Monkstown, historically known as Carrickbrennan (Irish: Carraig Bhraonáin), is an area in south Dublin, located in Dun Laoghaire-Rathdown County, Ireland. It is on the coast, between Blackrock and Dún Laoghaire. The DART stations of Seapoint and Salthill and Monkstown serve the area.

 

In 1539, King Henry VIII awarded the Monkstown lands to Sir John Travers, Master of the Ordnance in Ireland. John Travers lived in his Castle at Monkstown from 1557 to his death in 1562 and is buried in the Carrickbrennan Graveyard where the property fell to James Eustace 3rd Viscount Baltinglass through his marriage to Mary Travers. In 1580, the Castle was used as a rebellion stronghold, after which it was awarded to Sir Henry Wallop, Vice-Treasurer of Ireland. The lands were later returned to Mary, the widow Baltinglass, who later married Gerald Alymer. On her death in 1610 the Castle was transferred to the Chevers family through the marriage of Mary Travers's sister Catherine to John Chevers, and the property passed directly to his second son Henry Chevers, who married Catherine, daughter of Sir Richard Fitzwilliam. Henry and Catherine Chevers lived here with their four children (Walter, Thomas, Patrick, Margaret).

 

Upon the death of Henry in 1640, the castle and lands were passed to Walter Cheevers. Walter and family were given command to vacate Monkstown in 1653 by the Cromwellian Commissioners, and transplanted to Killyan, County Galway. In 1660, Walter Chevers was restored to his estate at Monkstown Castle, until his death in 1678.

 

Monkstown was later purchased by Bishop of Armagh Michael Boyle where his son Murragh, Viscount Blessington enlarged the castle making it one of the finest residences.

 

Until about 1800, Monkstown was a rural area of open countryside, dotted here and there with large houses owned by the merchants of Dublin. The Monkstown Church (Church of Ireland) had been built - but was smaller than the present church. Two rivers met in the area now called Pakenham Road. The river known as Micky Briens originated in Sallynoggin. A lake beside Monkstown Castle had one small island. The coastline was ragged and rocky, with a harbour stretching over 100 yards inland at the mouth of the aforementioned rivers, adjacent to the area now occupied by the West Pier. Dun Laoghaire (then called Dunleary, and later Kingstown) was then a small group of houses in the area of the Purty Kitchen, and the present area of Dún Laoghaire was an area of rocky outcrops and later, quarries.

Wednesday, November 18, 1807 was South Dublin's night of disasters. In an horrific storm, two sailing ships, the Rochdale and the Prince of Wales were blown on to the rocks, one at Seapoint and the other at Blackrock. About 400 lives in total were lost on that night, many of them washed up on the shore at Monkstown. The disaster was one of the factors which led to the building of Dun Laoghaire Harbour. Most of the victims were buried in Carrickbrennan Churchyard.

The building of Dun Laoghaire harbour gave an impetus to the area, and Montpelier Terrace was the first of many terraces built in the area. The coming of the railway in 1837 had a much greater impact. Firstly, it changed the topology of the coast, and secondly, it led to Monkstown becoming a commuter suburb of the city of Dublin. Most of the houses along Monkstown Road and the avenues north of that road were constructed over the next 30 years. The maps of 1870 show this phase completed, but the rest of Monkstown consists of mansions surrounded by extensive gardens. For the following 50 years there was little change. The post-war developments of Castle Park, Richmond, Windsor, etc. and the more recent developments of Brook Court, Monkstown Valley, and Carrickbrennan Lawn mean that there is little opportunity for further development.

The diaries of the Rev John Thomas Hynes(1799-1868), a Catholic bishop who retired to Monkstown in 1861-1868 provide a valuable insight into daily life in Monkstown in that period. Hynes lived at Bloomwood, Monkstown Avenue (later renamed as Carrickbrennan Road), and later moved to Uplands, The Hill, Monkstown. The Hynes Diaries recount such details as the coming of gas lighting, the postal and travel facilities, church affairs, and lots of local gossip. The Hynes diaries are now preserved in Melbourne, but the full text has been made available online at www.unisanet.unisa.edu.au/research/condon/Hynes/index.htm

Located in a provincial park between Parsons Pond and Portland Creek just off Route 430 on the Great Northern Peninsula, The Arches is a large block of limestone carved by the action of wind and waves (and ice). A popular attraction during the tourist season, on these days it's just about deserted. It has been very much photographed....but not so much with all that ice in the background. :-) The sun is sinking low on the horizon so the texture of the ice field becomes more evident and takes on a bluish hue.

Located at 31 Prestige Plaza Dr. in Miamisburg, this hotel was built in 1980 and was a Holiday Inn until September 2011 when it changed over to the Wyndham Garden nameplate. This hotel closed in July 2014 and was purchased in December 2014 by the Kettering Health Network.

 

As of mid-November 2015, all that's left of the hotel are the supports and roof of the atrium. In the foreground is a pile of mattresses left behind. In the background, the Kettering Health Network building is towering above the site, almost as if triumphant that it reduced this hotel to nothing.

 

Located on the Pershore Road, two miles south of Birmingham City Centre, Birmingham Wildlife Conservation Park homes a wide range of animals.

Located : Takahama fishing harbor, Wakasa area, Fukui Prefecture.

The John Muir National Historic Site is located in Martinez, in the San Francisco Bay Area, California. It preserves the Italianate Victorian mansion where the naturalist and writer John Muir lived, as well as a nearby 325 acres (132 ha) tract of native oak woodlands and grasslands historically owned by the Muir family. The main site is on the edge of town, in the shadow of State Route 4, also known as the "John Muir Parkway".

 

John Muir’s home was among the grandest of its time, and costing $20,000 to build, an extravagant amount in its day. An article in the Martinez Gazette, written while the house was being constructed, said “with but one or two exceptions, it will be the finest and most complete private residence in the county.”

 

The house, completed in 1882, was built for Dr. John and Louisiana Strentzel, Muir’s parents-in-law. The Strentzels gave their original house to John and his bride Louie as a wedding gift. When Dr. Strentzel died in 1890, the Muirs moved into this house.

 

The seventeen-room home is in the Italianate style of late Victorian architecture, and is constructed mostly of redwood. The architects were Wolfe and Son of San Francisco. The home incorporates key features of the Italianate style, including: a rectangular, symmetrical shape, wide eaves with brackets and cornices, a porch with balustrades, a square cupola and high, double-paned windows with hood moldings.

 

The interior of the 10,000 square-foot house with 12-foot-high ceilings has retained many of its original features, including the Douglas fir floor and black walnut staircase banister. Note the crack in the transom over the front door, which occurred during the Port Chicago explosion of World War II. Phone service was installed in 1884 by Dr. Strentzel, and the house was one of the first in the area to have it (the phone in the downstairs hallway is not original).

 

The house suffered some damage during the 1906 earthquake, including two of the Italian marble fireplaces. Muir replaced the east parlor’s damaged fireplace with a large, Mission style brick one. He described it in a letter to a friend, “In particular I've built a big fireplace, almost suitable for mountaineers, into which I roll a jolly pair of logs two feet in diameter and pile a half dozen smaller ones between and back of them making fires that flame and roar and radiate sunny heat like those we built on the frosty Coyote Meadows above the canyon of the Kern.” (January 7, 1907)

 

Furnishings in the home are from the period, but did not belong to the Muirs or Strentzels. An exception is John Muir’s original desk in his “scribble den,” where he penned most of his published works, including his books—writings that paved the way to preserving our nation’s most beautiful natural lands, or “wild places.”

Upstairs, the small balcony at the end of the hall is where Muir slept on many clear nights, seeming to prefer having the stars over his head to a roof.

 

When John Muir died in 1914 (nine years after his wife), his grown daughters Wanda and Helen sold the house. It remained in the hands of private owners until local citizens (including those who established the John Muir Association) worked for the historic structure’s establishment as a public treasure. The National Park Service bought the house in 1964, along with nine acres of the Muir’s fruit ranch. In 1993, NPS bought an additional 326 acres, known as Mt. Wanda.

 

Next to Alhambra Creek, about a mile from the house, Muir was buried next to his wife on what was once part of the original 2,600-acre ranch.

 

The grounds of the 9 acre main site contain grapevines and an orchard with many types of fruit trees as well as many mature exotic trees from around the world that were growing at the time Muir lived. Also to be found are exhibits and machinery of ranch life in the late 1800's.

A 'must see' on the same property is the preserved Vincente Martinez Adobe home built in 1849.

 

While living here, Muir realized many of his greatest accomplishments, co-founding and serving as the first president of the Sierra Club, in the wake of his battle to prevent Yosemite National Park's Hetch Hetchy Valley from being dammed, playing a prominent role in the creation of several national parks, writing hundreds of newspaper and magazine articles and several books expounding on the virtues of conservation and the natural world, and laying the foundations for the creation of the National Park Service in 1916.

 

The park's museum collection includes historic documents and artifacts that relate to the writing, travels, political activities and daily life of John Muir and his family in Martinez. Significant portions of the collections include over 1,000 plant specimens collected by Muir during his many travels, photographs of his travel, correspondence to and from Muir, books from his personal library, and first editions of his published works. Many of Muir's original items were graciously donated by Muir family members.

 

The collection also includes Victorian era furnishings, clothing, household goods, farm implements, books and textiles that are not unique to Muir or his home; however, these pieces allow us to interpret the day-to-day life on the Martinez fruit ranch. The collections are displayed in the home, carriage house and through exhibitions in the Visitor Center.

