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Heather of Puzzlewood offered this puzzle at a very reduced price, because she was unhappy with its quality. I thought it would make an affordable present for a jigsaw-mad friend who can only afford cardboard puzzles as a rule.
When I did the puzzle, two problems emerged - I couldn't see anything wrong with it, and I didn't want to give it away. But if I keep it, I'll be cheating on two friends... what to do?
The print is 'Windflowers' by John William Waterhouse (1849 - 1917). It has 443 pieces (about 11" x 17"), and contains 34 lovely figurals, including boxing hares.
San Diego Fashion Week 2014 - SS 15 Collection - Lisa B. Collection
Lisa B. Collection, an exclusive special occasion, pageant and prom line of sophisticated flower clips & accessories. Lisa B. Collection is the official accessories sponsor of MISS TEEN USA and an official partner with MISS USA. Lisa B. Collection is also a proud volunteer and supporter in her community. By combining her passion for fashion, with the spirit of giving, Lisa has been able to enrich her community and donate proceeds to several charities that help families fighting pediatric cancer; this is a cause close to her heart. Lisa B. Collection raises money for their annual charity event at Hope Children’s Hospital in Oak Lawn, Illinois. Lisa B. offers Swarovski crystal flower clips, handbags, BLING jewelry and more! Lisa B Collection not just for beauty queens, but any woman who wants to sparkle.
We offer private tours in the city of Cusco and Sacred Valley. Cruise Cusco in a Vintage fun VW Bus Feel the Wanderlust!
Ofrecemos tours privados en la ciudad del Cuzco y el Valle Sagrado a bordo de nuestras VW Kombi T1. Nuestros tours son a tu medida. Tours privados para ti y tus compañeros de viaje. Queremos generar para vosotros los mejores recuerdos.
English:
When I was offered this commission immediately I regretted that would be an opportunity just to make money, show some carving skills and assembling designs. Fortunately I was wrong. I hate making replicas, specially of my own stuff from my past life, but that sculpture work was not the case.
The "carnavalesco" (director of art for the parade) asked me to do something clearly inspired on the Pietá on Saint Peter's Basilica, to evoke that art work, but with differences. That was the nicest work situation for me: I was being asked to repeat my own work of the past with the freedom to propose new proportion relation between the mother and her son's dead body and to recreate lots of details. The only annoying limitation would be the cutting of the sculpture in parts for the assembling technique needed for the float.
The Pietá theme, which origin was from northern europe (german), has the well known knotty esthetic problem: "the awkward contrast between the ungainly male body and the smaller woman holding it". The solution that everyone can notice on the Saint Peter's Pietá is that the Virgin is bigger than his dead son's body surrounded by drapery cascading. This is known as pyramidal composition (I can't remember from where I took it but I assure you that I was used of that solution for Virgin's images). This Pietá for a carnival work was the opportunity to check out if the Virgin could follow at least the same proportion of Christ's dead body (or even be a little smaller).
Beyond the classic art challenge, this Pietá would be almost three times bigger than the original. That should be enough to defy anyone's sculpting capacity when you would be working in a so crowded and unhealthy place: thermal sensation about 60ºC (stated by experts), breathing resin and surrounded by woven fiberglass. Worst: with less than a month to do it, I was always being remembered by jealous people that my work would be compared with one of the most famous work of art on the planet. Well,… here is my response to them.
Português:
Quando me ofereceram essa Pietá para fazer, imediatamente lamentei porque seria apenas para ganhar dinheiro e mostrar algumas habilidades de escultura. Felizmente, eu estava errado. Odeio fazer réplicas, especialmente do que realizei na minha vida passada, mas este trabalho não era o caso.
O carnavalesco me pediu para fazer algo claramente inspirado na Pietá da Basílica de São Pedro, para evocar aquela obra de arte, mas com diferenças. Essa situação de trabalho era bem agradável: eu estava sendo convidado a repetir o meu próprio trabalho do passado mas com a liberdade de propor uma nova relação de proporção entre a Virgem e o corpo morto do Cristo, e poder recriar muitos detalhes. A única limitação irritante seria ter que cortar a escultura em partes para a montagem necessária no carro alegórico.
O tema Pietá, com origem do Norte da Europa (alemão), tem um problema estético complicado: "o estranho contraste de tamanho entre o corpo masculino e o da mulher, menor, a segurá-lo". A solução na Pietá da Basílica de São Pedro é que a Virgem é maior do que o corpo de seu filho morto, emoldurado pelo tecido em cascata. Isto é conhecido como composição piramidal (não me lembro de onde eu tirei isso, mas garanto que estava acostumado a esta solução para as imagens da Virgem ). Esta Pietá em um trabalho de carnaval era a minha oportunidade para verificar se a Virgem poderia ter pelo menos a mesma proporção do corpo de Cristo (ou até ser um pouco menor).
Além do desafio de arte clássica, esta Pietá seria quase três vezes maior do que a original. Isso seria o suficiente para desafiar a capacidade de escultura de qualquer um quando você está trabalhando em um lugar cheio de gente e insalubre: sensação térmica de cerca de 60ºC (afirmado por especialista), respirando resina e cercado por tecido de fibra de vidro. Pior: com menos de um mês para fazer a obra, eu ainda sempre era lembrado por pessoas invejosas que o meu trabalho seria comparado com uma famosa obra de arte. Bem,... eis a minha resposta
Café Landtmann
(further pictures you can see by clicking on the link at the end of page!)
Café Landtmann at the Palais Lieben-Auspitz, left the University Ring
The Café Landtmann, photographed from the roof of the Burgtheater
Winter garden and summer beer garden, behind the Town Hall
Great Hall at Café Landtmann
Schanigarten
(Wikipedia: Schanigarten is the Austro-Bavarian term for tables and chairs set up on the sidewalk in front of eating and drinking places. Unlike normal beer gardens (Gastgärten), the customers actually sit on public property. Originally, Schanigärten (pl.) referred only to Viennese coffee houses, but now the expression is used in other parts of Austria and for other types of establishments like restaurants and taverns)
Projection on the façade
Winter Garden, looking towards Universitätsring
The Zuckerkandl room in Landtmann's Bel-Etage
The Café Landtmann in Vienna is a typical Viennese coffee house in the Ringstrasse style. It is located in the first District at the University Ring 4, corner Löwelstraße 22, and is known throughout the city.
Location
The cafe is located on the ground floor of the Palais Lieben-Auspitz called Mietwohnhauses (apartment building), in the immediate vicinity of the Burgtheater, the University of Vienna and the party headquarters of the Social Democrats and close to the Vienna City Hall with the City Hall Park, the Federal Chancellery and three ministries. The café is therefore frequented by, among other actors, politicians, civil servants and journalists and is the venue for press conferences.
