View allAll Photos Tagged precise
I find that I shoot better in company, photographic company to be precise. When shooting alone, I feel kinda lost. With at least another photographer alongside, I feel I work more creatively. I donot prefer to shoot with a crowd though.
On a recent visit with my family to Tajpur, a serene beach with an unspoiled beauty of nature, around 170 kms from Kolkata (West Bengal, India), I faced that photographer’s block. My family members were not interested traipsing the whole length on the beach, to look for interesting compositions, they were happy to be in the water and generally enjoy themselves around where they first got into the water. So I walked the whole length of the beach, and just couldn’t conceptualise a composition that would generally do justice to the expansive beauty of the beach. Tajpur being a secluded sun kissed wide beach, with silver waves, red crabs, and casuarina forests adorning the shore, I wished I could picture a frame that would convey a bit of that, but no ideas came to head. That’s when I felt that had there been a photographic partner, maybe we could have exchanged thoughts and figure out something. As I walked on, the sun shining, I realised that the sun has to be a part of the frame (and for that I had to choose a composition quickly) for it usually disappears into the haze by the evening, and then luckily I came across a fisherman’s boat left on the beach and I could conceptualise something. The boat, the expanse of the beach, the casuarina trees, the sun….only if there was a red crab around, though crab holes were plenty…and I had my frame. A small moment of inspiration brought in by the sun shining down, and that’s why I captioned this….Always the Sun.
The Zeltron Precisor was designed for the Political Intergalactic Special Service (PISS). PISS operatives were enrolled to protect government officials on home soil only. By the time I finished the first prototype the government was thrown out for extravagant spending on holidays, where they unnecessarily took operatives with them. The government was found guilty of continually taking the PISS, so now this is the only Zeltron Precisor in existence. The power module has been removed and it is for sale as an ornament only.
UAV LiDAR is being used extensively in coastal applications by precise monitoring of the morphological changes to the shoreline. The French Geological Survey (BRGM) has taken charge of the important coastal management issues such as coastal erosion and availability of drinking water through monitoring seashore infrastructure and the climatic changes impacting the coastal morphology. As a project partner, YellowScan is in charge of providing the oceanographers and geologists with Lidar surveys for the purpose of mapping and change monitoring and as input for sedimentation/erosion models. For this purpose LiDAR data can be used due to it fast processing abilities and higher accuracy in generating DTM specially over weakly textured surfaces. An open source software called CloudCompare is used for data visualization and analysis of the sea surface position at different instants and the Lidar measurement points. The imagery shows the classified point cloud of the sea surface echoes present underneath the UAV track and in the swash zone. The remaining water surface has been coloured in plain blue.
Image © GIM International news
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The Postcard
A postally unused carte postale that was published by Éditions O.R. of Matougues. The card has a divided back.
On the back of the card the publishers have printed:
"Aucune inscription n'est
admise du côte de la vue".
The photograph shows what high-explosive shells can do to a medieval masterpiece.
Reims Cathedral in the Great War
The Cathedral was reduced to a roofless shell by the 287 explosive and incendiary shells that rained on it during the course of the Great War.
A Poem by Grace Conkling
Grace Hazard Conkling (1878-1958) wrote a poem about Reims Cathedral in 1914:
'A wingèd death has smitten dumb thy bells,
And poured them molten from thy tragic towers:
Now are the windows dust that were thy flowers
Patterned like frost, petalled like asphodels.
Gone are the angels and the archangels,
The saints, the little lamb above thy door,
The shepherd Christ! They are not, any more,
Save in the soul where exiled beauty dwells.
But who has heard within thy vaulted gloom
That old divine insistence of the sea,
When music flows along the sculptured stone
In tides of prayer, for him thy windows bloom'.
Like faithful sunset, warm immortally!
Thy bells live on, and Heaven is in their tone!'
In fact the bells of Reims Cathedral did not melt, although they did fall. The solidified pools of metal on the floor of the Cathedral actually came from the covering of lead on the roof which had melted when the wooden structure blazed from end to end.
Molten lead also flowed from the medieval stained glass windows, and poured through the gargoyles designed to channel rain from the roof. The gargoyles were not designed for the roof itself to pour out of them.
Reims Cathedral Before the Great War
If you want to see what Reims Cathedral looked like before the Great War, please search for the tag 32RCB34
Rouen Cathedral
If Grace had wanted to write about bells which really did melt, she could have waited another 30 years and written about Rouen Cathedral. This was bombed by the Germans in the Second World War, leading inter alia to a fire in the medieval north tower containing the famous bells.
The tower acted as a chimney for the extensive woodwork inside to burn and create very high temperatures - sufficient to calcify the ancient stonework and leave pools of molten bell metal at the base of the tower.
