Perishable Rush Brick Lane East London 2023

.... First Lutheran has opened a Little Free Pantry in front of the church on the north-east corner, open 24/7. People can take what they need or donate non-perishable food items to help keep the pantry stocked. The project's goal is to enhance food security in the Bond Street and Ryerson University neighborhood and help build a caring and supportive community ....

WEEK 30.1 – Columbus Kroger, Set I

 

Due to Kroger wanting to pack in all they can into their smaller stores, roominess on the salesfloor seems to be sacrificed for merchandise a lot of the time (for better or for worse). As a result, aisle one begins directly along the right-side wall of the store, rather than using up valuable square footage for a large and airy "perishables grand aisle" like you're liable to see in bigger stores. The natural foods department runs the length of said first aisle, with its 2012 décor signage placed directly adjacent to that final piece of produce department flytrap stenciling.

 

I'm not sure when the Greenville Kroger was remodeled, but I'm willing to bet it was before the Columbus store here, seeing as how Greenville split Aisle 1 between natural foods and bread and rolls, based on the paint on the walls in that store. Bread and rolls were later moved to front-and-center in Kroger's standard store layout, a move that must have taken place before this Columbus store's 2014 remodel, given its lack of a similarly-painted area.

 

(c) 2018 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

WEEK 32.1 – Columbus Kroger, Set II

 

With the produce department and the deli and bakery counters on opposite sides of the salesfloor in this store, there was no way we were getting a dedicated “perishables grand aisle” here in Columbus. So instead, what you're looking at here is the next best thing: all of the prepared foods display tables out in front of the deli-bakery. The tables all appear to be holding various baked goods, while the two coffin coolers (only one of which is visible here) hold such items as specialty cheese and fresh sushi.

 

(c) 2018 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

WEEK 26.2 – Lakeland Kroger, Set I

 

Panning upward and to the right from the previous vantage point, we get this straight-on view of the roof peak above the produce department and perishables grand aisle at this store. As with the large picture window (just out of view behind me), this architectural design element remains here from the store's Schnucks days. As a matter of fact, the roof peak is tied in with the picture window on the storefront: check out this 3D Google Earth view (seen at the once-identical Germantown store) over at [https://www.flickr.com/photos/l_dawg2000/]'s photostream to better see what I'm talking about.

 

This feature exists solely here in the store's produce department; the rest of the salesfloor has ceilings all of the same (still high!) height.

  

Can you imagine no love, pride, deep-fried chicken

 

(c) 2018 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

WEEK 26 – Oxford Millennium Kroger, Revisited (I)

 

After our brief diversion to the front end, investigating what possibly used to be the old Starbucks counter and what likely became the ClickList staging area, we now return to the perishables grand aisle. This view looks from a spot directly at the foot of the café all the way toward the back right corner.

 

It’s worth noting that the café sign is kinda oddly placed here; I’m used to it being actually somewhere near the associated seating area, but here in Oxford those tables and chairs, as I mentioned on Thursday, are a fair bit out-of-frame to the left (if in fact they were even still there at all). Something else here was not present in my Thursday uploads… (cont.)

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Flowers are highly perishable commodity. No wonder this woman at Mylapore, Chennai seems concerned about business.

Angkor Wat (/ˌæŋkɔːr ˈwɒt/; Khmer: អង្គរវត្ត, "City/Capital of Temples") is a Hindu-Buddhist temple complex in Cambodia, located on a site measuring 162.6 hectares (1,626,000 m2; 402 acres). It resides within the ancient Khmer capital city of Angkor. The Guinness World Records considers it as the largest religious structure in the world. Originally constructed as a Hindu temple dedicated to the god Vishnu for the Khmer Empire by King Suryavarman II during the 12th century, it was gradually transformed into a Buddhist temple towards the end of the century; as such, it is also described as a "Hindu-Buddhist" temple.

 

Angkor Wat was built at the behest of the Khmer King Suryavarman II in the early 12th century in Yaśodharapura (Khmer: យសោធរបុរៈ, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat more than 5 kilometres (3 mi) long and an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls. The modern name Angkor Wat, alternatively Nokor Wat, means "Temple City" or "City of Temples" in Khmer. Angkor (អង្គរ ângkôr), meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ nôkôr), which comes from the Sanskrit/Pali word nagara (Devanāgarī: नगर). Wat (វត្ត vôtt) is the word for "temple grounds", also derived from Sanskrit/Pali vāṭa (Devanāgarī: वाट), meaning "enclosure"

 

The original name of the temple was Vrah Viṣṇuloka or Parama Viṣṇuloka meaning "the sacred dwelling of Vishnu".

 

History

Angkor Wat lies 5.5 kilometres (3+1⁄2 mi) north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. In an area of Cambodia where there is an essential group of ancient structures, it is the southernmost of Angkor's main sites.

 

The construction of Angkor Wat took place over 28 years from 1122 to 1150 CE during the reign of King Suryavarman II (ruled 1113–c. 1150).[1] A brahmin by the name of Divākarapaṇḍita (1040–c. 1120) was responsible for urging Suryavarman II to construct the temple. All of the original religious motifs at Angkor Wat derived from Hinduism. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. It was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Viṣṇuloka after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished. The term Vrah Viṣṇuloka or Parama Viṣṇuloka literally means "The king who has gone to the supreme world of Vishnu", which refer to Suryavarman II posthumously and intend to venerate his glory and memory.

 

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon, respectively), a few kilometers north, dedicated to Buddhism, because the king's new wife, Indratevi, a devout Mahayana Buddhist, encouraged him to convert. Angkor Wat was therefore also gradually converted into a Buddhist site, and many Hindu sculptures were replaced by Buddhist art.

 

Towards the end of the 12th century, Angkor Wat gradually transformed from a Hindu centre of worship to Buddhism, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was largely neglected after the 16th century, it was never completely abandoned. Fourteen inscriptions dated from the 17th century, discovered in the Angkor area, testify to Japanese Buddhist pilgrims that had established small settlements alongside Khmer locals. At that time, the temple was thought by the Japanese visitors to be the famed Jetavana garden of the Buddha, which was originally located in the kingdom of Magadha, India. The best-known inscription tells of Ukondayu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632.

 

The first Western visitor to the temple was António da Madalena, a Portuguese friar who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

 

In 1622, The Poem of Angkor Wat composed in Khmer verse describes the beauty of Angkor Wat and creates a legend around the construction of the complex, supposedly a divine castle built for legendary Khmer king Preah Ket Mealea by Hindu god Preah Pisnukar (or Braḥ Bisṇukār, Vishvakarman), as Suryavarman II had already vanished from people's minds.

 

In 1860, with the help of French missionary Father Charles-Émile Bouillevaux, the temple was effectively rediscovered by the French naturalist and explorer Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

One of these temples, a rival to that of Solomon, and erected by some ancient Michelangelo, might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.

 

In 1861 German anthropologist Adolf Bastian undertook a four-year trip to Southeast Asia. His account of this trip, The People of East Asia, ran to six volumes. When Bastian finally published the studies and observations during his Journey through Cambodia to Cochinchina in Germany in 1868 – told in detail but uninspiredly, above all without a single one of his drawings of the Angkorian sites – this work hardly made an impression, while everyone was talking about Henri Mouhot's posthumous work with vivid descriptions of Angkor, Travels in the Central Parts of Indo-China, Siam, Cambodia and Laos, published in 1864 through the Royal Geographical Society.

 

There were no ordinary dwellings or houses or other signs of settlement, including cooking utensils, weapons, or items of clothing usually found at ancient sites.

 

The artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country such as the areas of Siem Reap, Battambang, and Sisophon which were under Siamese rule from 1795 to 1907.

 

Angkor Wat's aesthetics were on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from c.1880 to the mid-1920s.

 

The 20th century saw a considerable restoration of Angkor Wat. Gradually teams of laborers and archeologists pushed back the jungle and exposed the expanses of stone, permitting the sun to once again illuminate the dark corners of the temple. Angkor Wat caught the attention and imagination of a wider audience in Europe when the pavilion of French protectorate of Cambodia, as part of French Indochina, recreated the life-size replica of Angkor Wat during Paris Colonial Exposition in 1931.

 

Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since then. From the colonial period onwards, until the site was nominated a UNESCO World Heritage in 1992, the temple of Angkor Wat was instrumental in the formation of the modern and gradually globalised concept of built cultural heritage.

 

Restoration work was interrupted by the Cambodian Civil War and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period. Camping Khmer Rouge forces used whatever wood remained in the building structures for firewood, and a shoot-out between Khmer Rouge and Vietnamese forces put a few bullet holes in a basrelief. Far more damage was done after the wars, by art thieves working out of Thailand, which, in the late 1980s and early 1990s, claimed almost every head that could be lopped off the structures, including reconstructions.

 

The temple is a symbol of Cambodia and is a source of national pride that has factored into Cambodia's diplomatic relations with France, the United States, and its neighbour Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937.

 

In December 2015, it was announced that a research team from the University of Sydney had found a previously unseen ensemble of buried towers built and demolished during the construction of Angkor Wat, as well as a massive structure of unknown purpose on its south side and wooden fortifications. The findings include evidence of low-density residential occupation in the region, with a road grid, ponds, and mounds. These indicate that the temple precinct, bounded by a moat and wall, may not have been used exclusively by the priestly elite, as was previously thought. The team used LiDAR, ground-penetrating radar and targeted excavation to map Angkor Wat.

 

According to a myth, the construction of Angkor Wat was ordered by Indra to serve as a palace for his son Precha Ket Mealea. According to the 13th-century Chinese traveller Zhou Daguan, some believed that the temple was constructed in a single night by a divine architect.

 

Architecture

Angkor Wat is a unique combination of the temple mountain (the standard design for the empire's state temples) and the later plan of concentric galleries, most of which were originally derived from religious beliefs of Hinduism. The construction of Angkor Wat suggests that there was a celestial significance with certain features of the temple. This is observed in the temple's east–west orientation, and lines of sight from terraces within the temple that show specific towers to be at the precise location of the solstice at sunrise. The temple is a representation of Mount Meru, the home of the gods according to Hindu mythology: the central quincunx of towers symbolise the five peaks of the mountain, and the walls and moat symbolise the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.

 

The Angkor Wat temple's main tower aligns with the morning sun of the spring equinox. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple. Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction—prasavya in Hindu terminology—as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services.

 

Archaeologist Charles Higham also describes a container that may have been a funerary jar that was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

 

Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, researcher Eleanor Mannikka argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honour and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

 

The oldest surviving plan of Angkor Wat dates to 1715 and is credited to Fujiwara Tadayoshi. The plan is stored in the Suifu Meitoku-kai Shokokan Museum in Mito, Japan.

 

Style

Angkor Wat is the prime example of the classical style of

Khmer architecture—the Angkor Wat style—to which it has given its name. By the 12th century, Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are sandstone blocks, while laterite was used for the outer wall and hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested.

 

The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity, and style."

 

Architecturally, the elements characteristic of the style include the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, pediments, extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

 

Architect Jacques Dumarçay believes the layout of Angkor Wat borrows Chinese influence in its system of galleries which join at right angles to form courtyards. However, the axial pattern embedded in the plan of Angkor Wat may be derived from Southeast Asian cosmology in combination with the mandala represented by the main temple.

 

Features

The outer wall, 1,024 m (3,360 ft) by 802 m (2,631 ft) and 4.5 m (15 ft) high, is surrounded by a 30 m (98 ft) apron of open ground and a moat 190 m (620 ft) wide and over 5 kilometres (3 mi) in perimeter. The moat extends 1.5 kilometres from east to west and 1.3 kilometres from north to south. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.

 

Under the southern tower is a statue known as Ta Reach, originally an eight-armed statue of Vishnu that may have occupied the temple's central shrine. Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.

 

The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m (1,150 ft) causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

 

Central structure

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. The two inner galleries each have four large towers at their ordinal corners (that is, NW, NE, SE, and SW) surrounding a higher fifth tower. This pattern is sometimes called a quincunx and represents the mountains of Meru. Because the temple faces west, the features are set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason, the west-facing steps are shallower than those on the other sides.

 

Mannikka interprets the galleries as being dedicated to the king, Brahma, the moon, and Vishnu. Each gallery has a gopura at each of the points. The outer gallery measures 187 m (614 ft) by 215 m (705 ft), with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (meaning "The Thousand Buddhas" Gallery). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating to the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water. North and south of the cloister are libraries.

 

Beyond, the second and inner galleries are connected to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 m (330 ft) by 115 m (377 ft), and may originally have been flooded to represent the ocean around Mount Meru. Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The steep stairways may represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m (200 ft) square with axial galleries connecting each gopura with the central shrine and subsidiary shrines located below the corner towers.

 

The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and the shrines. The tower above the central shrine rises 43 m (141 ft) to a height of 65 m (213 ft) above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

 

Decoration

Integrated with the architecture of the building, one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these "the greatest known linear arrangement of stone carving". From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hinduism.

 

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst").

 

Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm or 12–16 in) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm or 37–43 in) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewellery, and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

 

Construction techniques

The monument was made of five to ten million sandstone blocks with a maximum weight of 1.5 tons each. The entire city of Angkor used far greater amounts of stone than all the Egyptian pyramids combined and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids, which use limestone quarried 0.5 km (1⁄4 mi) away, the entire city of Angkor was built with sandstone quarried 40 km (25 mi) (or more) away. This sandstone was transported from Mount Kulen, a quarry approximately 40 kilometres (25 mi) northeast.

 

The route has been suggested to span 35 kilometres (22 mi) along a canal towards Tonlé Sap lake, another 35 kilometres (22 mi) crossing the lake, and finally 15 kilometres (9 mi) against the current along Siem Reap River, making a total journey of 90 kilometres (55 mi). However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2011 a shorter 35-kilometre (22 mi) canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

 

Virtually all of its surfaces, columns, lintels and even roofs are carved. There are kilometres of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots, as well as warriors following an elephant-mounted leader, and celestial dancing girls with elaborate hairstyles. The gallery wall alone is decorated with almost 1,000 m2 (11,000 sq ft) of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were prime targets for robbers.

 

While excavating Khajuraho, Alex Evans, a stonemason, and sculptor recreated a stone sculpture under 1.2 metres (4 ft), this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labour force to quarry, transport, carve and install so much sandstone probably ran into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artefacts that have been dated to the seventh century, before the Khmer came to power.

 

Restoration and conservation

The contrast between restored and unrestored figures is deliberate. The major restoration of the causeway was first initiated in the 1960s by the French.

As with most other ancient temples in Cambodia, Angkor Wat has faced extensive damage and deterioration by a combination of plant overgrowth, fungi, ground movements, war damage, and theft. The war damage to Angkor Wat's temples however has been very limited, compared to the rest of Cambodia's temple ruins, and it has also received the most attentive restoration.