History
The coffee was on 1 October 1873 of the Cafétier (café owner) Landtmann as "Vienna 's most elegant and largest café-localities" in a prominent, 1872 built corner house at the at the time also new Franzensring (so to 1919 the address of this part of Vienna's Ringstrasse) opened. The ring road was indeed opened by emperor Franz Joseph I in 1865, but still long not completed in the area of the coffee house: The city hall was under construction since 1872, but was only opened in 1883. The university main building was built 1877-1884, the Burgtheater from 1874 to 1888. The coffee was thus in his early years surrounded mainly by large construction sites.
1881 sold Landtmann his coffeehouse to the brothers Wilhelm and Rudolf Kerrl who continued it under the name Landtmann and extended it in the direction of Oppolzergasse. Rudolf soon retired from active business life, Wilhelm Kerrl led on the café alone until 1916 and then sold it, worn down by the economy of scarcity of the First World War, to Karl Anton Kraus, previously a butcher and innkeeper. He led the coffee for only five years, because in 1921 it was operated by a Hokare Ges.mbH (unlimited company) (the name stands for hotel, coffee and restoration companies). This company had to be liquidated 1925/1926.
The Café Landtmann was now bought in the fall of 1926 by Mr. and Mrs. Conrad and Angela Zauner. The new owners had it in 1929 after a design by Ernst Meller, experienced in the establishment of coffee houses, fully restored: with the preserved to this day interior which is under preservation order. Particularly striking are four wooden pillars at the entrance, which were created by Hans Scheibner and their decoration representing premiere scenes of the Burgtheater. With this elaborate interior design Landtmann consolidated its position as the most elegant café in town. In 1949, Konrad Zauner's son Erwin took the management of the café and led it on with great success.
In 1974 the company received the National Award and since then it is allowed to use the Federal coat of arms in commercial transactions. In 1976, the present owner family took the local and renovated it in 1980 again.
In the café was Robert Böck, on duty only called Mr. Robert, working for 28 years, many years as head waiter in a tuxedo, and he knew all the important guests personally. On his last working day, on 23 December 2003, many celebrities came to his departure from the cafe. Mayor Michael Häupl served Mr. Robert, who had so often served him a "little brown". To this end, he handed him the "Golden Rathausmann" "for the most famous, most discreet and most accommodating waiter of Vienna".
de.wikipedia.org/wiki/Goldener_Rathausmann_(Wien)
Details
Small stage
In the basement below the coffee was after Czeike already 1936-1938 the Cabaret 'Merry Landtmann" for the dancer Cilli Wang set up by her husband. 1953 in the basement the small stage "The Tribune" was established (since 2002: "The new stand", directed by Karl Heinz Wukow). It is one of the numerous small Viennese theaters that operate with modest public support and which offer authors, actors and directors fields of application.
Winter Garden
2007 was built a conservatory on the facade towards the castle theater, designed by Manfred Wehdorn by 1.5 million euros (Bernd Querfeld). With 87 square meters and 29 tables, the conservatory is almost as spacious as the great hall of the café; thus the capacity of the premises has been extended by a quarter.
Landtmann's Bel-Etage
2012 were opened above the café three function rooms, which are referred to as "Landtmann's Bel-Etage". One of the rooms is named after Berta Zuckerkandl, which in the house (entrance Oppolzergasse 6) from 1917 to 1938 run her famous salon, meeting place of artists, scientists and politicians.
Price of water
2013 got the coffee into media because guests who instead of ordering other beverages only want drink tap water this service no longer receive free. The scheme has been criticized partly violently. The glass of water for ordered coffee, as it corresponds to the Viennese coffee house tradition, still is served free.
Miscellaneous
In the Café Landtmann are according to indications of the owner family on average held 2.8 press conferences per day.
Since 2003, the café is every summer venue of the coffee house theater ink & coffee.
In March 2009, was opened in Tokyo in the central district of Minato-ku, in fact, in the district Kitaaoyama in the Aoyama Street, a "Café Landtmann" called local opened.
Guests
The coffee house was according to Czeike visited, among others, by the artists Attila Hörbiger, Paul Hörbiger, Oskar Kokoschka, Hans Moser, Max Reinhardt, Oskar Werner and Paula Wessely. Among the politicians he names Julius German, Robert Dannenberg and Karl Seitz, who were part of the "Red Vienna", and in the postwar period the then very popular Chancellor Julius Raab. Gustav Mahler was encountering here with Karl Goldmark, Gary Cooper and Marlene Dietrich were among the "by-trotting" guests, the authors Jura Soyfer, Felix Salten, Thomas Mann and John Boynton Priestley also frequented the Landtmann. The owners themselves mention over and above Peter Altenberg, Sigmund Freud, Emmerich Kálmán, Curd Jürgens, Otto Preminger and Romy Schneider as regulars.
Radar Hill Off-Highway (OHV) Area offers plenty of fun with easy highway access and a nearby full-service community in southeast Oregon. Nearly 13.5 miles of looped trails travel across a mix of dirt, sand, gravel and cinder/clay rock and through rolling climbs, play pits, steep hills, and straight stretches. Most trails are easy to moderate, but a few challenge more practiced riders. This year-round site amid juniper and sagebrush is open to all users and perfect for any age or skill level. Whether on a motorcycle, ATV, mountain bike, horseback, or on foot, Radar Hill OHV Area will give you that outdoor experience you’ve been looking for!
Know Before You Go:
•Radar Hill OHV Area is open year-round with the best riding in fall and spring;
•Open to All Motorized Uses including quads, motorcycles, side-by-side ATVs, jeeps, snowmobiles, and other 4x4 vehicles;
•Open to All Non-Motorized Uses including hiking, bicycling, equestrian, sledding and cross-country skiing;
•No fees;
•Vault restroom available; and
•Loading/unloading dock, gravel staging area, and ample parking available.
Directions: From city center in Burns, Oregon, drive south for 2.5 miles on U.S. Highway 20. Turn west onto the Hines Logging Road/County Route 127 for three miles. Radar Hill OHV Area is directly to the south.
Point of Interest: Radar Hill is a great place whether you are local or visiting. Choose your travel mode and spend a half hour or half day. Come often to experience the changing seasons.
Photos by: Tara Thissell, BLM
Contact:
Burns District
28910 Highway 20 West
Hines, OR 97730
(541) 573-4400
This is the dessert offered at the Galactic Grill (used to be Tomorrowland Terrace). This parfait is the most delicious treat that I have ever had at Disneyland Resort. The layers of red velvet, Oreo, chocolate sponge, mousse, and ganache all work together perfectly creating a rich dark-side experience.
Your taste buds will enjoy consuming this dark creation, be sure to experience this delicious sweet during the season of the force.
May the Force be with you.
Photographs are © Copyright Galactic Dreams (or others when indicated) and are not in the public domain and may not be used on blogs, websites, or in other media without advance written permission from Galactic Dreams.
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Silver rings are really beautiful. They are designed in a pretty way to offer a beautiful crafting style. Silver jewelry is gaining the market gradually, and these pieces are defining modern trends. The love month, February is approaching and if you are planning to gift something special on that occasion, we have beautiful silver jewelry rings for her. Explore the collection to find the perfect piece that decorates the personality of the lady's love. These collections are made of high-quality silver and its glamour speaks everything. If you are looking for beautiful pieces to celebrate the occasion of love, these rings are perfect options.