 

The Muir house was documented by the Historic American Buildings Survey in 1960.

It became a National Historic Site in 1964, is California Historical Landmark no. 312, and National Historic Landmark, and is on the National Register of Historic Places.

 

In 1988 nearby Mount Wanda Nature Preserve was added to the Historic Site.

Located at 312 Terry Street, this Queen Anne house was built by James Wiggins in 1892, with expansions in 1897 and 1908. It was placed on the National Register of Historic Places in 1985.

 

Longmont, Colorado is a lovely town located on the High Plains of northeastern Boulder County.

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

Located on Cole Street in the heart of the Haight District. This bar, owned by the wonderful Ricci Strieker, opened in 1966 and closed just 20 years ago, but somehow, all the original decor from "The Study" as it was also known, was preserved. The place was packed on June 27.

Located in New Castle, New Hampshire, USA. Built in 1878. It was automated in 1960.

Located on SR 37 between Mcconnelsville and Crooksville Ohio.

Located in northern Antwerp, the Kattendijk dock connects to the Verbindingsdok and Suezdok, which in turn connects to the Amerikadok and Albertdok. It lies in a north-south axis. The Kattendijk dock was excavated and extended in several phases, i.e. from 1860, 1869 to 1881.

The Kattendijk dock is 957 metres long and 140 metres wide, and has a water depth of 7.58m. On the south side of this dock is the London Bridge, a swing bridge. On the north side is the Siberia Bridge, actually two joint bridges, a bascule bridge and a swing bridge on the side of this dock, with a navigation width of 21m.

The new Port House, an amalgamation of an old listed fire station built in 1922 to a design by architect Emiel Van Averbeke and a new building built around and above it, stands on Siberiastraat or Kaai 63 at the northern head of the Kattendijk dock. It is the successor to the old Port House on Entrepotkaai 1. The new building has been the workplace for 500 employees since September 2016

  

Located at the Oklahoma Firefighters Museum in Oklahoma City, OK.

Lungshan Temple is located in the district Manka of Taipei. It was founded in 1738 and dedicated to the Buddhist Goddess of Mercy (Kuan-in in Chinese, or Avalokitesvara in Sanskrit).

 

This temple originated its name from the ancient Lungshan Temple established in Chin-chiang county of Fukien province in the seventh century.Immigrants from the three counties Chin-chiang, Nan-an and Hui-an of Fukien came to Manka in the beginning of the eighteenth century. As they were pious followers of that ancient Lungshan Temple in their home town, they erected this one as a branch temple at Manka and named it after the root temple when they created a new settlement here in Taipei. Lungshan Temple of today is no longer in the original buildings constructed in 1738. It was rebuilt in 1919 and completed in 1924.

 

Lungshan Temple always keeps it nature as a Buddhist temple,but in the course of its development many deities of Taoism were also included. The variety of deities in this temple shows the tolerant mentality of the Chinese people in their religious life.

The present Lungshan Temple consists of three halls: the fore hall, the main hall and the rear hall. The fore hall is used as the entrance and the space for the people to worship. The main hall is in the center of the whole complex with a statue of Kuan-in as the main god of the temple. Kuan-in is enshrined in the center accompanied by another two bodhisattvas, Manjusri at the left and Samantabhadra at the right. The eighteen Arhans are also present on both sides as attendants. When the temple was first established, it was only for the Buddhist deities as the main hall shows. The rear hall was added only around the end of the eighteenth century after Manka was assigned as an official port for the trade with Chuan-chou and Foochou of Fukien in 1792 by the chinese government. As a result of properous business, the merchant guild "Chuan Chiao" of Manka erected the rear hall to venerate their patron Matzu to pray for protection for their safe sailing to China on business. The rear hall is divided into three parts. The center is for the veneration of Matzu as the Goddess of marine voyage. The left is dedicated to the Gods of literature, or patrons of examinations for civil service in old days. The right is for the Lord Kuan, the God of war.

 

If an observer finds too numerous deities crowding in the rear hall, it is because of transfers. In the early years of this century when the government built new streets to reform the city, some temples were destroyed. The statues of the Gods of water and the city god of Tam-sui county were transferred to Lungshan Temple in the rear hall.

 

When they rebuilt Lungshan Temple in 1919, they employed Mr. Wang Yi-shun, a master of temple-building in southern Fukien, as the architect. This temple, therefore, has become a masterpiece of Mr. Wang's in Taiwan. He made it a beautiful temple in large scale decorated with fine stone and wood carvings. The front of the fore hall is covered with stone carvings. The arrangement of beige and dark green granites imported from China and black local andesites immediately gives visitors a beautiful impression of color combination at the first glance, not to mention the nicely carved relief and open works of these stones. The pair of dragon columns standing in front of the central door is cast with bronze. They are the only bronze columns in Taiwan. Two towers respectively for bell and drum are on the east and the west sides of the courtyard between the fore hall and the main hall. They are two-storied buildings with a conic roof in hexagonal shape like a helmet. Under it there skirts a second tier of roof. Each sector of this hexagonal roof in double eaves forms a slope in converse "S" curve. They are the first example of such a roof design introduced into Taiwan. Since the construction was in early part of this century, Mr. Wang already knew something about western architecture. He put small concrete gables on top of the front walls as decorative screens and added Corinthian capitals on some columns as ornaments. These characteristics together make Lungshan Temple a landmark of traditional Chinese architecture of its time in Taiwan.

 

It is well known that the statue of Kuan-in in this temple survived the bombing from the allied aircrafts on 8 June, 1945. Lungshan Temple was bombed on that day. The whole main hall and a part of the right annex were burned out during the air raid, but the statue of Kuan-in in the center of the main hall left intact. This is the most famous manifestation of efficacy of Lungshan Temple.

Being a masterpiece of traditional Chinese architecture and a well-established Buddhist temple in Taipei, the Lungshan Temple of Manka has become a center of people's religious life and a heritage of local culture. The government, therefore, assigned it a historical site of second grade on 19 August, 1985, so that it will be preserved for future generations

 

Located in the heart of America's Latin quarter, Ybor City, Tampa, Florida, is considered America's outstanding Spanish restaurant. It has seven dining rooms and six bars, with accommodations for approximately 1000 people - serving from 8:00 a.m to 2:30 a.m. and features the finest in Latin American supper dancing. Same ownership and location since 1905.

 

Robinson Color Process

CAPA-012071

"The Chippewa County Courthouse is a government building located on Court Street in Sault Ste. Marie, Michigan. It was listed on the National Register of Historic Places in 1984. It is one of the oldest courthouses still in use in Michigan.

 

Chippewa County was split off from Michilimackinaw County (formed from the entire Upper Peninsula and part of the lower) in 1826. Sault Ste. Marie was chosen as the county seat. The Chippewa County Courthouse was built in 1877 for $20,000, using a design by Detroit architect William Scott and his son John. In 1904, a rear addition costing $25,000, designed by R. C. Sweat, was added to the structure. A second addition was constructed in approximately 1930.

 

In the 1980, the courthouse was completely renovated. Paint was stripped off woodwork, new doors and windows were installed, and the face of the tower clock was restored.

 

The Chippewa County Courthouse is a three-story Second Empire built of cut stone. The original courthouse was a rectangular plan; the 1904 addition made the whole structure into a T-plan. The Second Empire architectural style is consistent between the original courthouse and the later additions. The stone walls are two feet (0.61 m) thick, and the building features a contrasting, red-colored stone in beltcourses, quoins, lintels, and entryways. The center entrance is set in a slightly projecting pavilion topped with a pediment. Windows on the first floor have a segmented arch, while second-story windows are elliptically arched. Both the main structure and the clock tower are topped with a mansard roof; the roof was originally covered with slate but is now covered with asphalt shingles. Round windows were added to the mansard roof in 1904.

 

Inside, original stamped tin ceilings are still installed. Pillars inside the courtroom have ornate cast iron capitals, and the radiators are covered with grillwork.

 

Sault Ste. Marie (/ˌsuː seɪnt məˈriː/ SOO-seint-ma-REE) is the only city in, and county seat of, Chippewa County in the U.S. state of Michigan. With a population of 14,144 at the 2010 census, it is the second-most populated city in the Upper Peninsula after Marquette. It is the central city of the Sault Ste. Marie, MI Micropolitan Statistical Area, which encompasses all of Chippewa County and had a population of 38,520 at the 2010 census.

 

Sault Ste. Marie was settled as early as 1668, which makes it Michigan's oldest city and among the oldest cities in the United States. Located at the northeastern edge of the Upper Peninsula, it is separated by the St. Marys River from the much-larger city of Sault Ste. Marie, Ontario. The two are connected by the Sault Ste. Marie International Bridge, which represents the northern terminus of Interstate 75. This portion of the river also contains the Soo Locks, as well as a swinging railroad bridge. The city is also home to Lake Superior State University.

 

For centuries Ojibwe (Chippewa) Native Americans had lived in the area, which they referred to as Baawitigong ("at the cascading rapids"), after the rapids of St. Marys River. French colonists renamed the region Saulteaux ("rapids" in French).

 

In 1668, French missionaries Claude Dablon and Jacques Marquette founded a Jesuit mission at this site. Sault Ste. Marie developed as the fourth-oldest European city in the United States west of the Appalachian Mountains, and the oldest permanent settlement in contemporary Michigan state. On June 4, 1671, Simon-François Daumont de Saint-Lusson, a colonial agent, was dispatched from Quebec to the distant tribes, proposing a congress of Indian nations at the Falls of St. Mary between Lake Huron and Lake Superior. Trader Nicolas Perrot helped attract the principal chiefs, and representatives of 14 Indigenous nations were invited for the elaborate ceremony. The French officials proclaimed France's appropriation of the immense territory surrounding Lake Superior in the name of King Louis XIV.