You can see more about Rouen Cathedral if you search for the tag 87RCL55
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
With an average length of two feet, that number of shells if laid end to end would stretch for 64,394 miles (103,632 kilometres). That's over two and a half times round the Earth. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
Nerium oleander most commonly known as oleander or nerium, is a shrub or small tree cultivated worldwide in temperate and subtropical areas as an ornamental and landscaping plant. It is the only species currently classified in the genus Nerium, belonging to subfamily Apocynoideae of the dogbane family Apocynaceae. It is so widely cultivated that no precise region of origin has been identified, though it is usually associated with the Mediterranean Basin.
Nerium grows to 2–6 metres (7–20 feet) tall. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. It is tolerant to both drought and inundation, but not to prolonged frost. White, pink or red five-lobed flowers grow in clusters year-round, peaking during the summer. The fruit is a long narrow pair of follicles, which splits open at maturity to release numerous downy seeds.
Nerium contains several toxic compounds, and it has historically been considered a poisonous plant. However, its bitterness renders it unpalatable to humans and most animals, so poisoning cases are rare and the general risk for human mortality is low. Ingestion of larger amounts may cause nausea, vomiting, excess salivation, abdominal pain, bloody diarrhea and irregular heart rhythm. Prolonged contact with sap may cause skin irritation, eye inflammation and dermatitis.
Description
Oleander grows to 2–6 metres (7–20 feet) tall, with erect stems that splay outward as they mature; first-year stems have a glaucous bloom, while mature stems have a grayish bark. The leaves are in pairs or whorls of three, thick and leathery, dark-green, narrow lanceolate, 5–21 centimetres (2–8 inches) long and 1–3.5 cm (3⁄8–1+3⁄8 in) broad, and with an entire margin filled with minute reticulate venation web typical of eudicots. The leaves are light green and very glossy when young, maturing to a dull dark green.
The flowers grow in clusters at the end of each branch; they are white, pink to red, 2.5–5 cm (1–2 in) diameter, with a deeply 5-lobed fringed corolla round the central corolla tube. They are often, but not always, sweet-scented. The fruit is a long narrow pair of follicles 5–23 cm (2–9 in) long, which splits open at maturity to release numerous downy seeds.
Taxonomy
Nerium oleander is the only species currently classified in the genus Nerium. It belongs to (and gives its name to) the small tribe Nerieae of subfamily Apocynoideae of the dogbane family Apocynaceae. The genera most closely related thus include the equally ornamental (and equally toxic) Adenium G.Don and Strophanthus DC. - both of which contain (like oleander) potent cardiac glycosides that have led to their use as arrow poisons in Africa. The three remaining genera Alafia Thouars, Farquharia Stapf and Isonema R.Br. are less well-known in cultivation.
Synonymy
The plant has been described under a wide variety of names that are today considered its synonyms:
Oleander Medik.
Nerion Tourn. ex St.-Lag.
Nerion oleandrum St.-Lag.
Nerium carneum Dum.Cours.
Nerium flavescens Spin
Nerium floridum Salisb.
Nerium grandiflorum Desf.
Nerium indicum Mill.
Nerium japonicum Gentil
Nerium kotschyi Boiss.
Nerium latifolium Mill.
Nerium lauriforme Lam.
Nerium luteum Nois. ex Steud.
Nerium madonii M.Vincent
Nerium mascatense A.DC.
Nerium odoratissimum Wender.
Nerium odoratum Lam.
Nerium odorum Aiton
Nerium splendens Paxton
Nerium thyrsiflorum Paxton
Nerium verecundum Salisb.
Oleander indica (Mill.) Medik.
Oleander vulgaris Medik.
Etymology
The taxonomic name Nerium oleander was first assigned by Linnaeus in 1753. The genus name Nerium is the Latinized form of the Ancient Greek name for the plant nẽrion (νήριον), which is in turn derived from the Greek for water, nẽros (νηρός), because of the natural habitat of the oleander along rivers and streams.
The origins of the species name are disputed. The word oleander appears as far back as the first century AD, when the Greek physician Pedanius Dioscorides cited it as one of the terms used by the Romans for the plant. Merriam-Webster believes the word is a Medieval Latin corruption of Late Latin names for the plant: arodandrum or lorandrum, or more plausibly rhododendron (another Ancient Greek name for the plant), with the addition of olea because of the superficial resemblance to the olive tree (Olea europea) Another theory posited is that oleander is the Latinized form of a Greek compound noun: οllyo (ὀλλύω) 'I kill', and the Greek noun for man, aner, genitive andros (ἀνήρ, ἀνδρός). ascribed to oleander's toxicity to humans.
The etymological association of oleander with the bay laurel has continued into the modern day: in France the plant is known as "laurier rose", while the Spanish term, "Adelfa", is the descendant of the original Ancient Greek name for both the bay laurel and the oleander, daphne, which subsequently passed into Arabic usage and thence to Spain.
The ancient city of Volubilis in Morocco may have taken its name from the Berber name alili or oualilt for the flower.
