truths depict a linear path of practice, the knowledge of which is in itself not depicted as being liberating:

 

[T]hey do not teach that one is released by knowing the four noble truths, but by practicing the fourth noble truth, the eightfold path, which culminates in right samadhi.

 

Although "Nibbāna" (Sanskrit: Nirvāna) is the common term for the desired goal of this practice, many other terms can be found throughout the Nikayas, which are not specified.

 

According to Vetter, the description of the Buddhist path may initially have been as simple as the term "the middle way". In time, this short description was elaborated, resulting in the description of the eightfold path.

 

According to both Bronkhorst and Anderson, the four truths became a substitution for prajna, or "liberating insight", in the suttas in those texts where "liberating insight" was preceded by the four jhanas. According to Bronkhorst, the four truths may not have been formulated in earliest Buddhism, and did not serve in earliest Buddhism as a description of "liberating insight". Gotama's teachings may have been personal, "adjusted to the need of each person."

 

The three marks of existence may reflect Upanishadic or other influences. K.R. Norman supposes that these terms were already in use at the Buddha's time, and were familiar to his listeners.

 

The Brahma-vihara was in origin probably a brahmanic term; but its usage may have been common to the Sramana traditions.

  

LATER DEVELOPMENTS

In time, "liberating insight" became an essential feature of the Buddhist tradition. The following teachings, which are commonly seen as essential to Buddhism, are later formulations which form part of the explanatory framework of this "liberating insight":

 

- The Four Noble Truths: that suffering is an ingrained part of existence; that the origin of suffering is craving for sensuality, acquisition of identity, and fear of annihilation; that suffering can be ended; and that following the Noble Eightfold Path is the means to accomplish this;

- The Noble Eightfold Path: right view, right intention, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration;

- Dependent origination: the mind creates suffering as a natural product of a complex process.

 

OTHER RELIGIONS

Some Hindus regard Gautama as the 9th avatar of Vishnu. The Buddha is also regarded as a prophet by the Ahmadiyya Muslims and a Manifestation of God in the Bahá'í Faith. Some early Chinese Taoist-Buddhists thought the Buddha to be a reincarnation of Lao Tzu.

 

The Christian Saint Josaphat is based on the Buddha. The name comes from the Sanskrit Bodhisattva via Arabic Būdhasaf and Georgian Iodasaph. The only story in which St. Josaphat appears, Barlaam and Josaphat, is based on the life of the Buddha. Josaphat was included in earlier editions of the Roman Martyrology (feast day 27 November) — though not in the Roman Missal — and in the Eastern Orthodox Church liturgical calendar (26 August).

 

Disciples of the Cao Đài religion worship the Buddha as a major religious teacher. His image can be found in both their Holy See and on the home altar. He is revealed during communication with Divine Beings as son of their Supreme Being (God the Father) together with other major religious teachers and founders like Jesus, Laozi, and Confucius.

 

In the ancient Gnostic sect of Manichaeism the Buddha is listed among the prophets who preached the word of God before Mani.

 

WIKIPEDIA