 

In the 18th century, the settlement became an important center of the fur trade, when it was a post for the British-owned North West Company, based in Montreal. The fur trader John Johnston, a Scots-Irish immigrant from Belfast, was considered the first European settler in 1790. He married a high-ranking Ojibwe woman named Ozhaguscodaywayquay, the daughter of a prominent chief, Waubojeeg. She also became known as Susan Johnston. Their marriage was one of many alliances in the northern areas between high-ranking European traders and Ojibwe. The family was prominent among Native Americans, First Nations, and Europeans from both Canada and the United States. They had eight children who learned fluent Ojibwe, English and French. The Johnstons entertained a variety of trappers, explorers, traders, and government officials, especially during the years before the War of 1812 between Britain and the United States.

 

For more than 140 years, the settlement was a single community under French colonial, and later, British colonial rule. After the War of 1812, a US–UK Joint Boundary Commission finally fixed the border in 1817 between the Michigan Territory of the US and the British Province of Upper Canada to follow the river in this area. Whereas traders had formerly moved freely through the whole area, the United States forbade Canadian traders from operating in the United States, which reduced their trade and disrupted the area's economy. The American and Canadian communities of Sault Ste. Marie were each incorporated as independent municipalities toward the end of the 19th century.

 

As a result of the fur trade, the settlement attracted Ojibwe and Ottawa, Métis, and ethnic Europeans of various nationalities. It was a two-tiered society, with fur traders (who had capital) and their families and upper-class Ojibwe in the upper echelon. In the aftermath of the War of 1812, however, the community's society changed markedly.

 

The U.S. built Fort Brady near the settlement, introducing new troops and settlers, mostly Anglo-American. The UK and the US settled on a new northern boundary in 1817, dividing the US and Canada along St. Mary's River. The US prohibited British fur traders from operating in the United States. After completion of the Erie Canal in New York State in 1825 (expanded in 1832), the number of settlers migrating to Ohio and Michigan increased dramatically from New York and New England, bringing with them the Yankee culture of the Northern Tier. Their numbers overwhelmed the cosmopolitan culture of the earlier settlers. They practiced more discrimination against Native Americans and Métis.

 

The falls proved a choke point for shipping between the Great Lakes. Early ships traveling to and from Lake Superior were portaged around the rapids[8] in a lengthy process (much like moving a house) that could take weeks. Later, only the cargoes were unloaded, hauled around the rapids, and then loaded onto other ships waiting below the rapids. The first American lock, the State Lock, was built in 1855; it was instrumental in improving shipping. The lock has been expanded and improved over the years.

 

In 1900, Northwestern Leather Company opened a tannery in Sault Ste. Marie. The tannery was founded to process leather for the upper parts of shoes, which was finer than that for soles. After the factory closed in 1958, the property was sold to Filborn Limestone, a subsidiary of Algoma Steel Corporation.

 

In March 1938 during the Great Depression, Sophia Nolte Pullar bequeathed $70,000 for construction of the Pullar Community Building, which opened in 1939. This building held an indoor ice rink composed of artificial ice, then a revolutionary concept. The ice rink is still owned by the city." - info from Wikipedia.

 

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located i the heart of downtown Fargo, North Dakota.

 

Portraiture, Commercial, Industrial, and Wedding photographers

Vallepietra is a comune (municipality) in the Province of Rome in the Italian region Lazio, located about 60 km east of Rome.Vallepietra borders the following municipalities: Camerata Nuova, Cappadocia, Filettino, Jenne, Subiaco, Trevi nel Lazio.Vallepietra (825 metres) is encircled from high mountains covered from forests where dominate in the higher zones the beech and the maple tree and in the low part the oak and the elce. Its territory is limited from the mount Tarino (m 1986) that separates it from the territory of Filettino, from the mount Author (m 1853) that it separates it from Camerata and Subiaco, the Capitello that marks the border with Jenne, from the plateau of Faito that limits the borders with Trevi and from the plateau Field of the Stone that separates it from Cappadocia (Abruzzo).

Small country in the valley of the Simbrivio River, affluent of the Aniene, can be caught up both passing for Jenne leaving from Subiaco and for Trevi leaving from Altipiani of Arcinazzo or from Filettino. The small village is rendered famous from the Sanctuary of the Saintest Trinità , that it recalls in the summer period a great number of pilgrims. The Vallepietra name in the ancient documents is called Vallis Pretarum and also Val de Preta: still today the old shepherds and mountain dwellers in call it Valle preta. Its more ancient part is around to the castle and the parochial church, while the modern part stretches to extend towards the road that connect to the Sanctuary. On the main public square, today Italy Public square, rises the parochial church and the rests of a baronial palace, represented currently from the tower and some premises incorporated in the town hall. The palace was wide and it extended to the current buildings of the schools and the municipium, until S. Francisco's square. The tower, restored in recent years, can be considered the symbol of the country; it introduces a square shape, it is high approximately twenty meters and it finishes with the merlons; it in origin was in the center of the palace and served like extreme shelter and defense.

The entrance was situated up, with one small door that gives income to the inside; over the door there is the marble coat of arms of the Caetani of the branch of Filettino, sayings then exactly of the Tower or of Anagni; the origin of this coat of arms is in the year 1299, when Roffredo III Caetani married Giovanna dell'Aquila: in sign of this union the Caetani quartered the white eagles (aquile, in italian) on blue background of dell'Aquila with own two twin waves in field gold. The inner plans of the tower completely are separated. There is a single window that watches the public square, while in sides the characteristic embrasures of defense appear. Currently under the merlons, in the side that regard the church of S. Francisco and in that one turned towards the Italy Public square has been placed the quadrants of the new public clock. The country conserve still two doors: the door of the Sun that opened on the road for Rome and that Neapolitan one on the way for Naples

 

Vallepietra è un comune di 323 abitanti della provincia di Roma. Sorge al centro dell'appennino ad un'altitudine di 824 metri sul livello del mare, arroccato su uno sperone del monte Faito. A meno di 100 metri dal fondo della valle del Simbrivio, è incorniciata dai Monti Simbruini con montagne alte fino a 2000 metri, come i monti Tarino, Tarinello, Autore e Tagliata.Dall'arco montuoso della Valle sorgono numerosissimi torrenti che forniscono acqua a moltissimi comuni, tanto da essere il bacino di sorgenti d'acqua più esteso d'Europa. Il torrente più grande è quello del Simbrivio, che riceve affluenti da tutta la valle e affluisce all'Aniene, che a sua volta solca l'omonima valle, attraversando i comuni di Subiaco, Tivoli e Roma. Una volta la diga Acea navigabile a fondo valle raccoglieva le acque del torrente.Dal fondo valle a 750 metri, interamente coltivato negli 11 secoli dell'esistenza del paese si sale agli 800 metri, arricchiti dal verde dei fitti boschi di latifoglie e conifere, oltre i 1300 metri i fitti boschi lasciano il posto ai radi pascoli erbosi e alle rocce nude rivestite di muschi e licheni.Negli ultimi anni le specie animali stanno nuovamente aumentando grazie allo spopolamento del paese, e all'abbandono delle attività agricole e pastorizie a causa dello sviluppo tecnologico e all'inurbamento nelle città più ambite dagli ex montanari, come Roma e le città dell'agro pontino. Sono presenti mammiferi erbivori come la Marmotta montana ad alte quote, onnivori come il cinghiale e l'orso Marsicano e carnivori come il tasso a fondo valle e il lupo appenninico, sono presenti rapaci come il falco pellegrino, l'aquila reale e la Quagliana dalla coda rossa.

Il monumento più rilevante di Vallepietra è senza dubbio il santuario della Santissima Trinità, probabile insediamento rupestre neolitico, luogo di antico culto popolare collegato agli insediamenti benedettini di Subiaco, ancor oggi mèta di pellegrinaggi di intere comunità - spesso condotti a piedi.

La sua collocazione ne fa il punto di convergenza di antichi percorsi di transumanza che collegavano i territori e le comunità montane di una parte rilevante delle odierne province di Roma e Frosinone, il che spiega la sua perdurante popolarità nonostante l'apparente isolamento del sito.

Ancora oggi il santuario, che è parte di un eremo, è aperto solo dal 1º maggio al 31 ottobre.Il centro del culto popolare è un affresco della Trinità (detta popolarmente "la Santissima") databile attorno al XII secolo, che, come gli altri del santuario e delle sue catacombe, denota forti connotazioni bizantine.

La festa della Santissima è mobile, cadendo la domenica dopo la Pentecoste, cioè circa 2 mesi (8 settimane) dopo Pasqua.