In this wall relief, Rameses II (left), offers incense to the god Amun Ra of Karnak (seated, right). A large cobra wearing the white crown rears between them. Behind it, notice the sloping wavy line, and the wavy line behind Amun Ra. This is a representation of the mountain of Gebel Barkal in Nubia (Sudan).
The Great Temple, Abu Simbel, Egypt
Phoenix Pro Theater offers a theatrical experience brought to your living room. Sitting in the comfort of your home, you can sense the real feeling of watching a movie in an enriched theater. Any movie of choice, available in your PC or laptop, can be played in Phoenix Pro Theater.
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Phoenix Pro Theater, elevates you to the ownership of a personal theater. The ambiance excels to that of a real theater. The player is provided with all facilities to choose and play any movie available in your system. It is meticulously designed to cater to your taste, comfort and convenience.
In order to improve the ambiance and magnificence of the theater, facilities have been provided to customize the theater to your liking.
To the viewers’ delight, Phoenix Pro Theater offers surround sound, animated audience captured to visualize real life situation. The theater ambiance light mimics and adjusts to that of the brightness and color tone present in the movie played. The Theater is illuminated with pleasing lights, and movie can be watched either with the lights on or off, as per the liking of the viewers.
An array of choices offered are
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Kokonut Suites offers a unique experience through luxurious and spacious suites in fashionable Seminyak, one of Bali’s most sought after areas.
The one and two-bedroom suites each come with a private balcony and are set upon 5000 square metres of tranquil land. They are designed in a modern tropical style with delightful Balinese backdrop of rice fields and coconut trees, as if stepping back in time and relaxing with the most up-to-date facilities. These facilities include a uniquely shaped swimming pool, resort spa, open concept Suka Suka Restaurant, bar and pool lounge, gym, and large parking area.
One Bedroom Suite - Room details
* Location - Three-level building
* View - Overlooking swimming pool and agricultural backdrop
* Décor - Featuring modern minimalism with simple modern furnishings, sensuous colours, and exotic ambience that personifies Indonesian art and luxury.
* Beds - King size
* Extra bed (by request) - For children under 12 years old
* Living Room
* Fully equipped kitchen, dining table, single sofa, long sofa, lazy chair.
* Bathrooms - Combined shower and bathtub
* Maximum King size and 1 twin bed
* occupancy 2 adults and 1 child
Please Visit our Official Website: www.bali-individually.com/hotels.If you have questions or need assistance with a reservation, please call or click to chat online or send us e-mail for inquiry, the best price and packages: sales@bali-individually.com | Telp. +62 - 361-7415637 | text message: +62-81338579071 | facebook:http://www.facebook.com/pages/Bali-Hotel-Reservation/136414357516
Emirates Airlines will begin nonstop daily service from Dubai, United Arab Emirates, to San Francisco International Airport in October, San Francisco Mayor Gavin Newsom has announced.
The Dubai-based airline will be the first airline to connect the two cities, using a Boeing 777-200LR for the 16-hour flight, according to Newsom's office. The aircraft can seat up to 266 passengers for the 8,103-mile flight.
"It's my pleasure to welcome Emirates to San Francisco," Newsom said. "We know this will be a long and advantageous relationship between two of the leading tourism centers of the world."
Emirates Airlines serves 99 cities in 62 countries across the Middle East, Africa, the Indian subcontinent, Europe, the Far East and four destinations in North America, Newsom's office reported. The airline's other U.S. destinations are New York, Houston and Los Angeles.
"There is a strong demand for connections the between the San Francisco Bay Area and both the Middle East and Indian subcontinent," Chairman and Chief Executive of Emirates Airlines and Group HH Sheikh Ahmed bin Saeed said in a statement. "We see San Francisco as an integral part of our network development."
Dental implants offer the opportunity to permanently replace lost or missing teeth. Once installed, dental implants look and function just like your natural teeth. Many people only consider the aesthetic benefits of dental implants, but there are plenty of health benefits that come with this advanced dental procedure. If you’d like to learn more about full mouth dental implants, schedule a consultation today at Envision a Smile, online or over the phone.
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(6400brightlycoloredfakeymastercard) I threw away between 25 and 30 of those fakey credit card offers that say you're approved * or pre-selected* or "We Think You Deserve More Credit". Before I did, I took some pictures, just for fun.
. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!
If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.
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The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").
The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to
CHRISTIANITY
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.
RELIGIOUS AFFILIATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
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Hotel Provincial
In a city distinguished internationally for the charm and hospitality of its venerable French Quarter, there exists a secluded, intimate hotel that offers its guests yet another dimension to the Vieux Carre experience. The Hotel Provincial, although conveniently located near all the desirable historic and tourist attractions of downtown New Orleans, also offers its visitors the serenity and unique style reserved for the private, residential section of the French Quarter.
Listed on the National Register of Historic Places, and locally owned by the Dupepe family since 1961, this hotel is valued as an architectural gem, and features modern amenities housed within a compound of meticulously restored historic structures. The beautifully appointed lobby area, lush tropical courtyards and carefully restored outbuildings offer the perfect place for enjoying a relaxing family vacation, planning a social or corporate event, or celebrating a memorable destination wedding.
Discover New Orleans hospitality at its finest at Hotel Provincial—a special place that successfully combines a welcoming family atmosphere with the amenities only an experienced, professional staff can offer.
•Address: 1020-1022 Chartres St.
•Significance Rating: Orange, unrated 20th century construction
•Building Type: Commercial
•Current Style: Modern / Faux Historical
•Square Number: 20
•National Landmark: No
•Primary/Secondary Use: Primary
•Easement: No
•Square: 20
•Lot Number: 22740
Property Info
•Vieux Carré Commission Evaluation: No change: orange. Provincial Motor Hotel (Nolan, Nolan and Nolan, original architects; Donald Zimmer, addition), constructed c. 1963 on the site of a c. 1903 ice house.
oOrange Portion of Building: Main Material: Masonry
Note: partially of Wood; Provincial Motor Hotel
•Dimensions (Dimensions run CCW)
oFrontage: 33' 4" 4'''
oSide 2: 63' 11" 0'''
oSide 3: 3' 2" 1'''
oSide 4: 63' 11" 3'''
oSide 5: 30' 1" 0'''
oSide 6: 127' 10" 6'''
Chain of Title
Last Update: Wednesday, October 1st 1980
•Wednesday, July 8th 1959
oRecord Source: COB
oVolume: 630
oPage: 285
oRecord Type: [sale?]
oAuthority: Brittmar P. Landry (Notary)
oAuthority Date: Not Given
oFrom: French Market Ice Manufacturing Company of New Orleans, Limited
oTo: Provincial Motels, Inc.