 

The restoration of Angkor Wat in the modern era began with the establishment of the Conservation d'Angkor (Angkor Conservancy) by the École française d'Extrême-Orient (EFEO) in 1908; before that date, activities at the site were primarily concerned with exploration. The Conservation d'Angkor was responsible for the research, conservation, and restoration activities carried out at Angkor until the early 1970s, and a major restoration of Angkor was undertaken in the 1960s.

 

Work on Angkor was abandoned during the Khmer Rouge era and the Conservation d'Angkor was disbanded in 1975. Between 1986 and 1992, the Archaeological Survey of India carried out restoration work on the temple, as France did not recognise the Cambodian government at the time. Criticisms have been raised about both the early French restoration attempts and the later Indian work, with concerns over the damage done to the stone surface by the use of chemicals and cement.

 

In 1992, following an appeal for help by Norodom Sihanouk, Angkor Wat was listed in UNESCO's World Heritage in Danger (later removed in 2004) and as a World Heritage Site together with an appeal by UNESCO to the international community to save Angkor. Zoning of the area was designated to protect the Angkor site in 1994, APSARA was established in 1995 to protect and manage the area, and a law to protect Cambodian heritage was passed in 1996.

 

Several countries such as France, Japan, and China are now involved in Angkor Wat conservation projects. The German Apsara Conservation Project (GACP) is working to protect the devatas, and other bas-reliefs that decorate the temple, from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed the restoration of the north library of the outer enclosure in 2005.

 

Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration- and radiation-resistant filamentous cyanobacteria produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Replicas have been made to replace some of the lost or damaged sculptures.

 

Tourism

Since the 1990s, Angkor Wat has become a major tourist destination. In 1993, there were only 7,650 visitors to the site; by 2004, government figures show that 561,000 foreign visitors had arrived in Siem Reap province that year, approximately 50% of all foreign tourists in Cambodia. The number reached over a million in 2007, and over two million by 2012. Most visited Angkor Wat, which received over two million foreign tourists in 2013, and 2.6 million by 2018.

 

The site was managed by the private SOKIMEX group between 1990 and 2016, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti. Ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance—as of 2000 approximately 28% of ticket revenues across the entire Angkor site was spent on the temples—although most work is carried out by teams sponsored by foreign governments rather than by the Cambodian authorities.

 

Since Angkor Wat has seen significant growth in tourism throughout the years, UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organised seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasised the importance of providing high-quality accommodation and services for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed about traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large numbers of tourists.

 

The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and that more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat.

 

Locals of Siem Reap have also voiced concern that the charm and atmosphere of their town have been compromised to entertain tourism.[103] Since this local atmosphere is the key component to projects like Angkor Tourist City, the local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture.

 

At the ASEAN Tourism Forum 2012, it was agreed that Borobudur and Angkor Wat would become sister sites and the provinces sister provinces.

 

In 2020, the COVID-19 pandemic led to travel restrictions being introduced across the world, which had a severe impact on Cambodia's tourism sector. As a result, visitors to Angkor Wat plummeted, leaving the usually crowded complex almost deserted. Cambodia, including Angkor Wat, reopened to international visitors in late 2021, but as of the end of 2022 had only received a fraction of its pre-pandemic traffic: a total of 280,000 tourists visited the complex in 2022, versus 2.6 million in 2018. In 2023, the temple is seeing an increase in numbers over the previous year, having over 400,000 tourists by late July.

-Herman Melville

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For my Fine Arts Digital Imaging Class we were suppose to take the week to turn in a post processed self portrait that best depicted who we are as both a person and as a photographer. I literally didn't know for the longest, I actually took the whole week to finish the assignment. At first I was going to go with something cheesey like all the examples she gave us. My original idea was to turn myself into book ends and leave it at that. After taking my book end photos they came out horrible and I thought to myself there is no way this describes me at all nor is it anywhere close to my potential. I was sitting in the studio with ashley and megan while they were shooting for their lighting teqnuqie assignment and I thought struggle I want to do something with struggling. In the end it's a battle an inner struggle between who I am as an artist and who everyone expects me to be as a photographer. It's finding my balance and the journey to get to where I want to be. This is who I am I am a girl who doesn't really have full grips on herself but I am getting there, everyday.

 

Hopefully all goes well with critique tomorrow :)

 

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The Thunderbird Inn in Fort Benning, GA. Not exactly the Four Seasons, but then again, I didn't WANT The Four Seasons.

 

The room smelled about as bad as you would guess. And even though it looks warm from the glow of the bare light bulb, the heat didn't work, so it got cold at night. I must admit I did not sleep in the bed. I was smart enough to bring a folding lounge chair, so I slept in that.

 

Luckily I didn't have any perishables. The refrigerator was rusted out and wasn't plugged in anyway. Besides, it had a stained towel on top of it that may or may not have had urine stains on it. I did not take the time to DNA test it.

WEEK 26 – Oxford Millennium Kroger, Revisited (I)

 

I hope you were paying good attention to the Garden Market sign declaring this store’s produce department in the previous image, because (to date) that’s the very last picture I ever took of that particular millennium décor sign :( On subsequent visits to the Oxford Kroger, after its expansion had already begun, I found that this entire right-side wall had been removed and replaced with a temporary barrier – meaning that everything you see all the way up to that corner beside Bread & Rolls in this pic was also unceremoniously removed. As I shared with y’all last September, that makes those two signs the very first millennium décor departments to go entirely extinct in the state of Mississippi :(

 

But I neither want nor intend to spend the majority of my time in this photoset dwelling on how sad that fact is. Rather, let’s just appreciate this outgoing millennium décor store for what it is – er, was.

 

In this pic we’ve panned over to the left from produce, and are looking down what I consider the “perishables grand aisle.” A quite large swath of floor space, perfect for multiple displays, cases, and other amenities, sits in the middle between the right-side wall, home to produce and bread, and the island you see a tiny portion of on the extreme left of this picture, home to the deli and bakery counters.

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Spring is over

Angkor Thom 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. 170  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. The site is one of the major tourist attractions of southeast Asia.

 

Angkor Thom (Khmer: អង្គរធំ) is the transform name from another alternative name of Nokor Thom (Khmer: នគរធំ), which is believed to be the correct one, due to neglect of calling it in incorrect pronunciation. The word Nokor (Khmer: នគរ, Nôkô) is literally derived from Sanskrit word of Nagara (Devanāgarī: नगर), which means City, combining with Khmer word Thom (Khmer: ធំ, Thum), which means Big or Great so as to form Nokor Thom then being altered to current name of Angkor Thom.

 

Angkor Thom was established as the capital of Jayavarman VII's empire, and was the centre of his massive building program. One inscription found in the city refers to Jayavarman as the groom and the city as his bride.: 121 

 

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.: 138  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.

 

The Ayutthaya Kingdom, led by King Borommarachathirat II, sacked Angkor Thom, forcing the Khmers under Ponhea Yat to relocate their capital southeast to Phnom Penh.: 29 

 

Angkor Thom was abandoned some time prior to 1609, when an early western visitor wrote of an uninhabited city, "as fantastic as the Atlantis of Plato".: 140  It is believed to have sustained a population of 80,000–150,000 people.

 

The Poem of Angkor Wat composed in Khmer verse in 1622 describes the beauty of Angkor Thom.

 

Angkor Thom is in the Bayon style. This manifests itself in the large scale of the construction, in the widespread use of laterite, in the face-towers at each of the entrances to the city and in the naga-carrying giant figures which accompany each of the towers.

 

The city lies on the west bank of the Siem Reap River, a tributary of Tonle Sap, about a quarter of a mile from the river. The south gate of Angkor Thom is 7.2 km north of Siem Reap, and 1.7 km north of the entrance to Angkor Wat. The walls, 8 m high and flanked by a moat, are each 3 km long, enclosing an area of 9 km². The walls are of laterite buttressed by earth, with a parapet on the top. There are gates at each of the cardinal points, from which roads lead to the Bayon at the centre of the city. As the Bayon itself has no wall or moat of its own, those of the city are interpreted by archaeologists as representing the mountains and oceans surrounding the Bayon's Mount Meru.[8]: 81  Another gate—the Victory Gate—is 500 m north of the east gate; the Victory Way runs parallel to the east road to the Victory Square and the Royal Palace north of the Bayon. It is around 30 minutes from central Siem Reap.

 

The faces on the 23 m towers at the city gates, which are later additions to the main structure, take after those of the Bayon and pose the same problems of interpretation. They may represent the king himself, the bodhisattva Avalokiteshvara, guardians of the empire's cardinal points, or some combination of these. A causeway spans the moat in front of each tower: these have a row of devas on the left and asuras on the right, each row holding a naga in the attitude of a tug-of-war. This appears to be a reference to the myth, popular in Angkor, of the Churning of the Sea of Milk. The temple-mountain of the Bayon, or perhaps the gate itself,: 82  would then be the pivot around which the churning takes place. The nagas may also represent the transition from the world of men to the world of the gods (the Bayon), or be guardian figures. The gateways themselves are 3.5 by 7 m, and would originally have been closed with wooden doors.: 82  The south gate is now by far the most often visited, as it is the main entrance to the city for tourists. At each corner of the city is a Prasat Chrung—corner shrine—built of sandstone and dedicated to Avalokiteshvara. These are cruciform with a central tower, and orientated towards the east.

 

Within the city was a system of canals, through which water flowed from the northeast to the southwest. The bulk of the land enclosed by the walls would have been occupied by the secular buildings of the city, of which nothing remains. This area is now covered by forest.

 

Most of the great Angkor ruins have vast displays of bas-relief depicting the various gods, goddesses, and other-worldly beings from the mythological stories and epic poems of ancient Hinduism (modified by centuries of Buddhism). Mingled with these images are actual known animals, like elephants, snakes, fish, and monkeys, in addition to dragon-like creatures that look like the stylized, elongated serpents (with feet and claws) found in Chinese art.

 

But among the ruins of Ta Prohm, near a huge stone entrance, one can see that the "roundels on pilasters on the south side of the west entrance are unusual in design."

 

What one sees are roundels depicting various common animals—pigs, monkeys, water buffaloes, roosters and snakes. There are no mythological figures among the roundels, so one can reasonably conclude that these figures depict the animals that were commonly seen by the ancient Khmer people in the twelfth century.

WEEK 51 – Cordova Super Target Final Day, Set V

 

Here it is, folks: our final shot of the grocery department of the Cordova Super Target. As we saw throughout our walk down the actionway and aisles, while there were lots and lots of dry goods left to be purchased, most of the perishables were gone. No more meat, not much frozen, and only dregs in bakery and produce. I think there was a tiny bit of stuff left in the deli as well, but that’s not visible in this pic (see here instead). Other than all that… all we’re left with is just a bunch of emptiness :(

 

I do like the banners above the produce coolers, though. They serve as nice differentiation/delineation between produce and the rest of the grocery aisles. Walmart, which tends otherwise to have a more or less identical layout for its grocery departments as this Super Target does, kinda lacks that demarcation. Also adding points to Super Target’s total is that it makes more sense, at least in my opinion, to have frozen foods placed at the back of the department, as was the case at this store, as opposed to Walmart which usually has it as the immediate next department beyond produce. I’ve made fun of certain stores like Food Lion that used to have frozen foods in Aisle 1, because the typical supermarket logic has that department placed at the center or complete far end of the store so that items picked up from those aisles won’t melt the longer you shop around with them in your cart. Walmart didn’t seem to get that memo, haha!

 

Unfortunately, though, if any of the shoppers of this Super Target ever even thought of such things, they won’t get the chance to experience them any longer… and ironically, most all of them likely switched to shopping this store’s next-door neighbor, which is of course, you’ll recall, a Walmart.

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

With my friend Paul, I spend five days in Osaka, Japan. The trip provided much refreshment, and excitement, not to mention many challenges. It was my first visit to the country, and, I feel, it certainly won't be my last, as there are still many places left to see, and so many new things to learn.

 

We had several destinations highlighted on our itinerary, the foremost of which was Universal Studios. We spend an entire day there, going on rides and more often than not, queuing for them. The excruciating wait times were worth it, however, for such exhilarating fun, especially on the Hollywood Roller Coaster, my personal favorite. The next morning we followed up that successful endeavor with a trip to the Himeji Castle, a place which came highly recommended by my colleague, whose succinct description of the heritage site was, "awesome." Indeed, as a history buff, I enjoyed walking the storied grounds and climbing through the maze-like interior of the keep which was designed not so much to comfortably house the royal family as to confound the invading enemy. The castle is a must-visit. Other attractions of note include the Osaka Aquarium, and the Tennoji Zoo; both teemed with animals of every shape and size. We also at length ventured into several shopping districts inside of which were myriad stores, selling all sorts of fashion and gadgetry, countless restaurants and several gambling parlors - the Japanese, it seems, love their slot machines as much as the Hong Kong Chinese love their horse racing. Lest I forget, we frequented several video arcades to play the latest and greatest games; Paul played well, while I more often than not got 0wn3d. There is a lot to do in Japan.

 

Japanese culture, of which I've heard so much, really is distinct and separate from other Asian cultures. Their patterns of action and their peculiar artifacts certainly aren't the same as those which feature prominently in Hong Kong. For one thing, the MTR culture was more civilized and less stressful: people queued up for trains and let passengers alight first before permitting themselves to board; cellphones never rang and cabin cars were as quiet as bedrooms at midnight; and to imagine all of these people enforce their norms without public service announcements, without any coddling, conspicuous signs - that's amazing. What proved difficult was trying to find a garbage can. It was easier to find a vending machine, from which one could purchase a variety of drinks or cigarettes, than a bin in which to dispose of these delectable, perishable goods.

 

As for the general citizenry, they were most accommodating and hospitable, with several individuals going out of their way to help Paul and I find our way around the dense sprawl of the city. Language wasn't a concern despite our limited Japanese; amazingly enough, our comfort was their concern! I won't forget their selfless service, as one day, I hope, I'll be able to return the favor. That the girls were quite attractive and that I demonstrated a propensity to ask attractive girls for directions go without saying; however, I understand now that their sexiness and sophistication stem not from comely faces but coherent attire. Rather than adorn themselves like a typical Mong Kok girl in a ridiculous neon rainbow palette, with jeans or unseemly spandex underneath dresses, skirts or other tops better left to stand alone, Japanese girls opt for more somber, sensible colors - black and cream-colored - and what's more, they aren't afraid to whip out the tasteful pantyhose or to show some skin, even. We had plenty of time to ogle the ladies, and to their credit, freezing temperatures weren't enough to dissuade many of them from forsaking, icing their shorts, as we saw countless pairs being worn on the street. That's what I call fashion professionalism!