Vallepietra (825 m s.l.m.) è circondata da alte montagne ricoperte da boschi dove dominano nelle zone più alte il faggio e l'acero e nella parte bassa il carpino, la quercia e l'elce. Il suo territorio è limitato dal monte Tarino (m 1986) che lo separa dal territorio di Filettino, dal monte Autore (m 1853) che lo separa da Camerata e da Subiaco, dal Capitello che segna il confine con Jenne, dall'altipiano di Faito che limita i confini con Trevi e dall'altipiano Campo la Pietra che lo separa da Cappadocia (Abruzzo).Piccolo paese nella valle del Fiume Simbrivio, affluente dell'Aniene, può essereraggiunto sia passando per Jenne partendo da Subiaco e sia per Trevi parten do dagli Altipiani d'Arcinazzo o da Filettino. Il paesino è reso famoso dal Santuario della Santissima Trinità, che richiama nel periodo estivo un gran numero di pellegrini. Il nome Vallepietra nei documenti più antichi è chiamato Vallis Pretarum e anche Val de Preta: ancora oggi i vecchi pastori e montanari in dialetto la chiamano Valle preta. La sua parte più antica è intorno al castello ed alla chiesa parrocchiale, mentre la parte moderna tende ad estendersi verso la strada che porta nei pressi del Santuario.

Sulla piazza principale, oggi Piazza Italia, sorgono la chiesa parrocchiale ed i resti di un palazzo baronale, rappresentati attualmente dalla torre e da alcuni locali incorporati nel municipio. Il palazzo era ampio e si estendeva agli attuali edifici delle scuole e del comune, fino a Piazza S. Francesco. La torre, restaurata in questi ultimi anni, può considerarsi il simbolo del paese; presenta una forma quadrata, è alta circa venti metri e termina con i merli; essa in origine era nel centro del palazzo e serviva come estremo rifugio e difesa.

L'entrata era situata in alto, con una piccola porta che dà ingresso all'interno; al di sopra della porta vi è lo stemma marmoreo dei Caetani del ramo di Filettino, detti poi appunto della Torre o di Anagni; l'origine di questo stemma risale al 1299, quando Roffredo III Caetani sposò Giovanna dell'Aquila: in segno di questa unione i Caetani inquartarono le aquile bianche su sfondo azzurro dei dell'Aquila con le proprie due onde gemelle in campo oro. I piani interni della torre sono completamente separati. Vi è una sola finestra che guarda la piazza, mentre nei lati appaiono le caratteristiche feritoie di difesa. Attualmente al di sotto dei merli, nel lato che riguarda la chiesa di S. Francesco e in quello rivolto verso la Piazza Italia sono stati posti i quadranti del nuovo orologio pubblico. Il paese conserva ancora due porte: quella del Sole che si apriva sulla strada per Roma e quella Napoletana sulla via per Napoli; entrambe presentano lateralmente grosse cavità dove entrava il trave per sprangarle dal di dentro.

 

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located at Gravois and Morganford Rd

 

postmarked 1979

Located at 1647 Canton Road, Marietta Ga 30066. Aggressive Beginners Level Pole Dance Tricks 4 & 6 weeks Class Series.

Located in Jubilee Walkway near St Paul's Cathedral, London. Originally unveiled on 4th May 1991 at a memorial to the wartime firefighters in London who lost their lives.. The memorial was rededicated during 2003 as a national tribute to all firefighters who served throughout the United Kingdom during the Second World War and sacrificed their life.

Photo taken in January 2023.

Located to the northeast of the intersection of 2nd (Broadway) and North Main streets behind the Joplin post office, this shell of a depot was built in 1911. The Art Deco style was designed by architect Louis Curtiss, who designed a number of similar-looking depots in the central southern U.S. The structure served the Kansas City Southern and Missouri-Kansas-Texas (MKT or Katy) railroads. It was last used in 1969, and has deteriorated steadily since then.

 

The Joplin Union Depot was listed on the National Register of Historic Places in 1973.

 

Joplin, Missouri is a lovely small city located in the southwestern part of the Show Me State, near to the Kansas and Oklahoma state lines. With around 50,000 residents, it is the largest city in Jasper County (even though the primary county seat is Carthage). Its location along Route 66 has made it an iconic community of the southern Midwest.

Located at the Juvenile Courthouse in Sacramento, CA. This image was edited in Lightroom 5 for the color isolation effect. The vehicle had such a great impact in color it truely didn't need the effect.

"Dufferin Grove is a neighbourhood located in Toronto, Ontario, Canada, west of downtown. The neighbourhood is bordered by Bloor Street West to the north, Ossington Ave to the east, College Street to the south, and Dufferin Street to the west.

 

The neighbourhood is very green, with many trees and some of the largest gardens and yards in Toronto, and it has a very active nightlife, with many "hip" and urban restaurants scattered along Bloor and College. There are also many small independent specialty shops like bakeries, smoothie shops, and bike stores. The main streets of the neighbourhood are Bloor, College and Dufferin Streets. Dufferin, a four-lane arterial, is mostly residential with the exception of the Dufferin Mall on the west side south of Bloor. College Street is a four-lane arterial road, with a mix of commercial storefronts and residences.

 

The neighbourhood is predominantly two or three-storey detached or semi-detached homes at a medium density. The majority of Dufferin Grove houses were built between 1890 and 1930. Dufferin Grove's semi-detached and detached houses are larger than those found in most downtown Toronto neighbourhoods. The architectural style of the homes in Dufferin Grove ranges from early and late Victorian to Edwardian and English Cottage style designs. Dufferin Grove is a popular family-oriented neighbourhood due to the size of the houses and the amenities, including a popular community park, a shopping centre, schools and access to public transit.

 

Dufferin Grove is home to two elementary public schools, Ossington Old Orchard Public School and Dewson Street Junior Public School.

 

Toronto (/təˈrɒntoʊ/ tə-RON-toh; locally [təˈɹɒɾ̃ə] or [ˈtɹɒɾ̃ə]) is the capital city of the Canadian province of Ontario. With a recorded population of 2,794,356 in 2021, it is the most populous city in Canada and the fourth most populous city in North America. The city is the anchor of the Golden Horseshoe, an urban agglomeration of 9,765,188 people (as of 2021) surrounding the western end of Lake Ontario, while the Greater Toronto Area proper had a 2021 population of 6,712,341. Toronto is an international centre of business, finance, arts, sports and culture, and is recognized as one of the most multicultural and cosmopolitan cities in the world.

 

Indigenous peoples have travelled through and inhabited the Toronto area, located on a broad sloping plateau interspersed with rivers, deep ravines, and urban forest, for more than 10,000 years. After the broadly disputed Toronto Purchase, when the Mississauga surrendered the area to the British Crown, the British established the town of York in 1793 and later designated it as the capital of Upper Canada. During the War of 1812, the town was the site of the Battle of York and suffered heavy damage by American troops. York was renamed and incorporated in 1834 as the city of Toronto. It was designated as the capital of the province of Ontario in 1867 during Canadian Confederation. The city proper has since expanded past its original limits through both annexation and amalgamation to its current area of 630.2 km2 (243.3 sq mi).

 

The diverse population of Toronto reflects its current and historical role as an important destination for immigrants to Canada. More than half of residents were born outside of Canada, more than half of residents belong to a visible minority group, and over 200 distinct ethnic origins are represented among its inhabitants. While the majority of Torontonians speak English as their primary language, over 160 languages are spoken in the city. The mayor of Toronto is elected by direct popular vote to serve as the chief executive of the city. The Toronto City Council is a unicameral legislative body, comprising 25 councillors since the 2018 municipal election, representing geographical wards throughout the city.

 

Toronto is a prominent centre for music, theatre, motion picture production, and television production, and is home to the headquarters of Canada's major national broadcast networks and media outlets. Its varied cultural institutions, which include numerous museums and galleries, festivals and public events, entertainment districts, national historic sites, and sports activities, attract over 43 million tourists each year. Toronto is known for its many skyscrapers and high-rise buildings, in particular the tallest free-standing structure on land outside of Asia, the CN Tower.

 

The city is home to the Toronto Stock Exchange, the headquarters of Canada's five largest banks, and the headquarters of many large Canadian and multinational corporations. Its economy is highly diversified with strengths in technology, design, financial services, life sciences, education, arts, fashion, aerospace, environmental innovation, food services, and tourism. Toronto is the third-largest tech hub in North America after Silicon Valley and New York City, and the fastest growing." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

On this trip I had a surprise 4 day layover in Toronto.

 

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Located in the north transept of Well's Cathedral, this is the second-oldest surviving clock in England. The inner mechanism, dated between 1386 and 1392, was replaced in the 19th century, and was eventually moved to the Science Museum in London, where it continues to operate.

Located in the mill at Scotts Mill Park, I wish it could talk and tell us where it has been, who sat in it over the years, what books were read while sitting here, with whom the conversation was held, were children cradled here in loving arms?

Located at Leonard Bus Sales in Bergen, New York

Located at Midwest Transit Equipment in Marshall, MI

Located at Chichen Itza Mexico

Located in New York, this rendering of a Custom Milled Log Home gives you the feeling of rustic comfort and beauty. With a stone fireplace and stone accents, this Log Home Design offers just the right combination of building material to leave viewers breathless.

 

Pictures of this completed log home coming soon.

 

This and many more Log Home Designs can be viewed at PrecisionCraft Log & Timber Homes.

This rustic Post and Beam Log Home features a back porch of stone as well as a proud stone fireplace. A perfect example of a Log Home Masterpiece.

 

Learn more about Post and Beam Homes at: www.precisioncraft.com/LogPostBeamHomes.html

Located in N. Myrtle Beach, SC

Located next to the Hard Rock Cafe in Downtown Detroit, this building looks pretty cool at night. This building's construction was completed in 2003, has 14 stories, and is home to more than 4,000 Compuware employees. This building is located at the corner of Monroe and Woodward. Monroe, during the early part of the 1900's, was the area where a ton of theaters and live performance ( Burlesque ) venues were located. The majority of them closed in the 1940's. They were finally razed in 1988/89. There is still one theater standing on this street ( that hasn't been changed into a parking garage ) , it is still abandoned but hopefully the now City-owned National Theater ( built 1912 ) can be renovated and used.