•Wednesday, April 29th 1903
oRecord Source: COB
oVolume: 191
oPage: 321
oRecord Type: [sale?]
oAuthority: P. J. Patorno (Notary)
oAuthority Date: Not Given
oFrom: Marie Ursule Soloy
oTo: French Market Ice Manufacturing Company of New Orleans, Limited
oBrief Description: Original Act: 3/75
•Tuesday, January 4th 1887
oRecord Source: COB
oVolume: 126
oPage: 994
oRecord Type: [sale?]
oAuthority: H. Fourcelle (Notary)
oAuthority Date: Not Given
oFrom: Marie Anne Trope
oTo: Marie Ursule Soloy Guilhauma Francingues
•Wednesday, January 1st 1879
oRecord Source: Unknown
oRecord Type: succession
oAuthority Date: Not Given
oFrom: Pierre Noel Canton
oTo: Marie Ann Trope Canton
oBrief Description: Inherited. [No date given.]
•Monday, July 1st 1878
oRecord Source: COB
oVolume: 111
oPage: 581
oCourt#: 9160
oRecord Type: sheriff’s sale
oAuthority: 5th District Court (Court)
oAuthority Date: Not Given
oFrom: Joseph Girod
oTo: Pierre Noel Canton
oBrief Description: From Joseph Giron in the suit of “Pierre Noel Canton vs. Joseph Girod.”
•Monday, July 12th 1852
oRecord Source: COB
oVolume: 58
oPage: 30
oRecord Type: survey
oAuthority: A. Mazureau (Notary)
oAuthority Date: Not Given
oBrief Description: Original Act: 43/167 Survey-sketch by L. Pilie, dated July 2, 1852, annexed to this act.
•Monday, June 28th 1852
oRecord Source: COB
oVolume: 55
oPage: 696
oRecord Type: [sale?]
oAuthority: A. Mazureau (Notary)
oAuthority Date: Not Given
oFrom: Pierre Laurans
oTo: Joseph Girod
oBrief Description: Original Act: 42/555A Pierre Laurans had three children: William Laurans, Mme. Louisa Laurans, wife of Auguste F. A. Garnier, and Mme. Marie Julie Adele Laurans, wife of Alphonse R. J. Martin Lavalle. The latter daughter died, but left two children: Marie J. A. Martin Lavalle, and Pierre Martin Lavalle. The two living children inherited one-third each of their father’s estate and the two grandchildren inherited each one-half of their deceased mother’s one-third. These same heirs were entitled to the same rights, and in the same proportion in the share and interest of their mother and grandmother, Mme. Julie Beauvais Laurans, wife of Pierre Laurans, by virtue of the donation inter vivos made by her to them by an act passed before Philibert L. Turguet and Philippe A. Beaufeu, Paris Notaries, August 31, 1846.
•Friday, January 19th 1838
oRecord Source: Original Act
oVolume: 63
oPage: 32
oRecord Type: partition
oAuthority: Hortence Hortence T. Hershberg (Notary)
oAuthority Date: Friday, January 19th 1838
oAgent/Single Party Act/Other: Jean Roques Marie Adeline Prudhomme Julie Beauvais Pierre Laurans
oBrief Description: Act of Partition between Mme. Julie Beauvais, wife of/and Pierre Laurans, and Mme. Marie Adeline Prudhomme, wife of/and Jean Roques. With the two houses constructed thereon. There has been constructed, according to this act, a party wall fixing the limits of the properties partitioned which had belonged to Pierre Laurans and his wife Julie Beauvais, and to Jean Roques and his wife, Marie Adeline Prudhomme, to whom the whole of the property partitioned in this act had belonged, one undivided half to each husband and wife. By this act Jean Roques and wife become sole owners of the property fronting on Levee Street, and Pierre Laurans and his wife become sole owners of this property fronting on Conde (Chartres) Street. Plan annexed to this act.
•Tuesday, April 5th 1831
oRecord Source: Original Act
oVolume: 14
oPage: 302
oRecord Type: survey
oAuthority: Hortence Hortence T. Hershberg (Notary)
oAuthority Date: Tuesday, April 5th 1831
oBrief Description: Excellent survey-sketch by L. Pilie, dated March 23, 1831, annexed to this act. Includes Lots No. 22739 and 22740-B. Note: Here this lot becomes part of a larger portion of land running the depth of the entire square from Chartres to Decatur streets, comprising present-day Lots NO. 22740, 22740-B, 22739, 22727, 22723, 22724, 22725 and 22726.
•Monday, January 5th 1829
oRecord Source: Original Act
oVolume: 6
oPage: 14
oRecord Type: [sale?]
oAuthority: Hortence Hortence T. Hershberg (Notary)
oAuthority Date: Monday, January 5th 1829
oRelated Lot: a) 22727
oRel. Lot Note: a) (interior lot)
oFrom: Angelique Pauline Carrick; Adeline Segond
oTo: Jean Roques; Pierre Laurans
oBrief Description: A lot of ground, on Levee Street, opposite in one part to the steam water works and the vegetable market, between St. Philip and Ursuline streets, having frontage on one side on Levee Street, and on the other side fronting on Conde (Chartres) Street, measuring F.M. 90' 2" front on Levee Street, keeping this width for a depth of 177' 10" on the line separating it from the lot belonging to l’Eveche, then widening 1' on the same side on the line that separates it from the property of J. Marcos and the Nuns of the Ursuline Convent, and measuring 165' as far as Conde (Chartres) Street, with a front footage on Conde Street measuring 94' 4" and maintaining this width for a depth of 60' on a line separating it from the property of Soniat Dufossat extending as far as the limits of Mr. Gillet’s property, then closing 3' and continuing this way for 282' 4" along the line that separates the property of Soniat Dufossat and that of Gillet as far as Levee Street; said lot of ground has from one street to the other 342' 10" depth on the line bordering that of l’Eveche, Marcos, and the Ursuline Nuns (Ursuline Street side) and 342' 4" on the line bordering the Widow Visosos, Mr. Cyprien Gros, R. Otero, Blineau, the Succession of Gayarre, Gillet, and Soniat Dufossat. With all buildings thereon constructed. Note: Excellent plan of the whole square, showing ownership as of this date and clearly delineating the area and footage of this lot, drawn by Joseph Pilie, dated December 24, 1827, annexed to this act. “The lot and buildings presently sold belong to the vendors in the following manner: To Mme. Angelique Pauline Carrick, wife of Andrew Lockhart, a portion measuring 32' 3" front on Conde Street by 123' in depth, bounded on one side by the property of the Ursuline Nuns and on the other side by the property of the Widow Carrick, as making part of the payment of the lot that had been constituted by her mother Mme. Carrick, has ascribed access on the rights of heritage in the Succession of the late James Carrick, her father, given to her before his death, thus it belongs to the contract of marriage passed between the said Mme. Lockhart and Andrew Lockhart, before Marc Lafitte, Notary, December 22, 1823, in which marriage contract it had been stipulated by the contracting parties, Article 3, that it would be allowed the future wife, with the authority of her future husband, and the said future husband with the consent of the said future wife, to sell and alienate the properties given in the said contract to the future wife to the tile of the dotal settlement, even as all other that will belong to them in the future with all personal responsibility, who accepts the responsibility. To Mme. Widow Carrick the remainder of the lot and buildings presently described and sold belong, as being part of the goods belonging to the Succession of James Carrick, her late husband, which she inherited jointly with her daughter, Mme. Lockhart, and a small portion of 3' 3" front on Chartres Street by 64' of depth, A.M., by means of the acquisition she made from Mme. Rosalie Segund, widow of Pierre Sauve. Mr. James Carrick had become proprietor of the whole of said lot of ground and buildings, with the exception of the 3' previously mentioned, by means of an acquisition which he had made during his lifetime of M. Elias Beauregard.”