 

Overall, Japan is a marvelous little land full of the eccentric, as well as the endearing. It was a fascinating place to explore, and I'm thankful that it was done in the company of my friend , with whom candor was not at a premium. We both learned a lot and look forward to the next trip!

Ad for A&P Food Stores from the October 27, 1941 issue of Life Magazine, with emphasis on perishable departments and mention of the A&P house brands, showing some refrigerated cases and shopping carts used at that time. Also clothing fashions and how people got dressed up to go shopping.

"At certain moments I felt that the entire world was turning

into stone: a slow petrification, more or less advanced depending on people and places but one that spared no aspect of life.

It was as if no one could escape the inexorable stare of Medusa. "

 

"The only hero able to cut off Medusa’s head is Perseus, who flies with winged sandals; Perseus, who does not turn his gaze upon the face of the Gorgon but only upon her image reflected in his bronze shield.

To cut off Medusa’s head without being turned to stone, Perseus supports himself on the very lightest of things, the winds and the clouds, and fixes his gaze upon what can be revealed only by indirect vision, an image caught in a mirror.

The relationship between Perseus and the Gorgon is a complex one and does not end with the beheading of the monster. Medusa’s blood gives birth to a winged horse, Pegasus—the heaviness of stone is transformed into its opposite. With one blow of his hoof on Mount Helicon, Pegasus makes a spring gush forth, where the Muses drink. In certain versions of the myth, it is Perseus who rides the miraculous Pegasus, so dear to the Muses, born from the accursed blood of Medusa.

As for the severed head, Perseus does not abandon it but carries it concealed in a bag. When his enemies are about to overcome him, he has only to display it, holding it by its snaky locks, and this bloodstained booty becomes an invincible weapon in the hero’s hand. It is a weapon he uses only in cases of dire necessity, and only against those who deserve the punishment of being turned into statues. Here, certainly, the myth is telling us something, something implicit in the images that can’t be explained in any other way. Perseus succeeds in mastering that horrendous face by keeping it hidden,

just as in the first place he vanquished it by viewing it in a mirror. Perseus’s strength always lies in a refusal to look directly,

but not in a refusal of the reality in which he is fated to live; he carries the reality with him and accepts it as his particular burden.

On the relationship between Perseus and Medusa, we can learn something more from Ovid’s Metamorphoses. Perseus

wins another battle: he hacks a sea-monster to pieces with his sword and sets Andromeda free. Now he prepares to do what any of us would do after such an awful chore—he wants to wash his hands. But another problem arises: where to put Medusa’s head. And here Ovid has some lines (IV.740-752) that seem to me extraordinary in showing how much delicacy of spirit a man must have to be a Perseus, the killer of monsters: “So that the rough sand should not harm the snake-haired head, he makes the ground soft with a bed of leaves, and on top of that he strews little branches of plants born under water, and on this he places Medusa’s head, face down.” I think that the lightness, of which Perseus is the hero, could not be better represented than by this gesture of refreshing courtesy toward a being so monstrous and terrifying yet at the same time somehow fragile and perishable. But the most unexpected thing is the miracle that follows: when they touch Medusa, the little marine plants turn to coral and the nymphs, in order to have coral for adornments, rush to bring sprigs and seaweed to the terrible head.

 

Italo Calvino's Six Memos for the Next Millenium

 

«In certi momenti mi sembrava che il mondo stesse diventando tutto di pietra: una lenta pietrificazione più o meno avanzata a seconda delle persone e dei luoghi, ma che non risparmiava nessun aspetto della vita. Era come se nessuno potesse sfuggire allo sguardo inesorabile della Medusa.»

 

«L'unico eroe capace di tagliare la testa della Medusa è Perseo, che vola coi sandali alati, Perseo che non rivolge il suo sguardo sul volto della Gorgone, ma solo sulla sua immagine riflessa nello scudo di bronzo ... per tagliare la testa di Medusa senza lasciarsi pietrificare, Perseo si sostiene su ciò che vi è di più leggero: i venti e le nuvole, e spinge il suo sguardo su ciò che può rivelarglisi solo in una visione indiretta, in un'immagine catturata da uno specchio»"

«Il rapporto tra Perseo e la Gorgone è complesso: non finisce con la decapitazione del mostro. Dal sangue della Medusa nasce un cavallo alato: Pegaso; la pesantezza della pietra può essere rovesciata nel suo contrario; con un colpo di zoccolo sul monte Elicona, Pegaso fa scaturire la fonte da cui bevono le Muse ... Quanto alla testa mozzata, Perseo non l'abbandona ma la porta con sé, nascosta in un sacco; quando i nemici stanno per sopraffarlo, basta che egli la mostri sollevandola per la chioma di serpenti, e quella spoglia sanguinosa diventa un'arma invincibile nella mano dell'eroe ... Perseo riesce a padroneggiare quel volto tremendo tenendolo nascosto, come prima l'aveva vinto guardandolo in uno specchio. È sempre in un rifiuto della visione diretta che sta la forza di Perseo, ma non in un rifiuto della realtà di mostri in cui gli è toccato di vivere, una realtà che egli porta con sé che assume come proprio fardello ... Sul rapporto tra Perseo e Medusa possiamo apprendere [ancora] qualcosa di più leggendo Ovidio nelle Metamorfosi. Perseo ha vinto una nuova battaglia, ha massacrato a colpi di spada un mostro marino ... E ora si accinge a fare quello che ciascuno di noi farebbe dopo un lavoraccio simile: va a lavarsi le mani. In questi casi il suo problema è dove posare la testa di Medusa. E qui Ovidio ha dei versi che mi paiono straordinari per spiegare quanta delicatezza d'animo sia necessaria per essere un Perseo, vincitore di mostri:

 

"Perché la ruvida sabbia non sciupi la testa anguicrinata, egli rende soffice il terreno con uno strato di foglie, vi stende sopra dei ramoscelli nati sott'acqua e vi depone la testa di Medusa a faccia in giù".

 

Mi sembra che la leggerezza di cui Perseo è l'eroe non potrebbe essere meglio rappresentata che da questo gesto di rinfrescante gentilezza verso quell'essere mostruoso e tremendo, ma anche in qualche modo deteriorabile, fragile. Ma la cosa più inaspettata è il miracolo che ne segue: i ramoscelli marini a contatto con la Medusa si trasformano in coralli, e le ninfe per adornarsi di coralli accorrono e avvicinano ramoscelli e alghe alla terribile testa»

 

Italo Calvino's Six Memos for the Next Millenium

Angkor Wat (/ˌæŋkɔːr ˈwɒt/; Khmer: អង្គរវត្ត, "City/Capital of Temples") is a Hindu-Buddhist temple complex in Cambodia, located on a site measuring 162.6 hectares (1,626,000 m2; 402 acres). It resides within the ancient Khmer capital city of Angkor. The Guinness World Records considers it as the largest religious structure in the world. Originally constructed as a Hindu temple dedicated to the god Vishnu for the Khmer Empire by King Suryavarman II during the 12th century, it was gradually transformed into a Buddhist temple towards the end of the century; as such, it is also described as a "Hindu-Buddhist" temple.

 

Angkor Wat was built at the behest of the Khmer King Suryavarman II in the early 12th century in Yaśodharapura (Khmer: យសោធរបុរៈ, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat more than 5 kilometres (3 mi) long and an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls. The modern name Angkor Wat, alternatively Nokor Wat, means "Temple City" or "City of Temples" in Khmer. Angkor (អង្គរ ângkôr), meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ nôkôr), which comes from the Sanskrit/Pali word nagara (Devanāgarī: नगर). Wat (វត្ត vôtt) is the word for "temple grounds", also derived from Sanskrit/Pali vāṭa (Devanāgarī: वाट), meaning "enclosure"

 

The original name of the temple was Vrah Viṣṇuloka or Parama Viṣṇuloka meaning "the sacred dwelling of Vishnu".

 

History

Angkor Wat lies 5.5 kilometres (3+1⁄2 mi) north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. In an area of Cambodia where there is an essential group of ancient structures, it is the southernmost of Angkor's main sites.

 

The construction of Angkor Wat took place over 28 years from 1122 to 1150 CE during the reign of King Suryavarman II (ruled 1113–c. 1150).[1] A brahmin by the name of Divākarapaṇḍita (1040–c. 1120) was responsible for urging Suryavarman II to construct the temple. All of the original religious motifs at Angkor Wat derived from Hinduism. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. It was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Viṣṇuloka after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished. The term Vrah Viṣṇuloka or Parama Viṣṇuloka literally means "The king who has gone to the supreme world of Vishnu", which refer to Suryavarman II posthumously and intend to venerate his glory and memory.

 

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon, respectively), a few kilometers north, dedicated to Buddhism, because the king's new wife, Indratevi, a devout Mahayana Buddhist, encouraged him to convert. Angkor Wat was therefore also gradually converted into a Buddhist site, and many Hindu sculptures were replaced by Buddhist art.

 

Towards the end of the 12th century, Angkor Wat gradually transformed from a Hindu centre of worship to Buddhism, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was largely neglected after the 16th century, it was never completely abandoned. Fourteen inscriptions dated from the 17th century, discovered in the Angkor area, testify to Japanese Buddhist pilgrims that had established small settlements alongside Khmer locals. At that time, the temple was thought by the Japanese visitors to be the famed Jetavana garden of the Buddha, which was originally located in the kingdom of Magadha, India. The best-known inscription tells of Ukondayu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632.

 

The first Western visitor to the temple was António da Madalena, a Portuguese friar who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

 

In 1622, The Poem of Angkor Wat composed in Khmer verse describes the beauty of Angkor Wat and creates a legend around the construction of the complex, supposedly a divine castle built for legendary Khmer king Preah Ket Mealea by Hindu god Preah Pisnukar (or Braḥ Bisṇukār, Vishvakarman), as Suryavarman II had already vanished from people's minds.

 

In 1860, with the help of French missionary Father Charles-Émile Bouillevaux, the temple was effectively rediscovered by the French naturalist and explorer Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

One of these temples, a rival to that of Solomon, and erected by some ancient Michelangelo, might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.

 

In 1861 German anthropologist Adolf Bastian undertook a four-year trip to Southeast Asia. His account of this trip, The People of East Asia, ran to six volumes. When Bastian finally published the studies and observations during his Journey through Cambodia to Cochinchina in Germany in 1868 – told in detail but uninspiredly, above all without a single one of his drawings of the Angkorian sites – this work hardly made an impression, while everyone was talking about Henri Mouhot's posthumous work with vivid descriptions of Angkor, Travels in the Central Parts of Indo-China, Siam, Cambodia and Laos, published in 1864 through the Royal Geographical Society.

 

There were no ordinary dwellings or houses or other signs of settlement, including cooking utensils, weapons, or items of clothing usually found at ancient sites.

 

The artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country such as the areas of Siem Reap, Battambang, and Sisophon which were under Siamese rule from 1795 to 1907.

 

Angkor Wat's aesthetics were on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from c.1880 to the mid-1920s.

 

The 20th century saw a considerable restoration of Angkor Wat. Gradually teams of laborers and archeologists pushed back the jungle and exposed the expanses of stone, permitting the sun to once again illuminate the dark corners of the temple. Angkor Wat caught the attention and imagination of a wider audience in Europe when the pavilion of French protectorate of Cambodia, as part of French Indochina, recreated the life-size replica of Angkor Wat during Paris Colonial Exposition in 1931.

 

Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since then. From the colonial period onwards, until the site was nominated a UNESCO World Heritage in 1992, the temple of Angkor Wat was instrumental in the formation of the modern and gradually globalised concept of built cultural heritage.

 

Restoration work was interrupted by the Cambodian Civil War and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period. Camping Khmer Rouge forces used whatever wood remained in the building structures for firewood, and a shoot-out between Khmer Rouge and Vietnamese forces put a few bullet holes in a basrelief. Far more damage was done after the wars, by art thieves working out of Thailand, which, in the late 1980s and early 1990s, claimed almost every head that could be lopped off the structures, including reconstructions.

 

The temple is a symbol of Cambodia and is a source of national pride that has factored into Cambodia's diplomatic relations with France, the United States, and its neighbour Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937.

 

In December 2015, it was announced that a research team from the University of Sydney had found a previously unseen ensemble of buried towers built and demolished during the construction of Angkor Wat, as well as a massive structure of unknown purpose on its south side and wooden fortifications. The findings include evidence of low-density residential occupation in the region, with a road grid, ponds, and mounds. These indicate that the temple precinct, bounded by a moat and wall, may not have been used exclusively by the priestly elite, as was previously thought. The team used LiDAR, ground-penetrating radar and targeted excavation to map Angkor Wat.

 

According to a myth, the construction of Angkor Wat was ordered by Indra to serve as a palace for his son Precha Ket Mealea. According to the 13th-century Chinese traveller Zhou Daguan, some believed that the temple was constructed in a single night by a divine architect.

 

Architecture

Angkor Wat is a unique combination of the temple mountain (the standard design for the empire's state temples) and the later plan of concentric galleries, most of which were originally derived from religious beliefs of Hinduism. The construction of Angkor Wat suggests that there was a celestial significance with certain features of the temple. This is observed in the temple's east–west orientation, and lines of sight from terraces within the temple that show specific towers to be at the precise location of the solstice at sunrise. The temple is a representation of Mount Meru, the home of the gods according to Hindu mythology: the central quincunx of towers symbolise the five peaks of the mountain, and the walls and moat symbolise the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.

 

The Angkor Wat temple's main tower aligns with the morning sun of the spring equinox. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple. Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction—prasavya in Hindu terminology—as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services.

 

Archaeologist Charles Higham also describes a container that may have been a funerary jar that was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

 

Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, researcher Eleanor Mannikka argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honour and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

 

The oldest surviving plan of Angkor Wat dates to 1715 and is credited to Fujiwara Tadayoshi. The plan is stored in the Suifu Meitoku-kai Shokokan Museum in Mito, Japan.

 

Style

Angkor Wat is the prime example of the classical style of

Khmer architecture—the Angkor Wat style—to which it has given its name. By the 12th century, Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are sandstone blocks, while laterite was used for the outer wall and hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested.

 

The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity, and style."

 

Architecturally, the elements characteristic of the style include the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, pediments, extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

 

Architect Jacques Dumarçay believes the layout of Angkor Wat borrows Chinese influence in its system of galleries which join at right angles to form courtyards. However, the axial pattern embedded in the plan of Angkor Wat may be derived from Southeast Asian cosmology in combination with the mandala represented by the main temple.