Parashurameshvara Temple (IAST: Paraśurāmeśvara) also spelt Parsurameswar, located in the East Indian city of Bhubaneswar, the capital of Orissa, is considered the best preserved specimen of an early Orissan Hindu temple dated to the Shailodbhava period between the 7th and 8th centuries CE. The temple is dedicated to the Hindu god Shiva and is one of the oldest existing temples in the state. It is believed to have been built around 650 CE in Nagara style and has all the main features of the pre-10th century Orissan-style temples. The temple is one among the Parashurameshvara group of temples.

 

Parashurameshvara Temple has a vimana, the sanctum, and a bada, the curvilinear spire over its roof, rising to a height of 12.27 m. It is the first temple to have an additional structure called jagamohana, compared to the earlier temples that had only the vimana. Though the temple is dedicated to Shiva, it contains sculpted images of Shakta deities, which are otherwise normally part of Shakta temples. The temple is the first in Bhubaneswar to contain depictions of Saptamatrikas, namely, Chamunda, Varahi, Indrani, Vaishnavi, Kaumari, Shivani and Brahmi. The temple is maintained and administered by the Archaeological Survey of India (ASI) as a ticketed monument. Parashurashtami is the major festival celebrated in the temple during June–July every year. The temple is one of the most prominent tourist attractions in the state of Odisha.

 

HISTORY

Parashurameshvara Temple is one of the Parashurameshvara group of temples, considered to be the oldest temples in Bhubaneswar. Some historians believe Parashurameshvara Temple to have been built in the early 8th century CE., subsequent to the construction of the Satruguneswar, Bharateswar and Lakshmaneswar temples in the late 7th century, although K.C.Panigrahi places the date as 650 CE. Fergusson believed that the temple might have been initiated at around 500 CE. A mid-7th century date is agreed by most scholars based on style and the presence of the eight planets which appear over the door to the inner sanctum as the later temples portray nine.

 

Parashurameshvara Temple was built by the Shailodbhavas, who had Shiva as their family deity. The Shailodbhavas also respected the Shakta deities and depicted Shakta images on the walls of the temple. The temple was repaired in 1903, with some changes in the roof of the inner sanctum, whilst retaining most of the original structure.[7][8] Being located in the eastern coast, Parashurameshvara, like other Orissan temples, was not much affected by Muslim invasions of the 12–13th centuries. In modern times, the temple is maintained and administered by the Archaeological Survey of India (ASI) as a ticketed monument.

 

ARCHITECTURE

The Orissan temples have two parts: the sanctum, called vimana, and a place from where pilgrims view the sanctum, called the jagamohana (hall of worshippers). Parashurameshvara Temple is the first to have this additional structure. The initial deul temples were without the jagamohana as seen in some of the older temples in Bhubaneswar, while the later temples had two additional structures namely nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). The vimana is square in plan and the walls have sections called rathas or pagas. The vimana has a curvilinear tower (called bada) in the form of a pyramid composed of horizontal planes. The sanctum of the temple measures 3 × 3 m from the inside, 6.0 × 6.4 m from the outside and has a height of 12.3 m. Amalaka, a stone disk with ridges on the rim, is placed over the bada of the temple.

 

The jagamohana is rectangular in shape and has a two-element sloping roof with clerestory windows between them. The jagamohana measures 7.6 × 5.6 m from the inside and 8.9 × 8.7 m from the outside. The latticed windows are classified as pata jali where perforations are square or rectangular in shape. In addition, there are trellised windows with slabs of stone sculptures depicting dancers and musicians. Light enters the interior through doors and the latticed windows. The junction of the vimana and the jagmohana is not cleanly built, leading some scholars to postulate that the porch was added at a much later date; however, the primitive connection is attributed to the building technique. The temple was constructed by burying completed portions in inclined layers of earth up which heavy pieces of stone were dragged. The temple is one of the earliest examples of the Nagara style of architecture that emphasises vertical structure, as seen in subsequent temples like Mukteshvara, Lingaraj and Rajarani in Bhubaneswar and the Sun Temple at Konark.

 

The temple contains the earliest representation of a six-armed Mahishamardini (Durga) image. From chest upward the image is sculpted with headdress, karna kundala (ornament), mala (garland) and kankana (anklet). Durga is seen holding a sword in the upper left hand while in the upper right hand, she is seen pressing the face of the demon buffalo. In her left middle hand, she is seen piercing the neck of the demon with a trishula (trident), while in her lower left hand she holds a pointed weapon. In her right middle hand she holds Khetaka while in her lower right hand she holds a bow. A similar image of Durga is found in the Vaital temple, which is a famous Shakta center. Though the temple is a Shaiva shrine, it contains the images of numerous Shakta deities as Parsvadevatas sculpted on its walls. The temple is the first among Bhubaneswar temples to contain Saptamatrika images, a group of seven goddesses. These images are located in between representations of Ganesha and Virabhadra. Except for Ganesha, all other images are depicted with their respective vahanas (vehicles). An eight-armed dancing Ardhanarishvara, an image of Siva-Parvati and the images of Ganga and Yamuna are also found on the wall of the temple. There are also images of Vishnu, Indra, Surya and Yama in the rectangular niches around the base of the porch. A sculpture of Kartikeya riding on his peacock vehicle is present on the southern wall. Other noteworthy carvings are those of Shiva subduing the demon-king Ravana, who is seen trying to uproot Mount Kailasa, the abode of Shiva. Shiva is sculpted as Nataraja in various tandavas (dance poses) in the temple. As with other Orissa temples, the interiors are not sculpted but left plain. Other carvings on the temple depict a variety of fruits, flowers, birds and animals in scenes and parts of designs. A floral motif trailing from the tail of a bird is common between this temple and the ones in Vaital Deula, while a motif of vase and flowers is common between it and the ones in Mukteshvara Temple.

 

There are grotesque figures of vetalas (ghosts) on the pilasters of jaga mohan and on the faces of vimana of the temple. The figures of nagas (snake-man) and their female counterparts nagins and other females show many graceful but chaste poses. Pilgrimage is the theme of many of the scenes on the vimana. The other notable descriptive representation on the vimana is the hunting scene above the central niche on the south side, where stags are depicted running away from a hunter. On the outermost frame around the latticed window of the jaganamohana, delightful scenes of monkeys playing all manners of pranks are depicted. The vimana of the temple is a triratha with a distant semblance of a Pancharatha as evident from the projecting niches flanking the central projection. The bada of the vimana abruptly starts from the talapatna or pavement which consists of three elements instead of the usual five and encloses a parallelepiped instead of the usual cubic sanctum.

 

RELIGIOUS SIGNIFICANCE

Parashurameshvara represents Shiva as the lord of Parashurama, one of the avatars of Vishnu. According to Hindu legend, the temple derives its name from the penance of Parashurama and the resultant grace of Shiva. Parashuramashtami is the major festival celebrated in the temple on the 8th day of Ashadha (June–July) when the festival image of Lingaraj is taken to Parashurameshvara Temple and feasted.

 

Parashurameshvara Temple, along with Rajarani Temple and Vaital Deula, substantiates the existence of the Devadasi tradition during the 7th and 8th centuries CE. Devadasis were girls dedicated to worship and service of a deity or a temple for the rest of their lives and usually enjoyed a high societal status. They were usually transferred to the king's palace and subsequently performed for the general masses.

 

WIKIPEDIA

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Located in the Smokey Mountains National Park Tennessee.

Located in Lavacolla, a town 16 km from Galicia's capital city, Santiago de Compostela

Located in the heart of Alexandria, Kom el-Dikka is an extensive Roman theatrical and residential complex. It includes the only known Roman amphitheater in Egypt, an impressively well-preserved structure composed of thirteen terraces. This was constructed in the traditional Greek style, with a flat stage in the center on the lowest level, and raised rows that ascend in steps surrounding three-quarters of the stage. The bench-style seats are all carved out of white or gray marble except for the first row, which is of red granite. Visitors can see, if they look very closely, the remnants of Roman numerals chiseled into each row. The oldest part of the theater consisted of approximately sixteen or seventeen rows of seats, allowing for an audience of 700 to 800 people. It was eventually expanded to include exclusive boxes on the highest level for the upper echelons of society..Taken @Alexandria, Egypt

Located on the northern slopes of the Greater Caucasus Mountains, Tusheti is bordered by the Russian republics of Chechnya and Dagestan to the north and east, respectively; and by the Georgian historic provinces Kakheti and Pshav-Khevsureti to the south and west, respectively. The population of the area is mainly ethnic Georgians called Tushs or Tushetians (Georgian: tushebi).

Historically, Tusheti comprised four mountain communities: the Tsova (living in the Tsova Gorge), the Gometsari (living along the banks of the Tushetis Alazani River), the Pirikiti (living along the banks of the Pirikitis Alazani River) and the Chaghma, living close to the confluence of the two rivers). Administratively speaking, Tusheti is now part of the raioni of Akhmeta, itself part of Georgia's eastern region of Kakheti. The largest village in Tusheti is Omalo.