•Thursday, September 27th 1827
oRecord Source: Unknown
oRecord Type: [sale?]
oAuthority: Hortence Hortence T. Hershberg (Notary)
oAuthority Date: Not Given
oFrom: Rosalie Segond
oTo: Adelaide Segond
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot measuring, A.M., 3' 3" front on Conde (Chartres) Street by 64' of depth, bounded on one side by property of the purchaser and on the other side by property of Joseph Soniat Dufossat. This property belonged to Mme. Sauve, in common with her children, by virtue of the Succession of her husband, Pierre Sauve, who, during his lifetime, acquired it with a larger lot of ground.
•Saturday, August 3rd 1822
oRecord Source: Court
oRecord Type: succession
oAuthority: Probate Court (Court)
oAuthority Date: Not Given
oFrom: Pierre Sauve
oTo: Rosalie Segond Sauve
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.
•Tuesday, April 20th 1819
oRecord Source: Original Act
oVolume: 17
oPage: 222
oRecord Type: succession; sale
oAuthority: M. de Armas (Notary)
oAuthority Date: Tuesday, April 20th 1819
oFrom: Lancelot Pearson
oTo: Pierre Sauve
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.
•Tuesday, May 7th 1811
oRecord Source: Unknown
oRecord Type: [sale?]
oAuthority: Narcisse Broutin (Notary)
oAuthority Date: Not Given
oFrom: Simon Ducournau
oTo: Lancelot Pearson
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot forming the corner of St. Philip and Conde streets, the whole of which tract is bounded by the property of M. Launda [sic] on one side and by the property of the Succession of James Carrick on the other, on which lot is a principal house and two small houses of brick between posts, and with other buildings in the courtyard.
•Monday, December 19th 1808
oRecord Source: Original Act
oPage: 524
oRecord Type: [sale?]
oAuthority: Narcisse Broutin (Notary)
oAuthority Date: Monday, December 19th 1808
oFrom: Edmond Forstall; Edouard Forstall
oTo: Simon Ducournau
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.
•Monday, December 19th 1808
oRecord Source: Original Act
oPage: 523
oRecord Type: [sale?]
oAuthority: Narcisse Broutin (Notary)
oAuthority Date: Monday, December 19th 1808
oFrom: Jeanne Darby
oTo: Edmond Forstall Edouard Forstall
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot of ground at the corner of Conde and St. Philip streets, bounded by properties of Larionda and heirs to James Carrick, with a principal house and two smaller houses constructed of brick between posts, also other buildings in the courtyard.
•Thursday, January 1st 1807
oRecord Source: Unknown
oRecord Type: succession
oAuthority Date: Not Given
oFrom: Jean de la Villebeuvre
oTo: Jeanne Darby de la Villebeuvre
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.
•Friday, June 27th 1800
oRecord Source: Original Act
oVolume: 37
oPage: 416
oRecord Type: [sale?]
oAuthority: Pierre Pedesclaux (Notary)
oAuthority Date: Friday, June 27th 1800
oFrom: Elias Beauregard
oTo: Santiago Carrick
oBrief Description: “Lot of ground measuring 89' to 90' in front, all the way to the back, bounded on one side by the property of His Majesty, and on the other by the property of the Widow Visoso. The property belongs to Elias Beauregard by means of an inheritance from the Succession of his mother, Dona Magdaline Cartier.”
•Tuesday, January 1st 1799
oRecord Source: Unknown
oRecord Type: succession
oAuthority Date: Not Given
oFrom: Magdalina Cartier
oTo: Elias Beauregard
oBrief Description: Inherited from the Succession of his mother. [No date given.]
•Wednesday, February 22nd 1775
oRecord Source: Unknown
oRecord Type: [sale?]
oAuthority: Juan B. Garic (Notary)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: Antonio Beauregard
oBrief Description: Neighboring reference, related to Lot No. 22741, states that this property, as part of a larger lot, belonged to Antonio Beauregard. Note: A break occurs here in the record. However, the following continues the chain with two more transactions.
•Wednesday, February 22nd 1775
oRecord Source: Original Act
oRecord Type: [sale?]
oAuthority: Juan B. Garic (Notary)
oAuthority Date: Wednesday, February 22nd 1775
oFrom: Theresa Gallard
oTo: Jean de la Villebeuvre
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. One house and lot situated at a corner of Chartres and St. Philip, with other buildings, bounded on one side by property of Mrs. Cecilio Odorundo and on the other by that of Antonio Beauregard.
•Wednesday, September 16th 1772
oRecord Source: Original Act
oPage: 258
oRecord Type: sale
oPrice: $104.00<Pesos
oAuthority: Andres Almonester (Notary)
oAuthority Date: Wednesday, September 16th 1772
oFrom: Augustin Macarty
oTo: Henrique Desprez
oBrief Description: A lot situated on Conde (Chartres) Street, measuring 90' front by 150' of depth, bounded by the house owned by Madame Granpre and by lot owned by the King. Mr. Macarty acquired this lot at a public auction held by the creditors of Claudio Joseph Villars of his properties on March 12 of this year, and sells it mortgage free at a price of 104 pesos.
•Thursday, March 12th 1772
oRecord Source: Unknown
oRecord Type: auction sale
oAuthority Date: Not Given
oFrom: Claudio Joseph Villars
oTo: Augustin Macarty
oBrief Description: Public sale held by the creditors of Claudio Joseph Villars.
•Monday, January 1st 1731
oRecord Source: Map
oRecord Type: land grant
oAuthority: Gonichon Map (Map)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: Company of the West/Company of the Indies
oBrief Description: Lot No. 38 granted to the Company.
•Monday, January 1st 1731
oRecord Source: Map
oRecord Type: [land grant and/or sale and/or succession]
oAuthority: Gonichon Map (Map)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: Trudot
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 39 granted to Sieur Trudot.
•Thursday, January 1st 1728
oRecord Source: Map
oRecord Type: vacant
oAuthority: Broutin Map (Map)
oAuthority Date: Not Given
oBrief Description: Unassigned.
•Thursday, January 1st 1728
oRecord Source: Map
oRecord Type: [land grant and/or sale and/or succession]
oAuthority: Broutin Map (Map)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: Trudeau
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 46 granted to Sieur Trudeau.
•Thursday, January 1st 1722
oRecord Source: Map
oRecord Type: land grant
oAuthority: de la Tour Map (Map)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: La Loire
oBrief Description: Lot No. 4 granted to Sieur La Loire.