 

Features

The outer wall, 1,024 m (3,360 ft) by 802 m (2,631 ft) and 4.5 m (15 ft) high, is surrounded by a 30 m (98 ft) apron of open ground and a moat 190 m (620 ft) wide and over 5 kilometres (3 mi) in perimeter. The moat extends 1.5 kilometres from east to west and 1.3 kilometres from north to south. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.

 

Under the southern tower is a statue known as Ta Reach, originally an eight-armed statue of Vishnu that may have occupied the temple's central shrine. Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.

 

The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m (1,150 ft) causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

 

Central structure

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. The two inner galleries each have four large towers at their ordinal corners (that is, NW, NE, SE, and SW) surrounding a higher fifth tower. This pattern is sometimes called a quincunx and represents the mountains of Meru. Because the temple faces west, the features are set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason, the west-facing steps are shallower than those on the other sides.

 

Mannikka interprets the galleries as being dedicated to the king, Brahma, the moon, and Vishnu. Each gallery has a gopura at each of the points. The outer gallery measures 187 m (614 ft) by 215 m (705 ft), with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (meaning "The Thousand Buddhas" Gallery). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating to the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water. North and south of the cloister are libraries.

 

Beyond, the second and inner galleries are connected to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 m (330 ft) by 115 m (377 ft), and may originally have been flooded to represent the ocean around Mount Meru. Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The steep stairways may represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m (200 ft) square with axial galleries connecting each gopura with the central shrine and subsidiary shrines located below the corner towers.

 

The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and the shrines. The tower above the central shrine rises 43 m (141 ft) to a height of 65 m (213 ft) above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

 

Decoration

Integrated with the architecture of the building, one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these "the greatest known linear arrangement of stone carving". From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hinduism.

 

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst").

 

Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm or 12–16 in) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm or 37–43 in) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewellery, and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

 

Construction techniques

The monument was made of five to ten million sandstone blocks with a maximum weight of 1.5 tons each. The entire city of Angkor used far greater amounts of stone than all the Egyptian pyramids combined and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids, which use limestone quarried 0.5 km (1⁄4 mi) away, the entire city of Angkor was built with sandstone quarried 40 km (25 mi) (or more) away. This sandstone was transported from Mount Kulen, a quarry approximately 40 kilometres (25 mi) northeast.

 

The route has been suggested to span 35 kilometres (22 mi) along a canal towards Tonlé Sap lake, another 35 kilometres (22 mi) crossing the lake, and finally 15 kilometres (9 mi) against the current along Siem Reap River, making a total journey of 90 kilometres (55 mi). However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2011 a shorter 35-kilometre (22 mi) canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

 

Virtually all of its surfaces, columns, lintels and even roofs are carved. There are kilometres of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots, as well as warriors following an elephant-mounted leader, and celestial dancing girls with elaborate hairstyles. The gallery wall alone is decorated with almost 1,000 m2 (11,000 sq ft) of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were prime targets for robbers.

 

While excavating Khajuraho, Alex Evans, a stonemason, and sculptor recreated a stone sculpture under 1.2 metres (4 ft), this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labour force to quarry, transport, carve and install so much sandstone probably ran into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artefacts that have been dated to the seventh century, before the Khmer came to power.

 

Restoration and conservation

The contrast between restored and unrestored figures is deliberate. The major restoration of the causeway was first initiated in the 1960s by the French.

As with most other ancient temples in Cambodia, Angkor Wat has faced extensive damage and deterioration by a combination of plant overgrowth, fungi, ground movements, war damage, and theft. The war damage to Angkor Wat's temples however has been very limited, compared to the rest of Cambodia's temple ruins, and it has also received the most attentive restoration.

 

The restoration of Angkor Wat in the modern era began with the establishment of the Conservation d'Angkor (Angkor Conservancy) by the École française d'Extrême-Orient (EFEO) in 1908; before that date, activities at the site were primarily concerned with exploration. The Conservation d'Angkor was responsible for the research, conservation, and restoration activities carried out at Angkor until the early 1970s, and a major restoration of Angkor was undertaken in the 1960s.

 

Work on Angkor was abandoned during the Khmer Rouge era and the Conservation d'Angkor was disbanded in 1975. Between 1986 and 1992, the Archaeological Survey of India carried out restoration work on the temple, as France did not recognise the Cambodian government at the time. Criticisms have been raised about both the early French restoration attempts and the later Indian work, with concerns over the damage done to the stone surface by the use of chemicals and cement.

 

In 1992, following an appeal for help by Norodom Sihanouk, Angkor Wat was listed in UNESCO's World Heritage in Danger (later removed in 2004) and as a World Heritage Site together with an appeal by UNESCO to the international community to save Angkor. Zoning of the area was designated to protect the Angkor site in 1994, APSARA was established in 1995 to protect and manage the area, and a law to protect Cambodian heritage was passed in 1996.

 

Several countries such as France, Japan, and China are now involved in Angkor Wat conservation projects. The German Apsara Conservation Project (GACP) is working to protect the devatas, and other bas-reliefs that decorate the temple, from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed the restoration of the north library of the outer enclosure in 2005.

 

Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration- and radiation-resistant filamentous cyanobacteria produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Replicas have been made to replace some of the lost or damaged sculptures.

 

Tourism

Since the 1990s, Angkor Wat has become a major tourist destination. In 1993, there were only 7,650 visitors to the site; by 2004, government figures show that 561,000 foreign visitors had arrived in Siem Reap province that year, approximately 50% of all foreign tourists in Cambodia. The number reached over a million in 2007, and over two million by 2012. Most visited Angkor Wat, which received over two million foreign tourists in 2013, and 2.6 million by 2018.

 

The site was managed by the private SOKIMEX group between 1990 and 2016, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti. Ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance—as of 2000 approximately 28% of ticket revenues across the entire Angkor site was spent on the temples—although most work is carried out by teams sponsored by foreign governments rather than by the Cambodian authorities.

 

Since Angkor Wat has seen significant growth in tourism throughout the years, UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organised seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasised the importance of providing high-quality accommodation and services for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed about traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large numbers of tourists.

 

The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and that more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat.

 

Locals of Siem Reap have also voiced concern that the charm and atmosphere of their town have been compromised to entertain tourism.[103] Since this local atmosphere is the key component to projects like Angkor Tourist City, the local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture.

 

At the ASEAN Tourism Forum 2012, it was agreed that Borobudur and Angkor Wat would become sister sites and the provinces sister provinces.

 

In 2020, the COVID-19 pandemic led to travel restrictions being introduced across the world, which had a severe impact on Cambodia's tourism sector. As a result, visitors to Angkor Wat plummeted, leaving the usually crowded complex almost deserted. Cambodia, including Angkor Wat, reopened to international visitors in late 2021, but as of the end of 2022 had only received a fraction of its pre-pandemic traffic: a total of 280,000 tourists visited the complex in 2022, versus 2.6 million in 2018. In 2023, the temple is seeing an increase in numbers over the previous year, having over 400,000 tourists by late July.

Publix handbaskets, located somewhere in the grand/perishables aisle (near the front entrance? I would think so...) at the Muscle Shoals Alabama location.

____________________________________

Publix, 2015-16 built, Woodward Ave. at W. 6th St., Muscle Shoals AL

An eastbound perishable train slams the diamonds at Ipswich enroute to eastern markets powered by a recently delivered Penn Central Century 636 and a veteran N&W Alco Century 630. Models owned by Jim Hebner and Craig Willett.

 

Photo by Craig Willett.

Visit the HO scale NAPM club on-line at www.napmltd.com.

WEEK 17 – Collierville Houston Levee Kroger (I)

 

Leaving the perishables grand aisle/service department island and jumping over to the back wall now, here’s our first view down the rear actionway of the store. Like I said: the dark colors continue through a good portion of the place, haha! But as we’ll see, there are some lighter elements in at least two major areas closer to the left side of the store (although even then, you could argue those colors are dark compared to the same family of colors as implemented in other décor packages, both within Kroger and at other chains).

 

I’ve been talking a whole lot about the design of the décor so far, so now I feel it’s a good time to take a step back and ask y’all what you think about it so far. Do you like it? Hate it? Don’t care either way? I’m curious; talk to me!

 

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It has occurred to me that it’s probably not fair of me to enjoy listening to PopRock Picks without sharing any music for y’all. So here’s this week’s overdue list of quarantine jams.

 

1. You Belong to the City – Glenn Frey

2. Nothing Left to Say/Rocks – Imagine Dragons

3. Inside Out – Eve 6 🔥

4. Only the Lonely – Motels

5. God Bless Saturdays – Kid Rock

6. Feel Like Makin’ Love – Bad Company

7. I Can’t Tell You Why – Eagles

8. Shut Your Eyes – Snow Patrol 🔥

9. My Way – 3 Doors Down

10. No More Secrets – Carolina Liar

11. God Bless This Mess – Bon Jovi

12. Hypnotize – The Darlings

13. West Coast – Imagine Dragons

14. Amazing – Saving Abel

15. Witch – Cold

16. Lucky Kid – Sheryl Crow 🔥

17. Daddy’s Little Girl – Carolina Liar

18. Words as Weapons – Seether

19. Supercalifragilisticexpialidocious – Julie Andrews and Dick Van Dyke (I can spell that from memory. Can you?)

20. Before He Cheats – Carrie Underwood

21. Trouble – Imagine Dragons

22. Parallel Universe – Red Hot Chili Peppers

23. Gone – Montgomery Gentry 🔥

24. Show Me This Life – Poets of the Fall

25. Central Park – Lifehouse

26. Psychosis – Poets of the Fall 🔥

27. Locking Up the Sun – Poets of the Fall (okay I love Poets but that seems like a bit much lol)

28. Beats the Hell Out of Me – The Waltons

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Veracruz, Mexico

A.D. 250-500

Polychrome ceramic

 

Stanford Art Museum

 

Wikipedia says:

 

Classic Veracruz culture (or Gulf Coast Classic culture) refers to a cultural area in the north and central areas of the present-day Mexican state of Veracruz, a culture that existed from roughly 100 to 1000 CE, or during the Classic era.

 

El Tajin was the major center of Classic Veracruz culture; other notable settlements include Higueras, Zapotal, Cerro de las Mesas, Nopiloa, and Remojadas, the latter two important ceramics centers. The culture spanned the Gulf Coast between the Pánuco River on the north and the Papaloapan River on the south.

  

Characteristics

 

The major theme of Classic Veracruz art is human sacrifice, particularly in context of the Mesoamerican ballgame. This art is rendered with extensive and convoluted banded scrolls that can be seen both on monumental architecture and on portable art, including ceramics and even carved bones. At least one researcher has suggested that the heads and other features formed by the scrolls are a Classic Veracruz form of pictographic writing. This scrollwork may have grown out of similar styles found in Chiapa de Corzo and Kaminaljuyu.

 

In addition to the scrollwork, the architecture is known for its remarkable ornamentation, such as that seen on the Pyramid of Niches at El Tajin. This ornamentation produces dramatic contrasts of light and shadow, what art historian George Kubler called a "bold chiaroscuro".

 

While Classic Veracruz culture shows influences from Teotihuacan and the Maya,[6] neither of these cultures are its direct antecedents. Instead, the seeds of this culture seems to have come at least in part from the Epi-Olmec culture centers, such as Cerro de las Mesas and La Mojarra.

 

The Classic Veracruz culture is sometimes wrongly associated with the Totonacs, who were occupying this territory at the time of the Spanish Conquest of Mexico. However, there is little or no evidence that the Totonacs were the originators of the Classic era culture.

 

Social structure

 

Burials, monumental sculpture, relief carvings, and the distribution of architecture within the regional centers all point to a stratification of Classic Veracruz society, including the presence of an elite rank as well as craft specialization. Elite hereditary rulers held sway over these small- to medium-sized regional centers, none over 2000 km², maintaining their rule through political and religious control of far-flung trade networks and legitimizing it through typical Mesoamerican rites such as bloodletting, human sacrifice, warfare, and use of exotic goods.[9] Much or most of the population, however, lived in isolated homesteads, hamlets, or villages.

 

Like the Epi-Olmec and Olmec cultures before it, Classic Veracruz culture was based on swidden, or slash-and-burn, agriculture, with maize an important component of the diet, supplemented with domestic dog, wild deer and other mammals, and fish and shellfish. Cotton was also an important crop.

 

The Classic Veracruz culture venerated many common Mesoamerican deities, in particular a death god (very prominent at El Tajin and often associated with the Aztec Mictlantecuhtli) and an earth monster (likely inherited from the Olmec culture).

 

Mesoamerican ballgame

 

The Classic Veracruz culture was seemingly obsessed with the ballgame. Every cultural center had at least one ballcourt, while up to 18 ballcourts have been found at El Tajin. It was during Late Classic here in north-central Veracruz that the ballgame reached its height.

 

The ballgame rituals appear throughout Classic Veracruz monumental art. The walls of largest ballcourt, the East Ballcourt at El Tajin are lined with carved murals showing human sacrifice in the context of the ballgame (see photo above). The culmination of these murals is a tableau showing the rain god, who pierces his penis (an act of bloodletting) to replenish a vat of the alcoholic, ritual drink pulque, the apparent desired end result of the ballgame ritual sacrifice.

 

A defining characteristic of the Classic Veracruz culture is the presence of stone ballgame gear: yokes, hachas, and palmas. Yokes are U-shaped stones worn about the waist of a ballplayer, while the hachas and palmas sit upon the yoke. Archaeologists generally suppose that the stone yokes are ritual versions of leather, cotton, and/or wood yokes, although no such perishable artifacts have yet been unearthed. While the yokes and hachas have been found from Teotihuacan to Guatemala, the palmas seem peculiar to what is today northern Veracruz.

 

Ceramics

 

Until the early 1950s, the Classic Veracruz ceramics were few, little understood, and generally without provenance. Since then, the recovery of thousands of figurines and pottery pieces from sites such as Remojadas, Los Cerros, Dicha Tuerta, and Tenenexpan, some initially by looters, has expanded our understanding and filled many museum shelves. Artist and art historian Miguel Covarrubias described Classic Veracruz ceramics as "powerful and expressive, endowed with a charm and sensibility unprecedented in other, more formal cultures".[18]

 

Remojadas style figurines, perhaps the most easily recognizable, are usually hand-modeled, and often adorned with appliqués. Of particular note are the Sonrientes (smiling faces) figurines, with triangular-shaped heads and outstretched arms. Nopiloa figurines are usually less ornate, without appliqués, and often molded.

 

The Classic Veracruz culture produced some of the few wheeled Mesoamerican figurines and is also noted for the use of bitumen for highlighting.

 

en.wikipedia.org/wiki/Classic_Veracruz_culture

Perishable beauty... Pale petals preserved in pink.