[edit]History

   

Typical towers at Dartlo, Tusheti

The area is thought to have long been inhabited by the Tush, a subgroup of Georgians, which themselves divide into two groups- the Chagma-Tush (Georgian name, used for Tush who speak the local Georgian dialect) and Tsova-Tush (Nakh-speaking Tush, better known as Bats or Batsbi). It is uncertain whether ethnic Georgians were there first or whether Bats were.[1] There are two major theories on the origins of the Bats (with various variations).

One is that the Bats are the remnant of a larger Nakh-speaking people. Jaimoukha speculates that they may be descended from the Kakh, a historical people living in Kakheti and Tusheti (who apparently called themselves Kabatsa).[2] However, the belief that the Kakh were originally Nakh is not widely held. The Georgian name for the Bats, the Tsova-Tush, may also (or instead) be linked to the Tsov, a historical Nakh people claimed by the Georgian historian Melikishvilli to have ruled over the Kingdom of Sophene in Urartu (called Tsobena in Georgian) who were apparently forcefully moved to the region around Erebuni, a region linked to Nakh peoples by place names and various historiography.[3][4][5] However, theories linking the Bats to Transcaucasian peoples are not universally accepted (see below).

  

A combat tower, Tusheti

The second theory has it that the Batsbi crossed the Greater Caucasus range from Ingushetia in the seventeenth century and eventually settled in Tusheti,[6][7] and that they are therefore a tribe of Ingush origin which was Christianized and "Georgianized" over the centuries.

King Levan of Kakheti (1520–1574) apparently granted the Bats official ownership of the lands in the Alvani Valley in exchange for their military service.[citation needed] Bats-speaking inhabitants of Tusheti are known to the local Georgians as the Tsova-Tushs, they have a high degree of assimilation and are typically bilingual using both Georgian and their own Bats languages. Nowadays, Bats is spoken only in a village Zemo Alvani. Anthropological studies on the Tsova-Tush found them to be somewhere in between the Chechen-origin Kists and the Chagma-Tush of the region, but significantly closer to the Chagma-Tush.[1]

  

Dartlo Village, Tusheti

  

Dartlo Village, Tusheti

The Bats have considered themselves Georgian by nation for a long period of time, and have been speaking Georgian for a while as well.[8] The process of assimilation of the Bats continues, but many Bats have held on to their language and spoken Georgian as well, accounting for the massive Georgian influence on their language.[citation needed] They are Georgian Orthodox Christians.

Pagan Georgians from Pkhovi took refuge in the uninhabited mountains during their rebellion against Christianization implemented by the Iberian king Mirian III in the 330s. Subsequently, they were forcibly converted to Christianity and subdued by the Georgian kings.[citation needed]

Regarding the relationship between the Nakh (Tsova) and Georgian (Chagma) Tushians, the "Red Book", states the following:

For centuries there have been two communities next to each other in Tushetia, one speaking the Nakh language, the other Old Georgian. The general name for them is tush, according to their language either Tsova- or Chagma-Tushian. They formed one single material and intellectual unit with Old Georgian elements prevailing.

 

The descendants of the Old Georgian pagan tribes, whose ancestors had fled from Christianity to Tushetia, are regarded as Tushians. In the mountains some of the fugitives splintered off from other Old Georgian tribes. They were in close contact with the Nakh tribes which resulted in a new linguistic unit.[1]

After the collapse of the unified Georgian monarchy, Tusheti came under the rule of Kakhetian kings in the fifteenth century.

  

Farsma tower, Tusheti

During the German invasion of Soviet Union, a minor anti-Soviet revolt took place in the area in 1942-1943, seemingly linked to the similar but more large-scale events in the neighbouring Ingushetia.

[edit]Migration to Kakheti

 

Many Tush families began to move southwards from Tusheti during the first half of the nineteenth century and settled in the low-lying fields of Alvan at the western end of Kakheti.

(Alvan had already belonged to the Tush as a wintering-ground for their flocks for centuries; it was bequeathed to them in the seventeenth century in recognition of their valuable assistance in defeating a Persian army at the Battle of Bakhtrioni in 1659: Like a rushing stream did the Toushines make their way into the fortress, while the first rays of the rising sun were falling upon the grim old fortifications. The Tartars, half asleep, ran out into a field, but in vain for now they were met by the Pchaves and Khevsoures, who had ventured out from the gorge of Pankisse. The Tartars, surrounded on all sides, were exterminated to the last.[9])

The first to move were the Bats people following the destruction of one of their most important villages by a landslide in c.1830 and an outbreak of the plague.[10] The Tush of the Chaghma, Pirikiti and Gometsari communities followed later. Many of these families practiced a semi-nomadic way of life, the men spending the summer with the flocks of sheep high up in the mountains between April and October, and wintering their flocks in Kakheti.

Located in the Chattanooga National Cemetery is this 1890 monument to Andrew's Raiders from the Great Locomotive Chase in the Civil War. Atop the monument is a bronze scale model replica of the steam locomotive The General from the chase. Surrounding the monument, Medal of Honor recipients from the Union raid are buried here.

Perfect for brunch this nook is conveniently located next to the kitchen in this timber frame home.

  

Angkor Thom (Khmer: អង្គរធំ; literally: "Great City"), located in present day Cambodia, was the last and most enduring capital city of the Khmer empire. It was established in the late twelfth century by King Jayavarman VII. It covers an area of 9 km², within which are located several monuments from earlier eras as well as those established by Jayavarman and his successors. At the centre of the city is Jayavarman's state temple, the Bayon, with the other major sites clustered around the Victory Square immediately to the north.

 

Angkor Thom was established as the capital of Jayavarman VII's empire, and was the centre of his massive building programme. One inscription found in the city refers to Jayavarman as the groom and the city as his bride.

 

Angkor Thom seems not to be the first Khmer capital on the site, however. Yasodharapura, dating from three centuries earlier, was centred slightly further northwest, and Angkor Thom overlapped parts of it. The most notable earlier temples within the city are the former state temple of Baphuon, and Phimeanakas, which was incorporated into the Royal Palace. The Khmers did not draw any clear distinctions between Angkor Thom and Yashodharapura: even in the fourteenth century an inscription used the earlier name. The name of Angkor Thom—great city—was in use from the 16th century.

 

The last temple known to have been constructed in Angkor Thom was Mangalartha, which was dedicated in 1295. Thereafter the existing structures continued to be modified from time to time, but any new creations were in perishable materials and have not survived. In the following centuries Angkor Thom remained the capital of a kingdom in decline until it was abandoned some time prior to 1609, when an early western visitor wrote of an uninhabited city, "as fantastic as the Atlantis of Plato". It is believed to have sustained a population of 80,000–150,000 people.

Located on Old Church Street, taken on Saturday 15th February. The closure was due to the road being resurfaced

Located in the churchyard of St. Wilfred's church.

 

Originally posted in Guess Where UK (2021 #03).

Located where the Pinto Fault allows groundwater to reach the surface, the Oasis of Mara sustains a dense gathering of life in the arid desert.

NPS/Brad Sutton

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

 

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

 

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

 

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

 

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

 

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

 

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

 

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

 

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

 

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

 

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

 

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

 

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

 

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

 

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

 

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

 

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

 

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

 

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

 

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

 

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

 

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

 

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

 

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

 

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

 

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

 

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

 

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

 

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

 

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

 

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

 

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

 

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

 

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

 

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

 

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

 

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

 

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

 

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

 

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

 

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

 

It is also believed that name Badami has come from colour of its stone (badam - Almond).

 

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

 

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

 

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

 

WIKIPEDIA

The Park of the Alcantara River covers the basin of the Alcantara river located on the northern slopes of the Etna volcano. The source of the river is located in the Nebrodi Mountains near to Floresta. The Alcantara river has a length of around 50 kilometres and, near to the point where it crosses a series of imposing lava flows, the river has created a series of deep gorges characterised by their sheer sides and columns with prismatic bases. The columns surround the walls of the basalt canyon like organ pipes. Inside the gorges small pools and cascades have formed where it is possible to take a swim. Access to the park is located near to Motta Camastra at Fondaco Motta and from this point it is possible to descend into the gorge to the riverbank on foot via a long pathway or, upon payment, via a series of private lifts. In the summer the Circumetnea railway offers a tourist package which includes a guided tour of the Alcantara Gorges. Another feature worthy of a visit are the so-called "Gurne" of small lakes which are formed by the river near to Francavilla di Sicilia.

 

The Alcantara is a river in Sicily. It has its source on the south side of Monti Nebrodi and its mouth in the Ionian Sea at Capo Schiso in Giardini-Naxos. The river is 52 km long.The name Alcantara is of Arabic origin (al Qanţara - the Bridge) and refers to a bridge from Roman times found by the Arabs.Thucydides called it Akesines Potamos while its Latin names were "Assinus or Assinos" and "Onobala".Cantera was another hydronym adopted by Normans.The Alcantara has its source at an altitude of 1250m in the municipality of Floresta. On its way to the sea, past the north of Mount Etna, it flows through the municipalities of Randazzo, Mojo Alcantara, Francavilla di Sicilia, Motta Camastra, Castiglione di Sicilia, Graniti, Gaggi, Calatabiano, Taormina and Giardini-Naxos.Several thousand years ago, the river bed was blocked by a lava flow from Mount Etna. As the lava was cooled much more quickly by the water than it would have done otherwise, it crystallised in the form of columns. Over the next millennia, the river naturally eroded a channel through these columns, resulting in impressive gorges and ravines such as the "Gole dell'Alcantara".