•Thursday, January 1st 1722
oRecord Source: Map
oRecord Type: [land grant and/or sale and/or succession]
oAuthority: de la Tour Map (Map)
oAuthority Date: Not Given
oAgent/Single Party Act/Other: Massy Trudeau
oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 6 granted to Mr. Massy. “I believe they were not held by Mr. Massy, he not having given ___ on the frontage.” Marginal note: “Granted to the Sieur Trudeau in replacement of the No. 00 which was taken to build a warehouse.”
Citations (Specific to this address)
“NOTICE. FELIX, Ladies Hair dresser…Ladies wishing to have their hair dressed at his house, will please apply to his wife to appoint the hour. The price is two dollars. He also informs that he cuts gentlemen’s hair for a dollar at their houses, and 50¢ at his shop…he lives in Mme. Carrick’s house Conde Street opposite Mr. Moreau’s…”
—Source: Louisiana Courier Date: Wednesday, December 11th 1816
“Fire…6:30, November 5…French Market Ice Manufacturing Company, 1024 Chartres Street…damage chiefly to the building and equipment was estimated at $200,000…fire started in the 3rd floor of the building which is about 30 feet in the rear of the street facing a courtyard…explosions of crude oil storage tank and an ammonia tank…the only two modern buildings in the square are the French Market Branch of the Whitney Bank and the La Stella Manufacturing Company, corner of St. Philip and Chartres.”
—Source: Times-Picayune, p. 1, c. 1 Date: Sunday, November 6th 1927
BKK ATU offers public health insurance to more than 100,000 policyholders in Germany.
Colt designed a special Shadometal louvre system, with varying sizes of perforated louvre made in corrosionresistant, extruded aluminium Z-shaped profiles and finished in red, orange, yellow and white, to enhance the architectural façade of the building and also provide natural ventilation.
BLM managed lands in the Uinta Basin offer excellent mountain biking opportunities for riders of all skill levels. Riders can enjoy the many miles of unpaved roads or seek out more adventurous routes on the areas numerous singletrack trails. The Uinta Basin offers a unique variety of singletrack, from narrow desert trails in the Red Fleet and McCoy Flats areas, the forested and rocky Flume Trail in Dry Fork Canyon, or the technical challenge of the Rojo Trail.
Photos by Leslie Kehmeier, Mapping Manager, International Mountain Bicycling Association.
Photographs in this collection have been produced by Alison Lowrie, Heather Do, Liz Dolinar, and Adriana Haro at request of Michael Ashley for the UC Berkeley Anthropology 136e class, Spring 2011. The purpose was to digitally document the cultural heritage of Green Gulch Zen Center with the objective of gaining better insight into the Zen Center's cultural history through the use of photographic technology.
Green Gulch Farm Zen Center (37.86556°N 122.56389°W), also referred to as the Green Dragon Temple, is located in Marin County, CA in a beautiful coastal valley overlooking the Pacific Ocean. Green Gulch, approximately a 10 mile drive north of San Francisco Golden Gate Bridge, is located on 115 acres surrounded by hundreds of acres of the Golden Gate National Recreation Area. Green Gulch is a cultural heritage site constituting of one of the three centers that form the San Francisco Zen Center founded by Shunryu Suzuki Roshi [1]. In 1972, Green Gulch was purchased from George Wheelwright, co-founder of Polaroid, as a part of Shunryu Suzuki Roshi's vision to obtain a farm near the San Francisco Bay area where a community of Zen Buddhist practitioners could communally live and practice in accompany of one another [2] [3]. Part of the Wheelwright's stipulation of the sale to the San Francisco Zen Center was that the farm must forever remain open to the public, as well as partake in agricultural awareness [4]. Green Gulch now serves as a Buddhist practice center in the Japanese Soto Zen tradition, were their endeavor is to awaken the people residing, working, and visiting the center in the bodhisattva spirit-the spirit of kindness and realistic helpfulness [1]. Green Gulch is compromised of a temple (the Zendo), organic farm and garden, guesthouse, and conference center. The center offers training and practice in Zen mediation through workshops and retreats, as well as apprenticeships emphasizing meditation practice, Buddhist teachings, and organic gardening and farming methods [5].
Photographs in this collection were captured on Sunday April 24, 2011, between 11:30 AM and 2:15 PM Pacific Time, under sunny conditions. Nixon D80 and two-Canon XSI cameras were used. A tripod was used for HDR shots. The photos were post-processed in Adobe Photoshop Lightroom 3.
Description written by Adriana Haro, following Alonso C. Addison’s proposed virtual heritage metadata format in his chapter "The Vanishing Virtual" in New Heritage: New Media and Cultural Heritage, edited by Kalay, et al., and published by Routledge in 2007.
All photos Copyright ©2011 Center for Digital Archaeology, Berkeley CA Creative Commons creativecommons.org/licenses/by-nc/3.0/
For more information contact Center for Digital Archaeology, Berkeley, CA, 94720 or visit www.codifi.info/licensing
Further information about Green Gulch Zen Center can be found at www.sfzc.org/ggf/
Original Filename: ANTHRO136SP11_GG_Cam20_23_16_002
[1] www.sfzc.org/ggf/display.asp?catid=3&pageid=484
[2] Oda, Mayumi (2002). I Opened the Gate, Laughing: an Inner Journey. Chronicle Books.
[3] Richmond, Ivan. Silence and Noise: Growing Up Zen in America. Simon and Schuster.
[4] McCormick, Kathleen (2000). The Garden Lover's Guide to the West. Princeton Architectural Press.
Thos Gainsborough moved to Ipswich in 1752 to find more patrons for his portraiture and to enter the more sophisticated artistic and intellecutal circles that a larger centre could offer.
He rented a house from a Mrs. Raffe in Foundation St. and pursued a different kind of portraiture, rejecting his small scale portraits, set in landscape in favour of life-size head and should er portraits. It is clear from his letters of this period that Gainsborough struggled financially and that although he found more patrons including the distinguished Admiral Vernon (1753), the number of commissions was relatively small. TG left Ipswich for Bath in the autumn of 1758 for a more lucrative and successful portrait practice....
Thomas Gainsborough FRSA (14 May 1727 (baptised) – 2 August 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and easy strokes. He preferred landscapes to portraits, and is credited (with Richard Wilson) as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.
Youth and training[edit]
Lady Lloyd and Her Son, Richard Savage Lloyd, of Hintlesham Hall, Suffolk (1745–46). At the time, his clientele included mainly local merchants and squires.
He was born in Sudbury, Suffolk, the youngest son of John Gainsborough, a weaver and maker of woollen goods, and his wife, the sister of the Reverend Humphry Burroughs.[1] One of Gainsborough's brothers, Humphrey, had a faculty for mechanics and was said to have invented the method of condensing steam in a separate vessel, which was of great service to James Watt; another brother, John, was known as Scheming Jack because of his passion for designing curiosities.[2]
The artist spent his childhood at what is now Gainsborough's House, on Gainsborough Street (he later resided there, following the death of his father in 1749).[citation needed] The original building still survives and is now a dedicated House to his life and art.