The Mystery of Resurrection

1 Corinthians 15

 

50 I declare to you, brothers, that flesh and blood cannot inherit the kingdom of God, nor does the perishable inherit the imperishable. 51 Listen, I tell you a mystery: We will not all sleep, but we will all be changed— 52 in a flash, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, the dead will be raised imperishable, and we will be changed. 53 For the perishable must clothe itself with the imperishable, and the mortal with immortality. 54 When the perishable has been clothed with the imperishable, and the mortal with immortality, then the saying that is written will come true: "Death has been swallowed up in victory."

55 "Where, O death, is your victory?

Where, O death, is your sting?" 56 The sting of death is sin, and the power of sin is the law. 57 But thanks be to God! He gives us the victory through our Lord Jesus Christ.

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

 

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

 

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

 

CONTENTS

HISTORICAL SIDDHARTA GAUTAMA

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

 

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

 

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

 

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

 

TRADITIONAL BIOGRAPHIES

BIOGRAPHICAL SOURCES

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

 

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

 

NATURE OF TRADITIONAL DEPICTIONS

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

 

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

 

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

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

 

BIOGRAPHY

CONCEPTION AND BIRTH

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

 

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

 

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

 

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

 

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

 

EARLY LIFE AND MARRIAGE

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

 

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

 

RENUNCIATION AND ASCETIC LIFE

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

 

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

 

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

 

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

 

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

 

AWAKENING

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

 

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

 

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

 

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

 

FORMATION OF THE SANGHA

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

 

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

 

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

 

TRAVELS AND TEACHING

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

 

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

 

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

 

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

 

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

 

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

 

The Buddha is said to have replied:

 

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

 

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

 

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

 

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

 

MAHAPARINIRVANA

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

BUDDHA AND VEDAS

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

 

RELICS

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

 

PHYSICAL CHARACTERISTICS

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

 

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

 

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

 

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

 

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

 

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

 

NINE VIRTUES

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

 

- Buddho – Awakened

- Sammasambuddho – Perfectly self-awakened

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

- Sugato – Well-gone or Well-spoken.

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

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

- Satthadeva-Manussanam – Teacher of gods and humans.

- Bhagavathi – The Blessed one

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

 

TEACHINGS

TRACING THE OLDEST TEACHINGS

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

 

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

 

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

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

"Cautious optimism in this respect."

 

DHYANA AND INSIGHT

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

 

CORE TEACHINGS

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

LATER DEVELOPMENTS

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

 

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

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

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

 

OTHER RELIGIONS

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

 

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

 

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

 

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

 

WIKIPEDIA

What a location this was in steam days, with six tracks and a perishable goods yard to the left. Hope Street Peakstone terminal now exists on the site.

OM

Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions.[1][2] It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.[3][4]

Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism.[5][6] The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.

In Hinduism, Om is one of the most important spiritual symbols (pratima).[7][8] It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge).[9][10][11] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.

Vedic literature

The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".

Vedas

The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.

ॐ भूर्भुवस्व: |

तत्सवितुर्वरेण्यम् |

भर्गो देवस्य धीमहि |

धियो यो न: प्रचोदयात् ||

 

Om. Earth, atmosphere, heaven.

Let us think on that desirable splendour

of Savitr, the Inspirer. May he stimulate

us to insightful thoughts.

Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.

The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[26] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).[27]

Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[26][27] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[27][28]

The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[29] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[30] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[31] The syllable Om is thus implied as that which inspires the good inclinations within each person.[30][31]

Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[28][32] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[33] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[34]

Katha Upanishad

The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation).[35] In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant,[36] that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[37]

The word which all the Vedas proclaim,

That which is expressed in every Tapas (penance, austerity, meditation),

That for which they live the life of a Brahmacharin,

Understand that word in its essence: Om! that is the word.

Yes, this syllable is Brahman,

This syllable is the highest.

He who knows that syllable,

Whatever he desires, is his.

— Katha Upanishad,

Maitri Upanishad

The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[39] The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra[40] and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya;[41] as knowledge-endowed body - Rig, Saman and Yajur;[42] as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche.[39][43] Brahman exists in two forms - the material form, and the immaterial formless.[44] The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[45][46]

The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).[39]

Mundaka Upanishad[edit source]

The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.[47][48]

That which is flaming, which is subtler than the subtle,

on which the worlds are set, and their inhabitants –

That is the indestructible Brahman.[49]

It is life, it is speech, it is mind. That is the real. It is immortal.

It is a mark to be penetrated. Penetrate It, my friend.

 

Taking as a bow the great weapon of the Upanishad,

one should put upon it an arrow sharpened by meditation,

Stretching it with a thought directed to the essence of That,

Penetrate[50] that Imperishable as the mark, my friend.

 

Om is the bow, the arrow is the Soul, Brahman the mark,

By the undistracted man is It to be penetrated,

One should come to be in It,

as the arrow becomes one with the mark.

— Mundaka Upanishad, 2.2.2 - 2.2.4[51][52]

Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).[53]

Mandukya Upanishad

The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[54] Thereafter it presents various explanations and theories on what it means and signifies.[55] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[54][55]

Aum as all states of time

In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[55]

Aum as all states of Atman

In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold.[54] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[56]

Aum as all states of consciousness

In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[55] These four are A + U + M + "without an element" respectively.[55]

Aum as all of knowledge

In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[54] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness).[55] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[54] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[54][55]

Shvetashvatara Upanishad

The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[57][58] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).[59]

Epics[edit source]

The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[60]

I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.

— Krishna to Arjuna, Bhagavad Gita 9.17, [60]

The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,[61]

Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.

— Bhagavad Gita

Yoga Sutra

The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,

तस्य वाचकः प्रणवः ॥२७॥

His word is Om.

— Yogasutra 1.27,

Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis).

Regardless of your political affiliation I do love a good trackside campaign sign because they provide a definitive marker in time for scenes that can often remain little changed for decades along the railroad.

 

Here is another look at the Juniata Valley Railroad's sharp PRR styled heritage painted SW900 2106 blt. Nov. 1953 for the Pittsburgh and Shawmut Railroad as their number 236.

 

They are at the end of track of the former Pennsylvania Railroad Milroy branch having just exchanged two boxcars for two gondolas that they will return the four miles with back to Lewistown. This view looks north at the North Derry Ave. grade crossing and the rails end in the weeds just beyond the train. The line once extended 8 miles further but was cropped back to this point between 1976 and 1980 in the early Conrail era.

 

A bit of history from the North Shore Companies web site:

 

Today, Juniata Valley Railroad is an 18.5 mile short line that interchanges with Norfolk Southern in Lewistown, PA. JVRR delivers commodities that vary from scrap and finished metals to plastics, fertilizer and pulp. The infrastructure is owned by SEDA-COG JRA (Susquehanna Economic Development Association - Council of Governments Joint Rail Authority).

 

The Juniata Valley Railroad was incorporated in 1996 to assume from Conrail the operation of the three branch lines radiating out of Lewistown. These lines include remnants of the former railroads extending to Selinsgrove and to Milroy, and the branch to the West Mifflin Industrial Park. The Pennsylvania Railroad (PRR) had been incorporated in 1846, to construct from Harrisburg to Pittsburgh. Three years later (1849) Lewistown became its first western terminus, and industry quickly developed due to the proximity of the Juniata iron ores.

 

The Freedom Forge at Burnham/Yeagertown had been producing pig iron from these ores since 1795, and was acquired by Andrew Carnegie in 1865. The Mifflin & Centre County Railroad (M&C RR) was projected to build northward through this iron belt, from Lewistown to Milesburg, in 1860. Construction began in 1863, and by 1865 the line extended only 12 miles to Milroy, there being no favorable route northward over Seven Mountains to Milesburg. The PRR leased the M&CC RR in May 1865, and for years handled enormous traffic to and from Burnham Steel Company, successor to the Freedom Forge. The north end of the line was abandoned in segments between 1976 and 1980.

 

Entrepreneurs also projected a line eastward from Lewistown to the Susquehanna River at Selinsgrove and Port Trevorton, incorporating the Middle Creek Railroad in 1865. Despite having constructed some roadbed, this line was waning by 1870. It was reincorporated as the Sunbury & Lewistown Railroad in 1870, opened from Lewistown to Selinsgrove, 43.5 miles, on December 1, 1871, and immediately leased by the PRR.

 

But the traffic was rural and the little line was foreclosed in 1874. It was reincorporated again in 1874 and immediately leased “by PRR interests.” Under PRR control, it served as an important shortcut for moving Wilkes-Barre anthracite westward, avoiding Harrisburg, and for moving perishables to New York markets via interchange with the Lehigh Valley Railroad at Mt. Carmel, avoiding both Harrisburg and Philadelphia. With the industrial decline of the 1950s, the middle of the line was taken up beginning in 1957. Conrail operated the line from 1976 until the Juniata Valley RR became the operator August 19,1996.

 

Burnham, Pennsylvania

Friday July 31, 2020

"You know that you were ransomed from the futile ways inherited from your fathers, not with perishable things such as silver or gold, but with the precious blood of Christ, like that of a lamb without blemish or spot.

He was destined before the foundation of the world but was made manifest at the end of the times for your sake. Through him you have confidence in God, who raised him from the dead and gave him glory, so that your faith and hope are in God.

Having purified your souls by your obedience to the truth for a sincere love of the brethren, love one another earnestly from the heart.

You have been born anew, not of perishable seed but of imperishable, through the living and abiding word of God; for "All flesh is like grass and all its glory like the flower of grass.

The grass withers, and the flower falls,but the word of the Lord abides for ever." That word is the good news which was preached to you."

– 1 Peter 1:18-25, which is today's 1st reading at Mass.

 

Stained glass detail from the church of St Peter in Hamburg.

 

Angkor Wat (/ˌæŋkɔːr ˈwɒt/; Khmer: អង្គរវត្ត, "City/Capital of Temples") is a Hindu-Buddhist temple complex in Cambodia, located on a site measuring 162.6 hectares (1,626,000 m2; 402 acres). It resides within the ancient Khmer capital city of Angkor. The Guinness World Records considers it as the largest religious structure in the world. Originally constructed as a Hindu temple dedicated to the god Vishnu for the Khmer Empire by King Suryavarman II during the 12th century, it was gradually transformed into a Buddhist temple towards the end of the century; as such, it is also described as a "Hindu-Buddhist" temple.

 

Angkor Wat was built at the behest of the Khmer King Suryavarman II in the early 12th century in Yaśodharapura (Khmer: យសោធរបុរៈ, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat more than 5 kilometres (3 mi) long and an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls. The modern name Angkor Wat, alternatively Nokor Wat, means "Temple City" or "City of Temples" in Khmer. Angkor (អង្គរ ângkôr), meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ nôkôr), which comes from the Sanskrit/Pali word nagara (Devanāgarī: नगर). Wat (វត្ត vôtt) is the word for "temple grounds", also derived from Sanskrit/Pali vāṭa (Devanāgarī: वाट), meaning "enclosure"

 

The original name of the temple was Vrah Viṣṇuloka or Parama Viṣṇuloka meaning "the sacred dwelling of Vishnu".

 

History

Angkor Wat lies 5.5 kilometres (3+1⁄2 mi) north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. In an area of Cambodia where there is an essential group of ancient structures, it is the southernmost of Angkor's main sites.

 

The construction of Angkor Wat took place over 28 years from 1122 to 1150 CE during the reign of King Suryavarman II (ruled 1113–c. 1150).[1] A brahmin by the name of Divākarapaṇḍita (1040–c. 1120) was responsible for urging Suryavarman II to construct the temple. All of the original religious motifs at Angkor Wat derived from Hinduism. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. It was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Viṣṇuloka after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished. The term Vrah Viṣṇuloka or Parama Viṣṇuloka literally means "The king who has gone to the supreme world of Vishnu", which refer to Suryavarman II posthumously and intend to venerate his glory and memory.

 

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon, respectively), a few kilometers north, dedicated to Buddhism, because the king's new wife, Indratevi, a devout Mahayana Buddhist, encouraged him to convert. Angkor Wat was therefore also gradually converted into a Buddhist site, and many Hindu sculptures were replaced by Buddhist art.

 

Towards the end of the 12th century, Angkor Wat gradually transformed from a Hindu centre of worship to Buddhism, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was largely neglected after the 16th century, it was never completely abandoned. Fourteen inscriptions dated from the 17th century, discovered in the Angkor area, testify to Japanese Buddhist pilgrims that had established small settlements alongside Khmer locals. At that time, the temple was thought by the Japanese visitors to be the famed Jetavana garden of the Buddha, which was originally located in the kingdom of Magadha, India. The best-known inscription tells of Ukondayu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632.

 

The first Western visitor to the temple was António da Madalena, a Portuguese friar who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

 

In 1622, The Poem of Angkor Wat composed in Khmer verse describes the beauty of Angkor Wat and creates a legend around the construction of the complex, supposedly a divine castle built for legendary Khmer king Preah Ket Mealea by Hindu god Preah Pisnukar (or Braḥ Bisṇukār, Vishvakarman), as Suryavarman II had already vanished from people's minds.

 

In 1860, with the help of French missionary Father Charles-Émile Bouillevaux, the temple was effectively rediscovered by the French naturalist and explorer Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

One of these temples, a rival to that of Solomon, and erected by some ancient Michelangelo, might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.

 

In 1861 German anthropologist Adolf Bastian undertook a four-year trip to Southeast Asia. His account of this trip, The People of East Asia, ran to six volumes. When Bastian finally published the studies and observations during his Journey through Cambodia to Cochinchina in Germany in 1868 – told in detail but uninspiredly, above all without a single one of his drawings of the Angkorian sites – this work hardly made an impression, while everyone was talking about Henri Mouhot's posthumous work with vivid descriptions of Angkor, Travels in the Central Parts of Indo-China, Siam, Cambodia and Laos, published in 1864 through the Royal Geographical Society.

 

There were no ordinary dwellings or houses or other signs of settlement, including cooking utensils, weapons, or items of clothing usually found at ancient sites.

 

The artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country such as the areas of Siem Reap, Battambang, and Sisophon which were under Siamese rule from 1795 to 1907.

 

Angkor Wat's aesthetics were on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from c.1880 to the mid-1920s.

 

The 20th century saw a considerable restoration of Angkor Wat. Gradually teams of laborers and archeologists pushed back the jungle and exposed the expanses of stone, permitting the sun to once again illuminate the dark corners of the temple. Angkor Wat caught the attention and imagination of a wider audience in Europe when the pavilion of French protectorate of Cambodia, as part of French Indochina, recreated the life-size replica of Angkor Wat during Paris Colonial Exposition in 1931.

 

Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since then. From the colonial period onwards, until the site was nominated a UNESCO World Heritage in 1992, the temple of Angkor Wat was instrumental in the formation of the modern and gradually globalised concept of built cultural heritage.