 

Il parco fluviale dell'Alcantara è un parco regionale della Sicilia che è stato istituito nel 2001 al posto della preesistente riserva e comprende quella parte di territorio delle province di Messina e Catania che forma il bacino fluviale del fiume Alcantara, ed è situato nel versante nord dell'Etna, allo scopo di proteggere e promuovere il sistema naturale esistente.La sede del Parco si trova a Francavilla di Sicilia, nella struttura costruita negli anni novanta per ospitare un asilo nido e mai usata.Il territorio attraversato dal fiume Alcantara è di particolare importanza in virtù della sua morfologia creata proprio dallo scorrimento delle acque che lo hanno modellato ed inciso creando, nell'attraversamento di un'imponente serie di colate laviche, in località Fondaco Motta (comune di Motta Camastra) delle suggestive e profonde gole a strapiombo, conosciute come le Gole dell'Alcantara. Insieme ad uno spettacolare succedersi di laghetti e di cascate, di acque freddissime, è possibile osservare le stupefacenti strutture laviche colonnari a base prismatica. Disposte a canne d'organo esse decorano per lunghi tratti le pareti di roccia basaltica. Grazie allo studio di tali strutture i geologi hanno potuto elaborare precisi studi sull'evoluzione del vulcano Etna e sulla successione nel tempo delle sue colate più imponenti.Nel 1493 il Bembo descriveva la valle dell'Alcantara come fitta di boschi di platani, querce, roveri ed olmi. Oggi sopravvivono solo rare tracce di Platanus orientalis, mentre predomina la tipica macchia mediterranea con varie specie di ginestra e la Peonia mascula con la sua infiorescenza rossa. Man mano che si scende di quota fitti boschi di nocciolo si alternano agli agrumeti e ai vigneti da cui si ricava un vino scuro e corposo famoso dall'antichità. Ancora boschetti di quercia e pascoli. In primavera le rive sono tutte un'esplosione cromatica: fioriture di viola, papavero, anemone, mirto, rosa canina, ficodindia, terebinto, oleandro e varie specie di orchidee (tra le altre Anacamptis papilionacea, Ophrys tenthredinifera e Orchis purpurea).

L'avifauna della valle dell'Alcantara è assai varia, circa 200 specie, tra le quali vanno menzionate tra i rapaci il falco pellegrino, il gheppio e il lodolaio, estinto come nidificante il Lanario. Dubbia la presenza del piccione selvatico ben distribuita la tortora selvatica e il martin pescatore fino ai migratori della foce. Non raramente si incontrano anche la coturnice, la garzetta e il corvo imperiale. Altri animali presenti sono la volpe, il gatto selvatico, la martora, e il ghiro; ed ancora il riccio, l'istrice, l'arvicola di Savi e la crocidura siciliana. Presso le rive può trovarsi il discoglosso dipinto, anfibio tipico della Sicilia e il colubro leopardino, un bellissimo rettile raro ed innocuo. Tra le specie ittiche troviamo la trota iridea che in questo particolare corso d'acqua riesce a riprodursi, il triotto, l'anguilla e il ghiozzo.

 

L'Alcantara è un fiume della Sicilia orientale lungo 52 chilometri, tributario del Mar Ionio. Il suo bacino idrico si estende per circa 573 km² nelle province di Messina e di Catania.

L'Alcantara anticamente era chiamato dai Greci Akesines e dai Romani Onobola. Il nome attuale deriva dal termine di origine araba Al qantar (il ponte).Nasce dai Nebrodi a circa 1.400 m dalla Serra Baratta in Provincia di Messina. Dirigendosi impetuoso verso sud entra in Provincia di Catania giungendo in breve nella parte Nord della cittadina di Randazzo: qui muta bruscamente direzione grazie alla "spinta" del suo principale affluente di destra: il fiume Flascio. Rimpinguato notevolmente nella portata dall'affluente l'Alcantara si dirige verso est compiendo praticamente un angolo retto (è da precisare che sulle carte il fiume principale parebbe essere addirittura il Flascio e non l'Alcantara tanto è netto l'angolo di confluenza). Da qui il fiume prende a scorrere tra il massiccio di origine vulcanica del monte Etna a sud e i contrafforti meridionali dei monti Nebrodi e Peloritani a nord, fungendo sino alla foce da confine tra le province di Messina e Catania. Dal comune di Moio Alcantara in poi il fiume inizia a scorrere per lo più incassato, lambendo i centri di Francavilla di Sicilia e Castiglione di Sicilia. Presso Motta Camastra in località Fondaco Motta, dopo aver ricevuto da sinistra il torrente Zavianni, il fiume si inforra in uno spettacolare tratto ingolato costituito da lave basaltiche delle colate dell'Etna, le cosiddette Gole dell'Alcantara, meta assai celebre e frequentata ogni anno da migliaia di turisti. Da Gaggi fino verso Calatabiano il fiume amplia l'alveo per tornare a restringersi in prossimità della foce, nel territorio di Giardini-Naxos, dove solcano le campate del famoso ponte di origine araba Al qantar (il ponte), dal quale derivò il nome di questo meraviglioso corso d'acqua. La foce avviene nel Mar Ionio e precisamente in loc. San Marco.Il letto dell'Alcantara, sotto il profilo vulcanologico, ha visto in epoche preistoriche e protostoriche, il passaggio a più riprese di colate laviche che ne hanno ostruito e modificato il percorso. Il corso d'acqua ha così creato localmente delle caratteristiche forre con pareti alte diverse decine di metri, caratterizzate da strutture a colonne subverticali detta a canna d'organo o leggermente arcuate ad arpa e a ventaglio o disposte orizzontalmente a catasta di legna o, infine, disposte caoticamente e fratturate. Nel comune di Motta Camastra, sul versante Messinese, si trova l'unica grotta di scorrimento vulcanico: difficile da raggiungere ma splendida da ammirare viene chiamata Grotta dei Cento cavalli a testimoniare le sue enormi dimensioni.L'Alcantara è uno dei principali fiumi siciliani per portata media d'acqua in quanto seconda solo a quella del Simeto con circa 9 m³/s. Ove però si considerasse la regolarità di regime delle portate il fiume è sicuramente il primo della regione in quanto assai più regolare rispetto al Simeto. Ciò grazie alla collocazione dell'alto bacino che si estende in una delle aree più piovose della Sicilia unitamente all'approvvigionamento dato dai nevai dell'Etna e al carsismo dei terreni di origine lavica del medio bacino, spiega la sua cospicua portata annua e la presenza di acque anche nel periodo estivo. Non mancano in ogni caso piene eccezionali dovute a piogge insistenti, come avvenuto recentemente nel dicembre 2003, durante le quali l'Alcantara può mostrare un'impressionante irruenza soprattutto nel tratto ingolato.

 

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Town Hall Square (Vienna)

The inner part of the town square

Street sign town square

The Town Hall Square is located in the first District of Vienna, Inner City. It is named after the erected here (new) Vienna City Hall. Due to its size, design and architecture of the buildings bordering the square it is considered one of the most important places in the center of Vienna.

History

Vienna City Hall , View from 1891

In the area of today's town square was once the Josefstädterstraße Glacis, held as a free field of fire meadows before the walls of Vienna, and later the parade and parade ground of the Imperial Army. During the construction of the Ringstrasse from 1858 this military site remained untouched for some time until the army after long efforts of Mayor Cajetan Felder had abstained and the expansion of the city funds could develop a Baulinienplan (building line plan) for the area. During this time, other locations were considered for the Hall.

Now the Town Hall Square, the largest square in the recessed ring road zone was provided. The northern and southern part of the square shaped city gardener Rudolf Siebeck 1872/1873 as City Hall Park, the central square of the axis Town Hall-Burgtheater, was kept free. 1873, the foundation was laid for the construction of the New Town Hall. 1874, work began on the Town Hall at the former Franzensring opposite the Burgtheater and the south of the square adjacent parliament building (north side front: Town Square 6). From 1877 to the new main building of the University of Vienna (southern side front: Town Square 5 ) built. Are installed on the three sides of the square five blocks with nine home numbers (No. 1 to No. 9), the fourth side is bordered by the ring.

In course of time the name of the place changed four times. In 1870 he was created as Town Hall Square, renamed in 1907 after the incumbent Christian Social mayor in Dr.-Karl -Lueger -Platz. The dominant Red Vienna since 1919, this appeared to be inappropriate, as Lueger in Vienna had prevented the universal and equal male suffrage, in 1907 introduced at state level. Therefore, the of a private committee donated Luegerdenkmal under the rule of mayor Karl Seitz was not, as intended by the Committee, in the town square erected but built in 1926 on a previously unnamed square corner Wollzeile/Stubenring and this place in the same year Dr.-Karl-Lueger-Platz named. The town square was returned to its original name . In 1938, the place was again renewed to Adolf Hitler Platz, what was reversed in 1945.

Christmas Market at City Hall

The large space between City Hall and the Burgtheater was used by all the rulers for political rallies. Since 1921, with its current form dates back to 1929 and was interrupted from 1933 to 1945, it is the traditional final rally of the Vienna SPÖ Maiaufmarsches (May-Procession) on 1 In May at the Town Hall Square. In addition, the space is exploited for most of the year for cultural and social events. The most important of them since 1975, the Christmas market in November and December, the Vienna Ice Dream in January and February, the opening of the Vienna Festival in May and open-air cinema screenings with classical music in July and August. The Life Ball at Vienna City Hall refers also to the town square. Traditionally, a since 1959 every year from one of the states erected large Christmas tree as a gift to the federal capital.