When he was still a boy he impressed his father with his drawing and painting skills, and he almost certainly had painted heads and small landscapes by the time he was ten years old, including a miniature self-portrait.[3] Gainsborough was allowed to leave home in 1740 to study art in London, where he trained under engraver Hubert Gravelot[1] but became associated with William Hogarth and his school. He assisted Francis Hayman in the decoration of the supper boxes at Vauxhall Gardens,[1] and contributed to the decoration of what is now the Thomas Coram Foundation for Children.
Suffolk[edit]
In 1746, Gainsborough married Margaret Burr, an illegitimate daughter of the Duke of Beaufort, who settled a £200 annuity on them. The artist's work, then mostly consisting of landscape paintings, was not selling well. He returned to Sudbury in 1748–1749 and concentrated on painting portraits.
In 1752, he and his family, now including two daughters, moved to Ipswich. Commissions for personal portraits increased, but his clientele included mainly local merchants and squires. He had to borrow against his wife's annuity.
Bath[edit]
Ann Ford (later Mrs. Philip Thicknesse), 1760
The Blue Boy (1770). The Huntington, California.
In 1759, Gainsborough and his family moved to Bath, living at number 17 The Circus.[4] There, he studied portraits by van Dyck and was eventually able to attract a fashionable clientele. In 1761, he began to send work to the Society of Arts exhibition in London (now the Royal Society of Arts, of which he was one of the earliest members); and from 1769 he submitted works to the Royal Academy's annual exhibitions. He selected portraits of well-known or notorious clients in order to attract attention. The exhibitions helped him acquire a national reputation, and he was invited to become a founding member of the Royal Academy in 1769. His relationship with the academy was not an easy one and he stopped exhibiting his paintings in 1773.
London[edit]
In 1774, Gainsborough and his family moved to London to live in Schomberg House, Pall Mall.[1][5] A commemorative blue plaque was put on the house in 1951.[6] In 1777, he again began to exhibit his paintings at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland. Exhibitions of his work continued for the next six years. About this time, Gainsborough began experimenting with printmaking using the then-novel techniques of aquatint and soft-ground etching.[7]
His later pictures are characterized by a light palette and easy strokes. Portrait of Anne, Countess of Chesterfield, 1777–1778
In 1780, he painted the portraits of King George III and his queen and afterwards received many royal commissions. This gave him some influence with the Academy and allowed him to dictate the manner in which he wished his work to be exhibited. However, in 1783, he removed his paintings from the forthcoming exhibition and transferred them to Schomberg House.
In 1784, royal painter Allan Ramsay died and the King was obliged to give the job to Gainsborough's rival and Academy president, Joshua Reynolds. Gainsborough remained the Royal Family's favorite painter, however. At his own express wish, he was buried at St. Anne's Church, Kew, where the Family regularly worshipped.
In his later years, Gainsborough often painted relatively simple, ordinary landscapes. With Richard Wilson, he was one of the originators of the eighteenth-century British landscape school; though simultaneously, in conjunction with Sir Joshua Reynolds, he was the dominant British portraitist of the second half of the 18th century.
William Jackson in his contemporary essays said of him "to his intimate friends he was sincere and honest and that his heart was always alive to every feeling of honour and generosity".[8] Gainsborough did not particularly enjoy reading but letters written to his friends were penned in such an exceptional conversational manner that the style could not be equalled.[9] As a letter writer Henry Bate-Dudley said of him "a selection of his letters would offer the world as much originality and beauty as is ever traced in his paintings".[10]
In the 1780s, Gainsborough used a device he called a "Showbox" to compose landscapes and display them backlit on glass. The original box is on display in the Victoria & Albert Museum with a reproduction transparency
He died of cancer on 2 August 1788 at the age of 61 and is interred at St. Anne's Church, Kew, Surrey (located on Kew Green). He is buried next to Francis Bauer, the famous botanical illustrator. As of 2011, an appeal is underway to pay the costs of restoration of his tomb.[12] A street in Kew, Gainsborough Road, is also named after him. wikipedia
Rabdentse was the second capital of the former kingdom of Sikkim from 1670 to 1814. The capital city was destroyed by the invading Gurkha army and only the ruins of the palace and the chortens are seen here now. However, the ruins of this city are seen close to Pelling and in West Sikkim district in the Northeastern Indian state of present day Sikkim; Pemayangtse Monastery is one of the oldest monasteries in Sikkim which is close to the ruins. From the vantage point of this former capital, superb views of the Khanchendzonga ranges can be witnessed. This monument has been declared as of national importance by the Archaeological Survey of India. It was first established in 1670 by Chadok Namgyal son of Phuntsog Namgyal by shifting from the first capital of Yuksom that was consecrated in 1642.
The Rabdentse ruins are part of Buddhist religious pilgrimage circuit starting with the first monastery at Yuksom known as the Dubdi Monastery, followed by Norbugang Chorten, Tashiding Monastery, the Pemayangtse Monastery, the Sanga Choeling Monastery, and the Khecheopalri Lake.
HISTORY
Phuntsog Namgyal, the first Chogyal or King of Sikkim, was consecrated as king of Sikkim at Yuksom and succeeded by his son, Tensung Namgyal in 1670. The reign of the Chogyal was peaceful and saw the capital shifted from Yuksom to Rabdentse. The Namgyal had three wives – a Tibetan, a Bhutanese and a Limbu girl. The Limbu girl, daughter of the Limbu chief Yo Yo-Hang had inducted seven girls from her family who all married into noble Sikkim families. Many of them became councillors to the King and were given the title Kazi, which gave them enormous powers and privileges.
The king's second wife's son Chador Namgyal, took over the reign's of power in Sikkim, after his father’s death, in 1700. He was a minor at that time. This outraged his elder half-sister Pendiongmu (daughter of first wife of Tensung Namgyal), of Bhutanese descent opposed the succession and with help from Bhutan evicted Chador. Chador fled to Tibet (Yungthing Yeshe, a loyal Minister escorted the minor king to Lhasa) where he remained in exile for ten years before returning and reclaiming his lost territory with the help of the Tibetans.
While in Lhasa, Chador Namgyal became very proficient in Buddhism and Tibetan literature, and also became the state astrologer to the Sixth Dalai Lama. During his exile, the Sixth Dalai Lama pleased with the erudition of Chador Namgyal had conferred on him exclusive rights to an estate in Tibet. During this period, the son of Yugthing Yeshe (who had saved Chador and taken him to Tibet) was imprisoned by the Bhutanese in Rabdentse. Tibet intervened in the matter and also prevailed on King Deb of Bhutan to withdraw from Sikkim. Chador Namgyal then returned to Rebdantse and the small forces of Bhutan which remained were forced to withdraw. During this period, Sikkim lost some areas in its south-eastern region since Bhutan had colonized the area.