 

Restoration work was interrupted by the Cambodian Civil War and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period. Camping Khmer Rouge forces used whatever wood remained in the building structures for firewood, and a shoot-out between Khmer Rouge and Vietnamese forces put a few bullet holes in a basrelief. Far more damage was done after the wars, by art thieves working out of Thailand, which, in the late 1980s and early 1990s, claimed almost every head that could be lopped off the structures, including reconstructions.

 

The temple is a symbol of Cambodia and is a source of national pride that has factored into Cambodia's diplomatic relations with France, the United States, and its neighbour Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937.

 

In December 2015, it was announced that a research team from the University of Sydney had found a previously unseen ensemble of buried towers built and demolished during the construction of Angkor Wat, as well as a massive structure of unknown purpose on its south side and wooden fortifications. The findings include evidence of low-density residential occupation in the region, with a road grid, ponds, and mounds. These indicate that the temple precinct, bounded by a moat and wall, may not have been used exclusively by the priestly elite, as was previously thought. The team used LiDAR, ground-penetrating radar and targeted excavation to map Angkor Wat.

 

According to a myth, the construction of Angkor Wat was ordered by Indra to serve as a palace for his son Precha Ket Mealea. According to the 13th-century Chinese traveller Zhou Daguan, some believed that the temple was constructed in a single night by a divine architect.

 

Architecture

Angkor Wat is a unique combination of the temple mountain (the standard design for the empire's state temples) and the later plan of concentric galleries, most of which were originally derived from religious beliefs of Hinduism. The construction of Angkor Wat suggests that there was a celestial significance with certain features of the temple. This is observed in the temple's east–west orientation, and lines of sight from terraces within the temple that show specific towers to be at the precise location of the solstice at sunrise. The temple is a representation of Mount Meru, the home of the gods according to Hindu mythology: the central quincunx of towers symbolise the five peaks of the mountain, and the walls and moat symbolise the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.

 

The Angkor Wat temple's main tower aligns with the morning sun of the spring equinox. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple. Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction—prasavya in Hindu terminology—as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services.

 

Archaeologist Charles Higham also describes a container that may have been a funerary jar that was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

 

Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, researcher Eleanor Mannikka argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honour and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

 

The oldest surviving plan of Angkor Wat dates to 1715 and is credited to Fujiwara Tadayoshi. The plan is stored in the Suifu Meitoku-kai Shokokan Museum in Mito, Japan.

 

Style

Angkor Wat is the prime example of the classical style of

Khmer architecture—the Angkor Wat style—to which it has given its name. By the 12th century, Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are sandstone blocks, while laterite was used for the outer wall and hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested.

 

The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity, and style."

 

Architecturally, the elements characteristic of the style include the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, pediments, extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

 

Architect Jacques Dumarçay believes the layout of Angkor Wat borrows Chinese influence in its system of galleries which join at right angles to form courtyards. However, the axial pattern embedded in the plan of Angkor Wat may be derived from Southeast Asian cosmology in combination with the mandala represented by the main temple.

 

Features

The outer wall, 1,024 m (3,360 ft) by 802 m (2,631 ft) and 4.5 m (15 ft) high, is surrounded by a 30 m (98 ft) apron of open ground and a moat 190 m (620 ft) wide and over 5 kilometres (3 mi) in perimeter. The moat extends 1.5 kilometres from east to west and 1.3 kilometres from north to south. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.

 

Under the southern tower is a statue known as Ta Reach, originally an eight-armed statue of Vishnu that may have occupied the temple's central shrine. Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.

 

The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m (1,150 ft) causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

 

Central structure

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. The two inner galleries each have four large towers at their ordinal corners (that is, NW, NE, SE, and SW) surrounding a higher fifth tower. This pattern is sometimes called a quincunx and represents the mountains of Meru. Because the temple faces west, the features are set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason, the west-facing steps are shallower than those on the other sides.

 

Mannikka interprets the galleries as being dedicated to the king, Brahma, the moon, and Vishnu. Each gallery has a gopura at each of the points. The outer gallery measures 187 m (614 ft) by 215 m (705 ft), with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (meaning "The Thousand Buddhas" Gallery). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating to the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water. North and south of the cloister are libraries.

 

Beyond, the second and inner galleries are connected to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 m (330 ft) by 115 m (377 ft), and may originally have been flooded to represent the ocean around Mount Meru. Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The steep stairways may represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m (200 ft) square with axial galleries connecting each gopura with the central shrine and subsidiary shrines located below the corner towers.

 

The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and the shrines. The tower above the central shrine rises 43 m (141 ft) to a height of 65 m (213 ft) above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

 

Decoration

Integrated with the architecture of the building, one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these "the greatest known linear arrangement of stone carving". From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hinduism.

 

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst").

 

Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm or 12–16 in) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm or 37–43 in) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewellery, and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

 

Construction techniques

The monument was made of five to ten million sandstone blocks with a maximum weight of 1.5 tons each. The entire city of Angkor used far greater amounts of stone than all the Egyptian pyramids combined and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids, which use limestone quarried 0.5 km (1⁄4 mi) away, the entire city of Angkor was built with sandstone quarried 40 km (25 mi) (or more) away. This sandstone was transported from Mount Kulen, a quarry approximately 40 kilometres (25 mi) northeast.

 

The route has been suggested to span 35 kilometres (22 mi) along a canal towards Tonlé Sap lake, another 35 kilometres (22 mi) crossing the lake, and finally 15 kilometres (9 mi) against the current along Siem Reap River, making a total journey of 90 kilometres (55 mi). However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2011 a shorter 35-kilometre (22 mi) canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

 

Virtually all of its surfaces, columns, lintels and even roofs are carved. There are kilometres of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots, as well as warriors following an elephant-mounted leader, and celestial dancing girls with elaborate hairstyles. The gallery wall alone is decorated with almost 1,000 m2 (11,000 sq ft) of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were prime targets for robbers.

 

While excavating Khajuraho, Alex Evans, a stonemason, and sculptor recreated a stone sculpture under 1.2 metres (4 ft), this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labour force to quarry, transport, carve and install so much sandstone probably ran into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artefacts that have been dated to the seventh century, before the Khmer came to power.

 

Restoration and conservation

The contrast between restored and unrestored figures is deliberate. The major restoration of the causeway was first initiated in the 1960s by the French.

As with most other ancient temples in Cambodia, Angkor Wat has faced extensive damage and deterioration by a combination of plant overgrowth, fungi, ground movements, war damage, and theft. The war damage to Angkor Wat's temples however has been very limited, compared to the rest of Cambodia's temple ruins, and it has also received the most attentive restoration.

 

The restoration of Angkor Wat in the modern era began with the establishment of the Conservation d'Angkor (Angkor Conservancy) by the École française d'Extrême-Orient (EFEO) in 1908; before that date, activities at the site were primarily concerned with exploration. The Conservation d'Angkor was responsible for the research, conservation, and restoration activities carried out at Angkor until the early 1970s, and a major restoration of Angkor was undertaken in the 1960s.

 

Work on Angkor was abandoned during the Khmer Rouge era and the Conservation d'Angkor was disbanded in 1975. Between 1986 and 1992, the Archaeological Survey of India carried out restoration work on the temple, as France did not recognise the Cambodian government at the time. Criticisms have been raised about both the early French restoration attempts and the later Indian work, with concerns over the damage done to the stone surface by the use of chemicals and cement.

 

In 1992, following an appeal for help by Norodom Sihanouk, Angkor Wat was listed in UNESCO's World Heritage in Danger (later removed in 2004) and as a World Heritage Site together with an appeal by UNESCO to the international community to save Angkor. Zoning of the area was designated to protect the Angkor site in 1994, APSARA was established in 1995 to protect and manage the area, and a law to protect Cambodian heritage was passed in 1996.

 

Several countries such as France, Japan, and China are now involved in Angkor Wat conservation projects. The German Apsara Conservation Project (GACP) is working to protect the devatas, and other bas-reliefs that decorate the temple, from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed the restoration of the north library of the outer enclosure in 2005.

 

Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration- and radiation-resistant filamentous cyanobacteria produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Replicas have been made to replace some of the lost or damaged sculptures.

 

Tourism

Since the 1990s, Angkor Wat has become a major tourist destination. In 1993, there were only 7,650 visitors to the site; by 2004, government figures show that 561,000 foreign visitors had arrived in Siem Reap province that year, approximately 50% of all foreign tourists in Cambodia. The number reached over a million in 2007, and over two million by 2012. Most visited Angkor Wat, which received over two million foreign tourists in 2013, and 2.6 million by 2018.

 

The site was managed by the private SOKIMEX group between 1990 and 2016, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti. Ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance—as of 2000 approximately 28% of ticket revenues across the entire Angkor site was spent on the temples—although most work is carried out by teams sponsored by foreign governments rather than by the Cambodian authorities.

 

Since Angkor Wat has seen significant growth in tourism throughout the years, UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organised seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasised the importance of providing high-quality accommodation and services for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed about traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large numbers of tourists.

 

The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and that more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat.

 

Locals of Siem Reap have also voiced concern that the charm and atmosphere of their town have been compromised to entertain tourism.[103] Since this local atmosphere is the key component to projects like Angkor Tourist City, the local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture.

 

At the ASEAN Tourism Forum 2012, it was agreed that Borobudur and Angkor Wat would become sister sites and the provinces sister provinces.

 

In 2020, the COVID-19 pandemic led to travel restrictions being introduced across the world, which had a severe impact on Cambodia's tourism sector. As a result, visitors to Angkor Wat plummeted, leaving the usually crowded complex almost deserted. Cambodia, including Angkor Wat, reopened to international visitors in late 2021, but as of the end of 2022 had only received a fraction of its pre-pandemic traffic: a total of 280,000 tourists visited the complex in 2022, versus 2.6 million in 2018. In 2023, the temple is seeing an increase in numbers over the previous year, having over 400,000 tourists by late July.

Angkor Wat (/ˌæŋkɔːr ˈwɒt/; Khmer: អង្គរវត្ត, "City/Capital of Temples") is a Hindu-Buddhist temple complex in Cambodia, located on a site measuring 162.6 hectares (1,626,000 m2; 402 acres). It resides within the ancient Khmer capital city of Angkor. The Guinness World Records considers it as the largest religious structure in the world. Originally constructed as a Hindu temple dedicated to the god Vishnu for the Khmer Empire by King Suryavarman II during the 12th century, it was gradually transformed into a Buddhist temple towards the end of the century; as such, it is also described as a "Hindu-Buddhist" temple.

 

Angkor Wat was built at the behest of the Khmer King Suryavarman II in the early 12th century in Yaśodharapura (Khmer: យសោធរបុរៈ, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat more than 5 kilometres (3 mi) long and an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls. The modern name Angkor Wat, alternatively Nokor Wat, means "Temple City" or "City of Temples" in Khmer. Angkor (អង្គរ ângkôr), meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ nôkôr), which comes from the Sanskrit/Pali word nagara (Devanāgarī: नगर). Wat (វត្ត vôtt) is the word for "temple grounds", also derived from Sanskrit/Pali vāṭa (Devanāgarī: वाट), meaning "enclosure"

 

The original name of the temple was Vrah Viṣṇuloka or Parama Viṣṇuloka meaning "the sacred dwelling of Vishnu".

 

History

Angkor Wat lies 5.5 kilometres (3+1⁄2 mi) north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. In an area of Cambodia where there is an essential group of ancient structures, it is the southernmost of Angkor's main sites.

 

The construction of Angkor Wat took place over 28 years from 1122 to 1150 CE during the reign of King Suryavarman II (ruled 1113–c. 1150).[1] A brahmin by the name of Divākarapaṇḍita (1040–c. 1120) was responsible for urging Suryavarman II to construct the temple. All of the original religious motifs at Angkor Wat derived from Hinduism. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. It was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Viṣṇuloka after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished. The term Vrah Viṣṇuloka or Parama Viṣṇuloka literally means "The king who has gone to the supreme world of Vishnu", which refer to Suryavarman II posthumously and intend to venerate his glory and memory.

 

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon, respectively), a few kilometers north, dedicated to Buddhism, because the king's new wife, Indratevi, a devout Mahayana Buddhist, encouraged him to convert. Angkor Wat was therefore also gradually converted into a Buddhist site, and many Hindu sculptures were replaced by Buddhist art.

 

Towards the end of the 12th century, Angkor Wat gradually transformed from a Hindu centre of worship to Buddhism, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was largely neglected after the 16th century, it was never completely abandoned. Fourteen inscriptions dated from the 17th century, discovered in the Angkor area, testify to Japanese Buddhist pilgrims that had established small settlements alongside Khmer locals. At that time, the temple was thought by the Japanese visitors to be the famed Jetavana garden of the Buddha, which was originally located in the kingdom of Magadha, India. The best-known inscription tells of Ukondayu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632.

 

The first Western visitor to the temple was António da Madalena, a Portuguese friar who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

 

In 1622, The Poem of Angkor Wat composed in Khmer verse describes the beauty of Angkor Wat and creates a legend around the construction of the complex, supposedly a divine castle built for legendary Khmer king Preah Ket Mealea by Hindu god Preah Pisnukar (or Braḥ Bisṇukār, Vishvakarman), as Suryavarman II had already vanished from people's minds.

 

In 1860, with the help of French missionary Father Charles-Émile Bouillevaux, the temple was effectively rediscovered by the French naturalist and explorer Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

One of these temples, a rival to that of Solomon, and erected by some ancient Michelangelo, might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.

 

In 1861 German anthropologist Adolf Bastian undertook a four-year trip to Southeast Asia. His account of this trip, The People of East Asia, ran to six volumes. When Bastian finally published the studies and observations during his Journey through Cambodia to Cochinchina in Germany in 1868 – told in detail but uninspiredly, above all without a single one of his drawings of the Angkorian sites – this work hardly made an impression, while everyone was talking about Henri Mouhot's posthumous work with vivid descriptions of Angkor, Travels in the Central Parts of Indo-China, Siam, Cambodia and Laos, published in 1864 through the Royal Geographical Society.

 

There were no ordinary dwellings or houses or other signs of settlement, including cooking utensils, weapons, or items of clothing usually found at ancient sites.

 

The artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country such as the areas of Siem Reap, Battambang, and Sisophon which were under Siamese rule from 1795 to 1907.

 

Angkor Wat's aesthetics were on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from c.1880 to the mid-1920s.

 

The 20th century saw a considerable restoration of Angkor Wat. Gradually teams of laborers and archeologists pushed back the jungle and exposed the expanses of stone, permitting the sun to once again illuminate the dark corners of the temple. Angkor Wat caught the attention and imagination of a wider audience in Europe when the pavilion of French protectorate of Cambodia, as part of French Indochina, recreated the life-size replica of Angkor Wat during Paris Colonial Exposition in 1931.