Location and characteristics

The Town Hall Square is located between the extended Grillparzerstraße to the north, the University Ring to the east, the extended Stadiongasse in the south and the extended Reichsratsstrasse in the West. Except the ring on which there are no buildings on this street, bear the buildings that are on the place in the wake of these streets, house numbers of the town square. Stadiongasse and Grillparzerstraße end before the court, the Reichsratsstrasse is interrupted by the court.

About two- thirds of the space area of 40,000 m² are taken from the City Hall park, which is divided by a blocked to traffic, very wide access road between the Burgtheater and the Rathaus, which offers space for events, into a northern and southern half. The town square is lined by some of the most important monumental Ringstrassen-Zone in historicist style. In the square itself is a large number of monuments and statues. Thus, the town square is one of the most representative places in Vienna.

The tram lines 1 and D operate on the ring road and have at the City Hall Square opposite the Burg Theatre and at the corner of Parliament stops. Coming from the south and from the ring turning, operates tram line 2 on the southern edge of the town square to Stadiongasse. The individual passes through traffic heading north on the eastern edge of the square on the ring road in the opposite direction behind the Town Hall on the two-line (Zweierlinie). Cycling trails pass off on the ring road and at the Grillparzerstraße and Stadiongasse. Behind the town hall runs the subway line U2 to the City Hall with the subway station as shuttle to City Hall and City Hall Square.

Building

City hall

The central building in the middle of the west side of the town square is the City Hall, built in 1873-1883 by Friedrich von Schmidt, New Town Hall, Town Hall called only since about 1970. The powerful, dominating the square building was designed by the Dutch Gothic models. It should express the political power of the strengthened bourgeosie against the monarch and the aristocracy.

The City Council has at the Town Hall no main entrance or direct access to the arcade court, they are located on the side fronts of Felderstraße and Lichtenfelsgasse, another entrance is at the rear front at the Friedrich-Schmidt-Platz. The town hall itself is essentially the so-called People's Hall on the ground floor of the town hall via a staircase outdoors is accessible (inputs centered under the town hall tower and left and right). The People's Hall is occasionally used for exhibitions. The outlet is located at the corner of Felderstraße to City Hall basement.

Arcade, Town Hall Square 2-4

Foyer with ceiling painting Apotheosis of Vindobona, Town Hall Square 4

No. 2, 3 and 4: Arcade Shops

The block north of City Hall was built in 1880-1883 by Franz von Neumann. Plan requirement was to equip the buildings (such as on the west side of the Imperial Parliament Street, in the course of which they are) at the town square with arcades. Held in the old German style, houses have remarkable corner projections made ​​with domes. At the central projection there are respectively balconies on herma. The attic floor is decorated with stucco relief female figures. The rib-vaulted arcades are painted with grotesques by Franz and Carl Jobst and equipped with cast iron lanterns. Particularly important are the foyers on No. 4 (and at the back of the block on the Ebendorferstraße 4). Frieze reliefs show the allegories of commerce, the arts and commerce. A large ceiling painting depicts the apotheosis of Vindobona. Lanterns and railings are made of wrought iron.

No. 5: University of Vienna, Main Building

Town Hall Square and front side of the university 's main building in 1900

The Town Hall Square side facing the front of the main university building today (2007 )

On the north side of the town square is the front side of the main building of the University of Vienna. The main work of the late phase of the strict historicism was built in 1873-1884 by Heinrich von Ferstel. The 29-axle side facade is broken repeatedly by risalits as well as by half and full columns. Statues of Anton Schmidgruber and Franz Koch standing in relation to the philosophical faculty. The building has no open entrance here .

No. 6: Parliament

On the south side of the town square is the side front of the parliament building, which was built as Reichsratsgebäude for Cisleithania. It is the most important work of the architect Theophil von Hansen, the latter founded 1871-1883 by ancient Greek models. At the Town Hall Square, the Parliament has a covered side entrance, originally a carriage way.

No. 7, 8 and 9 houses with arcades

Dome on the corner risalt, Town Hall Square 7

South of the Town Hall is located one block of houses with arcades, built 1877/1878 of City Hall architect Friedrich von Schmidt and Franz Neumann in old German forms. These were the first houses with arcades of City Hall district. Dominant are domes on corner risalit and central dome, bay windows, balconies, putti frieze and statues of Venus and Mars on the facade. In the rib-vaulted arcades are embedded gates with half column portals and acroterion figures. The lobbies are decorated with stucco ceilings, among other rich and grotesque painting. At No. 8 is located under the arcades the in City Hall circles famous café and pastry shop Sluka.

City Hall Park

At the request of Mayor Felder the City Hall Park was created as a complementary recreation area in the Ring Road zone. It is a strictly historicist Park, which was created as the city park of city gardener Rudolf Siebeck. The green area is north and south of a link road from the Burgtheater on the Ring to the City Hall laid out, which extends space-like in front of City Hall. In each of the two parts is a Rondeau Park with fountains, which are intended to highlight the two Viennese spring water lines and were financed by the builder Antonio Gabrielli.

Orientation plan

Under the old trees of the park there are five trees that are designated as natural monuments in Vienna. A lime in the southern part of the park was planted on the occasion of the 50th anniversary jubilee of Emperor Franz Joseph I in 1898, an oak tree, also in the southern part of the park in 1906 for the then incumbent mayor Karl Lueger. Winding paths lead through the two parts of the park. The garden fence is original historicist. In the northern part of the park is a large children's play area. A 1890 in the southern part of the park built weather house, destroyed during the Second World War, was renewed in 1955 with mosaics of Mary Biljan-Bilger. The modern toilet facilities were designed by Luigi Blau.

Monuments

Waldmüllerdenkmal (Monument) by Josef Engelhart, 1913

The Town Hall Square is home of a number of monuments, they are described here from the ring road starting.

(Locked) Access from the Burgtheater to City Hall

At the beginning of this approach is, turning off the ring road, left the monument to Theodor Körner, mayor, then President of the Second Republic, by Hilde Uray, bronze statue, 1963,

right of the monument to Karl Seitz, first head of state of the First Republic, then mayor in Red Vienna, by Gottfried Buchberger, bronze statue, 1962.

Directly between the two parts of the park in 1902 eight stone monuments of significant figures in the history of Vienna were placed four at each park side facing each other. They had been established in 1867 on the balustrades of the former Elizabeth Bridge over the river (Wienfluss) on Karlsplatz. When in 1897 the bridge was demolished in this area because of the light rail construction and the resulting vaulting of the Wienfluss, the eight monuments first have been put along the then still in the incision extending new light rail line on the Karlsplatz, where they but heavily by the soot of steam locomotives polluted monuments were popularly called eight chimney sweepers. Therefore, they were transferred to the town square later:

left ( south side):

Margrave Henry II Jasomirgott from the House of Babenberg, by Franz Melnitzky

Duke Rudolf the founder of the House of Habsburg, of Josef Gasser

Ernst Rüdiger von Starhemberg, defender of Vienna (second Turkish siege), by Johann Baptist Fessler

Johann Bernhard Fischer von Erlach, Baroque architect, Josef Cesar

right (north side):

Duke Leopold the Glorious from the House of Babenberg, by Johann Preleuthner

Niklas Graf Salm, defender of Vienna (first siege of Vienna), by Matthias Purkartshofer

Archbishop Charles Leopold of Kollonitsch, spiritual leader of Vienna (second Turkish siege), Vincenz Pilz

Joseph of Sonnenfels, judicial and administrative reformer of Maria Theresa, by Hanns Gasser (replaced in the Nazi era in 1939 by a statue of the composer Christoph Willibald Gluck, re-erected after 1945)

Next to the town hall (tower), outside of the southern part of the park: replica of the Vienna City Hall man at the top of City Hall tower in scale 1: 1, by Fritz Tiefenthaler, 1985

Southern part of the city hall park (towards Parliament)

At the corner of Park Ring/Parliament, addressed to the ring: Karl Renner, the first Chancellor of the First and first president of the Second Republic, portrait head of Alfred Hrdlicka on monument structure of Josef Krawina, 1965-1967

Josef Popper-Lynkeus, social ethicist, stone bust of Hugo Taglang, 1926. As artists and represented were Jews , the bust was removed in the Nazi regime in 1938, restored in 1951 according to the plaster model.

Johann Strauss (father ) and Joseph Lanner, statues of Franz Seifert, 1905, Art Nouveau, the bronze sculptures stand in front of a curved wall with marble reliefs of ball scenes and a poem by Edward von Bauernfeld. This concept and the architecture created Robert Oerley .

Northern part of the city hall park (towards the University)

Ferdinand Georg Waldmüller, marble monument of Josef Engelhart, 1913 , Art Nouveau

Ernst Mach, physicist, of Heinz Peteri, 1926

Adolf Schärf, vice chancellor, then president of the Second Republic, bronze bust of Alfred Hrdlicka, 1985

The most recent monument in the park, built in 1993, commemorates the wartime destruction of Vienna in 1945 and was by Hubert Wilfan under the title Yesterday - Today created from stone.

de.wikipedia.org/wiki/Rathausplatz_(Wien)

Located on the Mill Creek, South Cummingsville "Cincinnati, Ohio" Abandoned in 1993. Used to store 2,000,000 bushels of grain. Built in the l920's. Served by the Cincinnati, Hamilton & Dayton Railroad. The track is abandoned. Any barge traffic to the Ohio River is impossible due to a sewer dam near the confluence of the river and creek.

located on the Red Deer River near Sundre Alberta Canada