Pedi, the Chogyal’s half sister, had not given up on her enmity against her half brother Chador. With the help of a medicinal man from Tibet she got Chador Namgyal murdered in 1716 through a mysterious blood letting from a main artery while the king was on a holiday at the Ralang hot water spring. Immediately, the royal armed forces executed the Tibetan doctor and also put Pedi to death by strangling her with a silk scarf.
Gurmed Namgyal succeeded his father Chadok in 1717. Gurmed's reign saw many skirmishes between the Nepalese and Sikkimese. He got Rabdentse fortified to checkmate invasions by the Gurkhas (Nepalese) and Bhutanese. In addition, a local Magar chieftain Tashi Bidur had also rebelled, but was subdued. Gurmed died in 1733 at a young age of 26. Since he did not have any legitimate children, on his death bed he conveyed that a nun at Sanga Cheoling was carrying his child (this is said to be the story concocted by the Lamas to perpetuate the Namgyal Dynasty). Subsequently, the nun gave birth to a male child who was accepted as heir to Gurmed and was given the name Phuntsog, after the first temporal and the spiritual head of Sikkim.
Phunstog Namgyal II, the illegitimate child of Gurmed, succeeded his father to the throne in 1733. His reign was tumultuous as he was faced with attacks by the Bhutanese and the Nepalese, apart from rebellions within Sikkim from Magars and the Tsongs in 1752. Since Namgyal II was a weak king, the Nepalese had made 17 invasions against Sikkim. Bhutan had also attacked Sikkim and occupied areas east of Tista River; however, they later withdrew to present frontiers after negotiations held at Rhenock.
Tenzing Namgyal, the next king was also a weak ruler, and his sovereignty saw most of Sikkim being appropriated by Nepal. The Chogyal was forced to flee from Rabdentse to Lhasa where he died in 1780. Tshudpud Namgyal, his son returned to Sikkim in 1793 to reclaim the throne with the help of China. Finding Rabdentse too close to the Nepalese border, he shifted the capital to Tumlong. Consequent to the repeated attacks by the Bhutanese and Nepalese over the many invasions, the capital city was reduced to ruins by the liberating army of Nepal.
STRUCTURES
The ruins seen now in Rabdentse consist mainly of “chunky wall stubs” whose heritage value is accentuated by its location on a ridge, near upper Pelling (3 kilometres away) from where commanding views of the Kanchendzong hill ranges and surroundings on one side and the mountains and valleys on the other side are visible. The approach to this location is from an ornamental yellow gate near the Pelling–Geyshing road, from where it is a walking distance of about 15 minutes through a lake and forested hills.
Along the trek path from the gate, an avenue of chestnut trees with sodden moss leads to a stone throne comprising three standing stones called as “Namphogang”, which was the pulpit of the judges from where judgments were pronounced during the active days of the king's reign from Rabdentse. Further ahead, the 'Taphap Chorten' is seen in semi ruined condition. This was the entry point to the Palace and people seeking access to the palace had to dismount from their horses and remove their hat as a mark of respect to the King here. The palace ruins are at the centre of the fourth courtyard.
The ruins of the palace are made up two of the northern and southern wings. The northern wing was the residence of the royal family. This wing has an open quadrangle where the “Dab Lhagang”, now in ruins, is also seen; the Royal family used to offer prayers with incense to their deities here. A white marble slab of size 2.1 mx 1.5 m (reported to have been shifted from the river and carried by single person) is also seen at this location, which was once the location of the monastery known as “Risum Gompa".
Next to the ruins of the palace are three chortens, religious sites where members of the royal family offered incense to the deities. The chortens are in a fair state of preservation. On the southern wing, common people were given an audience by the king, which is obvious from the stone throne seen here. The Archaeological Survey of India has declared Rabdentse as a heritage monument and has undertaken the needed preservation and restoration measures.[
WIKIPEDIA
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A photo or a print of a painting by Kenneth Wyatt showing John Wesley with Thomas Coke, Richard Whatcoat, and Thomas Vasey as they prepare to sail to America.
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DMZ tours offer insights into tensions then, now
By Sgt. 1st Class Jeff Troth
jefferey.l.troth.mil@mail.mil
CAMP BONIFAS, SOUTH KOREA – It’s been six decades since the Korean War of 1950 – 53 left the peninsula charred and devastated. But the Demilitarized Zone that has ever since divided the two Koreas, and the troops – North Korean on one side, South Korean and U.S. on the other – that stand guard there, remain an abiding and visible reminder of the hair-trigger tensions that persist.
The Army’s Family and Morale, Welfare and Recreation in Korea offers regularly scheduled trips to the DMZ, and a group of 41 Soldiers, civilians and family members from Warrior Country boarded a bus Aug. 4 and went to see the famous place for themselves.
The Joint Security Area at the DMZ draws more than 100,000 tourists from around the world each year, according to U.S. military officials there.
“Why would you come to South Korea and not go to visit the line between North Korea and South Korea?” said Rachel Barlow, wife of 1st Sgt. Frank Barlow, first sergeant for the 2nd Infantry Division Band. “I was curious as to what was there.”
One of the tour’s stops was the Joint Security Area, or JSA, where American and South Korean Soldiers work across a courtyard from those of the Democratic People’s Republic of Korea. In this courtyard, straddling the Military Demarcation Line, are buildings that are used for direct talks between the two Koreas.
Tourists are taken into one of the buildings, and can step beyond the point that takes them across the dividing line and thus into North Korea. But they have to leave the same way they came in – on the South Korean side.
One of the stops within the JSA was Checkpoint 3, a building on a hill that is faced on three sides by North Korea.
It was an “interesting” feature of the tour for Sgt. Mario Smith, of Headquarters and Headquarters Company, U.S. Army Garrison Red Cloud. “You look to your left, you see North Korea. You look to your right, you see North Korea. You look in front of you and you see North Korea. And if you look down you can see the concertina wire and the fence going around you.”
From Checkpoint 3, visitors can see Gijong-dong Village, also known as Propaganda Village, in the North’s part of the DMZ. The village was built in the 1950s to encourage South Koreans to defect. Despite massive loud speakers that once broadcast the virtues of North Korea, the village consists of buildings that are mere concrete shells, no windows or doors.
Next stop on the tour was the Bridge of No Return, which was used for repatriation of refugees and prisoners of war. A U.S. Soldier who briefed the tour explained that prisoners of both sides were given the option of being returned to their side or remaining with their captors. But the prisoners were also told that once they crossed over they’d be forbidden to come back.
The Barlow’s favorite part of the trip was the vantage from Dora Observatory, which affords a view of Mount Songhaksan and other North Korean mountains. It reminded them of the mountains in their home state of West Virginia, they said.
At Dora visitors can, for a small price, use binoculars to get a closer look into North Korea and can see as far as the city of Kaesong.
The tour included a stop at one of the infiltration tunnels leading into South Korea that authorities have discovered over the years.
Smith went inside the tunnel for a look and found it “awesome.”
“I have heard people talk about it, but until you walk through it yourself you will never believe the work that they put into it to construct it,” he said.
The next tours to the DMZ are Sept. 8 and 22. For more information on the tour or to sign up, visit your Area I Community Activity Center.
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