 

Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since then. From the colonial period onwards, until the site was nominated a UNESCO World Heritage in 1992, the temple of Angkor Wat was instrumental in the formation of the modern and gradually globalised concept of built cultural heritage.

 

Restoration work was interrupted by the Cambodian Civil War and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period. Camping Khmer Rouge forces used whatever wood remained in the building structures for firewood, and a shoot-out between Khmer Rouge and Vietnamese forces put a few bullet holes in a basrelief. Far more damage was done after the wars, by art thieves working out of Thailand, which, in the late 1980s and early 1990s, claimed almost every head that could be lopped off the structures, including reconstructions.

 

The temple is a symbol of Cambodia and is a source of national pride that has factored into Cambodia's diplomatic relations with France, the United States, and its neighbour Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937.

 

In December 2015, it was announced that a research team from the University of Sydney had found a previously unseen ensemble of buried towers built and demolished during the construction of Angkor Wat, as well as a massive structure of unknown purpose on its south side and wooden fortifications. The findings include evidence of low-density residential occupation in the region, with a road grid, ponds, and mounds. These indicate that the temple precinct, bounded by a moat and wall, may not have been used exclusively by the priestly elite, as was previously thought. The team used LiDAR, ground-penetrating radar and targeted excavation to map Angkor Wat.

 

According to a myth, the construction of Angkor Wat was ordered by Indra to serve as a palace for his son Precha Ket Mealea. According to the 13th-century Chinese traveller Zhou Daguan, some believed that the temple was constructed in a single night by a divine architect.

 

Architecture

Angkor Wat is a unique combination of the temple mountain (the standard design for the empire's state temples) and the later plan of concentric galleries, most of which were originally derived from religious beliefs of Hinduism. The construction of Angkor Wat suggests that there was a celestial significance with certain features of the temple. This is observed in the temple's east–west orientation, and lines of sight from terraces within the temple that show specific towers to be at the precise location of the solstice at sunrise. The temple is a representation of Mount Meru, the home of the gods according to Hindu mythology: the central quincunx of towers symbolise the five peaks of the mountain, and the walls and moat symbolise the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.

 

The Angkor Wat temple's main tower aligns with the morning sun of the spring equinox. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple. Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction—prasavya in Hindu terminology—as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services.

 

Archaeologist Charles Higham also describes a container that may have been a funerary jar that was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

 

Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, researcher Eleanor Mannikka argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honour and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

 

The oldest surviving plan of Angkor Wat dates to 1715 and is credited to Fujiwara Tadayoshi. The plan is stored in the Suifu Meitoku-kai Shokokan Museum in Mito, Japan.

 

Style

Angkor Wat is the prime example of the classical style of

Khmer architecture—the Angkor Wat style—to which it has given its name. By the 12th century, Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are sandstone blocks, while laterite was used for the outer wall and hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested.

 

The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity, and style."

 

Architecturally, the elements characteristic of the style include the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, pediments, extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

 

Architect Jacques Dumarçay believes the layout of Angkor Wat borrows Chinese influence in its system of galleries which join at right angles to form courtyards. However, the axial pattern embedded in the plan of Angkor Wat may be derived from Southeast Asian cosmology in combination with the mandala represented by the main temple.

 

Features

The outer wall, 1,024 m (3,360 ft) by 802 m (2,631 ft) and 4.5 m (15 ft) high, is surrounded by a 30 m (98 ft) apron of open ground and a moat 190 m (620 ft) wide and over 5 kilometres (3 mi) in perimeter. The moat extends 1.5 kilometres from east to west and 1.3 kilometres from north to south. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.

 

Under the southern tower is a statue known as Ta Reach, originally an eight-armed statue of Vishnu that may have occupied the temple's central shrine. Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.

 

The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m (1,150 ft) causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

 

Central structure

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. The two inner galleries each have four large towers at their ordinal corners (that is, NW, NE, SE, and SW) surrounding a higher fifth tower. This pattern is sometimes called a quincunx and represents the mountains of Meru. Because the temple faces west, the features are set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason, the west-facing steps are shallower than those on the other sides.

 

Mannikka interprets the galleries as being dedicated to the king, Brahma, the moon, and Vishnu. Each gallery has a gopura at each of the points. The outer gallery measures 187 m (614 ft) by 215 m (705 ft), with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (meaning "The Thousand Buddhas" Gallery). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating to the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water. North and south of the cloister are libraries.

 

Beyond, the second and inner galleries are connected to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 m (330 ft) by 115 m (377 ft), and may originally have been flooded to represent the ocean around Mount Meru. Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The steep stairways may represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m (200 ft) square with axial galleries connecting each gopura with the central shrine and subsidiary shrines located below the corner towers.

 

The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and the shrines. The tower above the central shrine rises 43 m (141 ft) to a height of 65 m (213 ft) above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

 

Decoration

Integrated with the architecture of the building, one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these "the greatest known linear arrangement of stone carving". From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hinduism.

 

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst").

 

Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm or 12–16 in) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm or 37–43 in) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewellery, and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

 

Construction techniques

The monument was made of five to ten million sandstone blocks with a maximum weight of 1.5 tons each. The entire city of Angkor used far greater amounts of stone than all the Egyptian pyramids combined and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids, which use limestone quarried 0.5 km (1⁄4 mi) away, the entire city of Angkor was built with sandstone quarried 40 km (25 mi) (or more) away. This sandstone was transported from Mount Kulen, a quarry approximately 40 kilometres (25 mi) northeast.

 

The route has been suggested to span 35 kilometres (22 mi) along a canal towards Tonlé Sap lake, another 35 kilometres (22 mi) crossing the lake, and finally 15 kilometres (9 mi) against the current along Siem Reap River, making a total journey of 90 kilometres (55 mi). However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2011 a shorter 35-kilometre (22 mi) canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

 

Virtually all of its surfaces, columns, lintels and even roofs are carved. There are kilometres of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots, as well as warriors following an elephant-mounted leader, and celestial dancing girls with elaborate hairstyles. The gallery wall alone is decorated with almost 1,000 m2 (11,000 sq ft) of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were prime targets for robbers.

 

While excavating Khajuraho, Alex Evans, a stonemason, and sculptor recreated a stone sculpture under 1.2 metres (4 ft), this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labour force to quarry, transport, carve and install so much sandstone probably ran into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artefacts that have been dated to the seventh century, before the Khmer came to power.

 

Restoration and conservation

The contrast between restored and unrestored figures is deliberate. The major restoration of the causeway was first initiated in the 1960s by the French.

As with most other ancient temples in Cambodia, Angkor Wat has faced extensive damage and deterioration by a combination of plant overgrowth, fungi, ground movements, war damage, and theft. The war damage to Angkor Wat's temples however has been very limited, compared to the rest of Cambodia's temple ruins, and it has also received the most attentive restoration.

 

The restoration of Angkor Wat in the modern era began with the establishment of the Conservation d'Angkor (Angkor Conservancy) by the École française d'Extrême-Orient (EFEO) in 1908; before that date, activities at the site were primarily concerned with exploration. The Conservation d'Angkor was responsible for the research, conservation, and restoration activities carried out at Angkor until the early 1970s, and a major restoration of Angkor was undertaken in the 1960s.

 

Work on Angkor was abandoned during the Khmer Rouge era and the Conservation d'Angkor was disbanded in 1975. Between 1986 and 1992, the Archaeological Survey of India carried out restoration work on the temple, as France did not recognise the Cambodian government at the time. Criticisms have been raised about both the early French restoration attempts and the later Indian work, with concerns over the damage done to the stone surface by the use of chemicals and cement.

 

In 1992, following an appeal for help by Norodom Sihanouk, Angkor Wat was listed in UNESCO's World Heritage in Danger (later removed in 2004) and as a World Heritage Site together with an appeal by UNESCO to the international community to save Angkor. Zoning of the area was designated to protect the Angkor site in 1994, APSARA was established in 1995 to protect and manage the area, and a law to protect Cambodian heritage was passed in 1996.

 

Several countries such as France, Japan, and China are now involved in Angkor Wat conservation projects. The German Apsara Conservation Project (GACP) is working to protect the devatas, and other bas-reliefs that decorate the temple, from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed the restoration of the north library of the outer enclosure in 2005.

 

Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration- and radiation-resistant filamentous cyanobacteria produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Replicas have been made to replace some of the lost or damaged sculptures.

 

Tourism

Since the 1990s, Angkor Wat has become a major tourist destination. In 1993, there were only 7,650 visitors to the site; by 2004, government figures show that 561,000 foreign visitors had arrived in Siem Reap province that year, approximately 50% of all foreign tourists in Cambodia. The number reached over a million in 2007, and over two million by 2012. Most visited Angkor Wat, which received over two million foreign tourists in 2013, and 2.6 million by 2018.

 

The site was managed by the private SOKIMEX group between 1990 and 2016, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti. Ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance—as of 2000 approximately 28% of ticket revenues across the entire Angkor site was spent on the temples—although most work is carried out by teams sponsored by foreign governments rather than by the Cambodian authorities.

 

Since Angkor Wat has seen significant growth in tourism throughout the years, UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organised seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasised the importance of providing high-quality accommodation and services for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed about traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large numbers of tourists.

 

The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and that more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat.

 

Locals of Siem Reap have also voiced concern that the charm and atmosphere of their town have been compromised to entertain tourism.[103] Since this local atmosphere is the key component to projects like Angkor Tourist City, the local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture.

 

At the ASEAN Tourism Forum 2012, it was agreed that Borobudur and Angkor Wat would become sister sites and the provinces sister provinces.

 

In 2020, the COVID-19 pandemic led to travel restrictions being introduced across the world, which had a severe impact on Cambodia's tourism sector. As a result, visitors to Angkor Wat plummeted, leaving the usually crowded complex almost deserted. Cambodia, including Angkor Wat, reopened to international visitors in late 2021, but as of the end of 2022 had only received a fraction of its pre-pandemic traffic: a total of 280,000 tourists visited the complex in 2022, versus 2.6 million in 2018. In 2023, the temple is seeing an increase in numbers over the previous year, having over 400,000 tourists by late July.

WEEK 51.1 – Flashback 2016: Hernando Kroger (II)

 

Now for a look across some of the produce stands toward the Kroger Deli and Meals to Go area. As you can see here, the café is located right beyond those departments; we’ll be taking a look at all three in the immediately following pictures. What you can’t see here is how the deli is a part of a rather large service department “island” with the bakery that separates this grand perishables area (of produce, deli, and bakery) from the rest of the dry goods grocery aisles: that’s better illustrated in this photo.

 

(c) 2016 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

UP 6677 leads a Pocatello-North Platte under the signal bridge at Cheyenne, WY

Hackensack NJ/Bogota NJ border

 

SU-99 sweeps west past the deteriorating hulk of the WWII era submarine USS Ling. A fundraising effort is underway by a group seeking to move the Ling to Louisville, so this angle is perishable.

 

This is an homage to several of Michael W Sullivan's photos at the same location over the years.

In the final days of this store, they probably just let the stock of most perishable items slowly dwindle away. Nothing to be found here, but I do see some bread over on the shelves in the background, and there were a few of the "sturdier" items left in produce as well!

_________________________________________________

Kroger, 2001 built (demolished October 2016), Commerce St. at Mt. Pleasant Rd., Hernando, MS

Union Pacific SD70M No. 4537 leads a ZDLGRP-18 (Delano-McFarland, California to Green River, Wyoming) perishables train through Echo, Utah on Oct. 19, 2018. The Z had five loads of fresh California produce and seven loads of fine California wines. That equates to 1621 gross tons and 1060 ft. of train. The first car was a bad order set-out the Z picked up along the way.

Pumpkins at the Depot continues the tradition started by Red Wing resident Bill Habedank more than 36 years ago. In partnership with Bill, lighted pumpkins are on display 24 hours a day for eight days leading up to Halloween

 

Proceeds support the Red Wing Area Food Shelf. Free will donations of non-perishable food items or monetary contributions are encouraged.

 

Photographed at the Amtrak Depot

Red Wing Minnesota

October 30th 2016

John 6.

The next day the crowd that was left behind realized that there had been only one boat, and that Jesus had not gotten into it with his disciples. They had seen them go off without him. By now boats from Tiberias had pulled up near where they had eaten the bread blessed by the Master. So when the crowd realized he was gone and wasn’t coming back, they piled into the Tiberias boats and headed for Capernaum, looking for Jesus.

 

25 When they found him back across the sea, they said, “Rabbi, when did you get here?”

 

26 Jesus answered, “You’ve come looking for me not because you saw God in my actions but because I fed you, filled your stomachs—and for free.

 

The Bread of Life

27 “Don’t waste your energy striving for perishable food like that. Work for the food that sticks with you, food that nourishes your lasting life, food the Son of Man provides. He and what he does are guaranteed by God the Father to last.”

 

28 To that they said, “Well, what do we do then to get in on God’s works?”

 

29 Jesus said, “Throw your lot in with the One that God has sent. That kind of a commitment gets you in on God’s works.”

 

30-31 They waffled: “Why don’t you give us a clue about who you are, just a hint of what’s going on? When we see what’s up, we’ll commit ourselves. Show us what you can do. Moses fed our ancestors with bread in the desert. It says so in the Scriptures: ‘He gave them bread from heaven to eat.’”

 

32-33 Jesus responded, “The real significance of that Scripture is not that Moses gave you bread from heaven but that my Father is right now offering you bread from heaven, the real bread. The Bread of God came down out of heaven and is giving life to the world.”

 

34 They jumped at that: “Master, give us this bread, now and forever!”

 

35-38 Jesus said, “I am the Bread of Life. The person who aligns with me hungers no more and thirsts no more, ever. I have told you this explicitly because even though you have seen me in action, you don’t really believe me. Every person the Father gives me eventually comes running to me. And once that person is with me, I hold on and don’t let go. I came down from heaven not to follow my own whim but to accomplish the will of the One who sent me.

.... First Lutheran has opened a Little Free Pantry in front of the church on the north-east corner, open 24/7. People can take what they need or donate non-perishable food items to help keep the pantry stocked. The project's goal is to enhance food security in the Bond Street and Ryerson University neighborhood and help build a caring and supportive community ....

When predestined fate had closed the shops, and the hand of God's decree lay in the hollow of non-existence, the world was full of evil passions, the market full of ruffians and patrols. Then He sent a vicegerent into this world to abolish oppression; when he appeared from mid-heaven, fervid in soul and pure in body, he wore no coat on the religious path; then what could he give to the fullers of the land? When he passed from this mortal state to eternal life he became the ornament and glory of this perishable world.

U.S. Department of Agriculture (USDA) Farmers Market “VegU(cation)” tent, where people learn how to how to pick, and store sweet potatoes; and prepare honey roasted sweet potatoes using produce grown in the local area and sold here in downtown Washington, D.C., on Friday, September 23, 2016. USDA employees from the Agricultural Marketing Service (AMS), Food and Nutrition Service (FNS), Food Safety and Inspection Service (FSIS) and vendors volunteer as vegetable educators a.k.a. “VegUcators” conducting free 10-minute fruit and vegetable classes. Today’s “VegUcators” are USDA AMS “VegU” Program Coordinator Sara Pellegrino, preparing and talking about the recipe. During this season of the outdoor USDA Farmers Markets, 26 recipes will be taught at the VegU tent. Their scheduled demonstration dates are the peak harvest time to look for these foods. The goal is to increase fruits and vegetables in meals and help people understand what is in season. Guests can receive a free recipe card and can start shopping for ingredients at the market.

www.usda.gov

www.usda.gov/farmersmarket.usda.gov

www.usda.gov/farmersmarke/peoplesgarden.usda.gov

@USDA_AMS

#USDAFarmersMkt

USDA Multimedia by Lance Cheung.

 

HONEY ROASTED SWEET POTATOES RECIPE

Yields 9 servings.

Prep Time: 15 minutes

Cook Time: 40 minutes

Total Time: 55 minutes

 

2 lbs sweet potatoes

2 tbsp olive oil

2 tbsp honey

1 tsp cinnamon

1 tsp allspice

 

1.Preheat oven to 375 ºF.

2.Wash sweet potatoes under cold water and scrub with a brush to remove soil.

3.Chop sweet potatoes into 1/2-inch cubes and place on baking dish.

4.Bake for 30 minutes or until tender.

5.Transfer sweet potatoes to sauté pan on medium heat. Toss with olive oil, honey cinnamon and allspice. Cook for 10 minutes or until golden.

6.Sprinkle with salt if desired. Serve warm.

  

HOW TO PICK

Look at color: Look for firm sweet potatoes with smooth, bright, uniformly colored skins, free from signs of decay, because they are more perishable than white potatoes. Extra care should be used in selecting sweet potatoes. Avoid sweet potatoes with wormholes, cuts. Grub injury or any other defects that penetrate the skin, which can lead to decay. Even if you cut away the decayed portion, the remainder of the potato flesh may have a bad taste. Choose the right size: Select small to medium in size. Larger potatoes tend to be starchier. If you plan on dicing your sweet potato, look for ones that are skinny or long in length in order to making chopping easier.

 

CULINARY TIPS AND RECIPES

• Fresh sweet potatoes can be roasted, mashed, baked, or prepared in a casserole as a nutritious side dish.

• Sweet potatoes can also be added to other foods such as soups, casseroles, whole grain pastas, and chicken dishes.

• Offering sweet potatoes in a variety of forms can help schools meet the red/orange vegetable requirements in the updated school meal patterns.

• To find culinary techniques and many recipe ideas visit NFSMI (nfsmi.org/Templates/TemplateDefault.aspx?qs=cElEPTIxNg) or Team Nutrition (healthymeals.nal.usda.gov/recipes/recipes-school-food-ser...).

 

HOW TO PREPARE SWEET POTATOES

 

Before eating or preparing, wash the sweet potato under cold running tap water and scrub with a brush to remove any lingering dirt. This reduces bacteria that may be present. Do not wash with detergent or soap. Leaving skin on potatoes during cooking is an excellent way to conserve nutrients. Sweet potatoes can be prepared in multiple ways including microwaving, baking, sautéing, mashing, frying, or grilling. They can also be eaten raw.

To microwave: With a fork, pierce the sweet potato skin 5 to 6 times. Place on a microwaveable plate and microwave for 5 to 8 minutes, rotating halfway through.

To bake: Preheat oven to 400 ºF. With a fork, pierce sweet potato skin 5 to 6 times. Place on baking sheet lined with foil. Bake until tender, 45 minutes to 1 hour.

To roast: Dice into cubes. Place on a baking sheet. Coat sweet potato cubes with olive oil. Bake at 400 ºF for 45 minutes.

The Sacramento Northern Railway's long-gone Woodland freight agency is seen in this scan of a real photo postcard from my collection.

 

This location is just northeast of the intersection of East Main Street and East Street. If you look up "1214 Armfield Avenue, Woodland, California" in Google Maps Street View, you can see the concrete pad where this building stood.

 

By the time of this photo, this was the western end (timetable east) of SN's Woodland Branch. Immediately behind the building and the generator trailer can be seen the ramps for the team tracks, which still exist (along with the rails).

 

The two closest visible buildings in the background (on East Main St.) are still there. The site of the gas station at the far right is now a Jack in the Box fast food restaurant.

 

Not visible from here, the Southern Pacific's West Valley Line (now the California Northern Railroad) runs from right to left across East Street on the far side of the gas station.

 

Immediately to the left of the photo were melon sheds--also now long-gone, which provided perishable traffic to the SN through the early 1970s.

 

The Woodland Branch is now property of the Sierra Northern Railway. As of last year, the line has been severed to the west of Lovdal station (near West Sacramento); while the rails are still in place here, they are disconnected from the national rail system and will presumably be pulled up before too long.

Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.

 

Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.

 

The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").

 

HISTORY

Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.

 

According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.

 

According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.

 

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.

 

In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.

One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

 

In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

 

"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."

 

Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.

 

Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.

 

ARCHITECTURE

SITE AND PLAN

Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

 

A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

 

STYLE

Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

 

FEATURES

OUTER ENCLOSURE

The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

 

CENTRAL STRUCTURE

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.

 

Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.

 

The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.

 

North and south of the cloister are libraries.

 

Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.

 

Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

 

DECORATION

Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".

 

From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.

 

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

 

CONSTRUCTION TECHNIQUES

The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

 

Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.

 

ANGKOR WAT TODAY

The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.

 

WIKIPEDIA

Before long (timed to pass at 7.21 pm) the train joins the ex Manchester Sheffield & Lincolnshire Railway at Kirkby South Junction. It's about to pass under Lindley's Lane bridge, a favourite spotting location for many (including me), before plunging into the darkness of Annesley tunnel. Emerging from the tunnel the train then takes the London Extension of the ex Great Central Railway at Annesley North Junction, heading towards Nottingham Victoria.

 

The fish train obviously carried perishable goods so it was imperative that all efforts were made to maintain the timings. Potentially, joining the main line at Kirkby South could bring some delays. The distant signal, which informed the driver if he had a clear run through to Annesley North, was located some distance away, where the line crossed under the road near the Hill Methodist Church at Kirkby Central station. Alen Grice has told me about the times he saw the train pass the distant signal in the "on" position. The driver would give a long urgent blast on the chime whistle whilst the fireman was leaning out looking back and craning his neck to see if the signalman responded by pulling "off" the distant.

 

One of my friends has told me about his experiences living at Kirkby-in-Ashfield. He was always a Midland line spotter but was persuaded to trek down to Lindley's Lane bridge because there were "better engines there". He had an Ian Allan spotting book but that didn't include the Eastern Region engines he was seeing so he just scribbled down what everyone shouted as the the engines passed. He heard a shout "Brit" and then what he thought was "Edward the 8th". He duly wrote this down. He couldn't see that in his Ian Allan book and even persuaded his Mum and Dad to shell out for an Eastern Ian Allan book. It was only later he found from others that the engine he actually saw was a BR Standard 70037 "Hereward the Wake".

 

This photo is of my signed copy no. 22 of 100 prints by Richard Piccaver. It's a view I witnessed many times and, when I saw the framed print being sold at the heritage Great Central Railway at Loughborough quite a few years ago, to buy or not to buy was a no brainer!

 

To see the next photo in the storyboard click here www.flickr.com/photos/192151030@N08/51818502065/in/album-...

A traditional root cellar in Ochre Pit Cove, Newfoundland. Used to keep perishable foods fresh prior to modern refrigeration. These are quite common in a variety of forms throughout the province, but they all use the coolness of the earth below ground to be effective.

1. what I need today is this,, 2. Tipsy Tuesday obligatory blonde joke..., 3. daisies, 4. perishable., 5. Untitled, 6. be forever stlll, 7. To catch thy scent, so faint and rare., 8. Summer days, 9. 186.365 | wine with my little pony, 10. Books, 11. Don't Get Burned ~ 215:365, 12. "While we try to teach our children all about life, our children teach us what life is all about." ~Angela Schwindt, 13. Sweet Tangle, 14. not sure about the sushi., 15. Blessings counted, 16. 177:365, upside down, 17. Heaven send a light, let it shine on me, 18. 161/365 westie saturday night., 19. Untitled, 20. Lego Blaster, 21. Untitled, 22. Thinking about a Paticular Day in the Park........., 23. Move Over, Esther Williams, 24. [ l'amour ], 25. Encore, 26. boom boom crackle crackle, 27. bikes made of bamboo, 28. home, 29. it's never too late..., 30. the best parts., 31. Untitled, 32. fenced boot, 33. rare moment., 34. The Red Bicycle, 35. playdate, 36. try it.

 

Created with fd's Flickr Toys

Scan of a J Arthur Dixon postcard. The ship at the pier is MacBrayne's cargo ship, Loch Ard.

 

It all goes on multi-purpose ro-ro vehicle ferries nowadays but before these began to come on the scene in the 1960s, MacBraynes had two fleets: (1) the mail boats which carried passengers and the mail and light and perishable goods from the railheads of Oban, Mallaig and Kyle of Lochalsh (and West Loch Tarbert linked to Glasgow by steamers); and (2) the cargo boats which carried heavier goods (bags of cement, fence posts) sailing all the way from Glasgow.

 

Built in 1955, the Loch Ard was the last cargo boat commissioned by MacBraynes. On conversion of her route to Islay to ro-ro ferry in 1971, she was sold. The last MacBraynes cargo sailing was in 1976.

 

Another picture of the Loch Ard here.

For all my friends up along the northern coast of the U.S., and those along the Great Lakes, my prayers are with you as Hurricane Sandy barrels along towards you. We here in Florida know what these things can do, and how devastating they can be if they hit populated areas. We hate to adopt a "better them than us" mentality, but unfortunately, that's often how we feel. I think we always hope the forecasts prove wrong, and these storms will head into cold waters and fade away without doing damage, but that's not always the case.

 

My advice as a long time hurricane target? Get out of Dodge! If you have the means to evacuate, do so. Nothing you own is worth risking your life for, and your loved ones are more valuable than a house, TV, or stereo system. Most likely, they will be waiting when you return, but if not, you can replace those things in time. Even the treasured, family heirlooms and photos, though not replaceable physically, will still live in your mind, where all the most important things remain. The most precious things are rarely tangible. Nothing can destroy those memories, but a hurricane can cost you your life. Don't ignore the warnings.

 

If you don't have the means to travel, (I know I probably wouldn't be able to, either,) at least make sure you have all the things you'll need.

 

Water....at least 1 gallon per day per person. (Dont' forget the pets, too!)

 

Canned foods and non-perishables. You know how much you eat! If the roads are torn up and power's out, you could be without access to food for a week or more.

 

First Aid items....more important than you know! If your neighbor's patio chair comes flying through your window, and someone is cut, you won't be able to go out to get help and none will be able to get to you until the storm passes!

 

If you have access to a generator, great! You might actually have heat, and be able to watch TV or listen to the radio, and to cook those canned foods! Just remember not to run it inside the house, or in the garage. The fumes could kill you. Also, no kerosene heaters. Break out the heavy clothes and blankets if you need to stay warm without electricity.

 

Know someone on oxygen? Get them to a shelter fast.Medical needs can be met there. With no power, the person won't be able to breathe! Which reminds me, anyone needing medications or inhalers, you might not be able to get to a store for well over a week. Get what you need NOW! this includes things you might forget like antacids, aspirin, etc.

 

Batteries, radios, and flashlights/ alternative light sources. Unless you want to go back to the Dark Ages, power up before it's all sold out! Make sure kids have toys, games, etc. to keep them amused. This might be a great time for you to read that novel. (Or WRITE one!) For Flickrites, charge up your camera's batteries because you'll be able to take shots of your family members, and also, those brave enough can step outside during the time the hurricane's eye passes, but be REALLY careful. The winds come back with a vengeance from the OTHER direction, and could take you by surprise! Watch out for downed power lines, debris, etc.

 

Board up your windows if you can. Most houses up north are wood, so it will be easy. Mine is concrete block, so we couldn't even get the boards up! If yours is brick and you can't, stay away from the windows.

 

Hurricanes can bring in tornadoes, too, and the violent winds can literally rip a roof off! Stay in a part of your home that is well protected, like a hallway, or even bathtubs or closets! The extra framing can give you more protection. Stay on the first floor. If you are in a flood zone, remember that basements can flood. The second floor of your home is also not as safe during a hurricane.

 

If you evacuate, get phone numbers of neighbors who stayed, and check with them about the condition of the area before you return. If you can't reach them, you can try your local city hall, police, or fire department, as first responders will be up and running first, but remember that they need the phones free for emergency purpioses. You might be able to get news online, if you have access.

 

If you can't evacuate, but want to, perhaps a friend who lives on higher ground, or off the coast, or away from possible flood areas might be able to put you up. Check with your church, family, and friends. This is no time for pride! Shelters may not be your first choice, but they are usually stronger than your house, and in safer locations. Many areas set up special needs shelters, and ones for people with pets. Bring your pet's rabies tags or documentation, as they will probably require them.

 

Gas up your cars!!!! Pumps will shut down! Keep your cell's car charger handy. When the storm passes, you can charge it from your vehicle if the power is out for a prolonged period.

 

Water stations will have no electricity, which means the water may not be available to flush your toilets. leak proof and fill all tubs and / or garbage cans with water for this purpose. (I save 20 lb. clumping cat litter containers during hurricane season, which I can fill. They are easier to lift.)

 

You may not be able to bathe. Water may not be flowing, and even when it is, listen carefully to the radio or TV to hear if it's contaminated! Get plenty of wipes that you can freshen up with!

 

Tools, nails, screws, duct tape....whatever you need for a quick, emergency repair can come in handy. Clear vinyl or plastic to cover windows, (for cars, too, if the glass is broken) and tarps if your roof is damaged. Gas and gas cans and power saws (battery or gas) to remove tree branches....plan for the worst and you'll be ready!

 

Lastly, PLEASE let us know you're okay when it's over! We know cellphones might not work because of downed towers, but know the rest of the country will be watching and waiting to see who comes through this and dying to know if you're okay!

 

No matter how bad it is, there will be light after the darkness. God bless you all!