Distribution and habitat
Nerium oleander is either native or naturalized to a broad area spanning from Northwest Africa and Iberian and Italian Peninsula eastward through the Mediterranean region and warmer areas of the Black Sea region, Arabian Peninsula, southern Asia, and as far east as Yunnan in southern parts of China. It typically occurs around stream beds in river valleys, where it can alternatively tolerate long seasons of drought and inundation from winter rains. N. oleander is planted in many subtropical and tropical areas of the world.
On the East Coast of the US, it grows as far north as Virginia Beach, while in California and Texas miles of oleander shrubs are planted on median strips. There are estimated to be 25 million oleanders planted along highways and roadsides throughout the state of California. Because of its durability, oleander was planted prolifically on Galveston Island in Texas after the disastrous Hurricane of 1900. They are so prolific that Galveston is known as the 'Oleander City'; an annual oleander festival is hosted every spring. Moody Gardens in Galveston hosts the propagation program for the International Oleander Society, which promotes the cultivation of oleanders. New varieties are hybridized and grown on the Moody Gardens grounds, encompassing every named variety.
Beyond the traditional Mediterranean and subtropical range of oleander, the plant can also be cultivated in mild oceanic climates with the appropriate precautions. It is grown without protection in warmer areas in Switzerland, southern and western Germany and southern England and can reach great sizes in London and to a lesser extent in Paris due to the urban heat island effect. This is also the case with North American cities in the Pacific Northwest like Portland, Seattle, and Vancouver. Plants may suffer damage or die back in such marginal climates during severe winter cold but will rebound from the roots.
Ecology
Some invertebrates are known to be unaffected by oleander toxins, and feed on the plants. Caterpillars of the polka-dot wasp moth (Syntomeida epilais) feed specifically on oleanders and survive by eating only the pulp surrounding the leaf-veins, avoiding the fibers. Larvae of the common crow butterfly (Euploea core) and oleander hawk-moth (Daphnis nerii) also feed on oleanders, and they retain or modify toxins, making them unpalatable to potential predators such as birds, but not to other invertebrates such as spiders and wasps.
The flowers require insect visits to set seed, and seem to be pollinated through a deception mechanism. The showy corolla acts as a potent advertisement to attract pollinators from a distance, but the flowers are nectarless and offer no reward to their visitors. They therefore receive very few visits, as typical of many rewardless flower species. Fears of honey contamination with toxic oleander nectar are therefore unsubstantiated.
Leaf scorch
A bacterial disease known as oleander leaf scorch (Xylella fastidiosa subspecies sandyi) has become a serious threat to the shrub since it was first noticed in Palm Springs, California, in 1992. The disease has since devastated hundreds of thousands of shrubs mainly in Southern California, but also on a smaller scale in Arizona, Nevada and Texas. The culprit is a bacterium which is spread via insects (the glassy-winged sharpshooter primarily) which feed on the tissue of oleanders and spread the bacteria. This inhibits the circulation of water in the tissue of the plant, causing individual branches to die until the entire plant is consumed.
Symptoms of leaf scorch infection may be slow to manifest themselves, but it becomes evident when parts of otherwise healthy oleanders begin to yellow and wither, as if scorched by heat or fire. Die-back may cease during winter dormancy, but the disease flares up in summer heat while the shrub is actively growing, which allows the bacteria to spread through the xylem of the plant. As such it can be difficult to identify at first because gardeners may mistake the symptoms for those of drought stress or nutrient deficiency.
Pruning out affected parts can slow the progression of the disease but not eliminate it. This malaise can continue for several years until the plant completely dies—there is no known cure. The best method for preventing further spread of the disease is to prune infected oleanders to the ground immediately after the infection is noticed.
The responsible pathogen was identified as the subspecies sandyi by Purcell et al., 1999.
Cultivation
Nerium oleander has a history of cultivation going back millennia, especially amongst the great ancient civilizations of the Mediterranean Basin. Some scholars believe it to be the rhodon (rose), also called the 'Rose of Jericho', mentioned in apocryphal writings (Ecclesiasticus XXIV, 13) dating back to between 450 and 180 BC.
The ancient Greeks had several names for the plant, including rhododaphne, nerion, rhododendron and rhodon. Pliny confirmed that the Romans had no Latin word for the plant, but used the Greek terms instead. Pedanius Dioscorides states in his 1st century AD pharmacopeia De Materia Medica that the Romans used the Greek rhododendron but also the Latin Oleander and Laurorosa. The Egyptians apparently called it scinphe, the North Africans rhodedaphane, and the Lucanians (a southern Italic people) icmane.
Both Pliny and Dioscorides stated that oleander was an effective antidote to venomous snake bites if mixed with rue and drunk. However, both rue and oleander are poisonous themselves, and consuming them after a venomous snake bite can accelerate the rate of mortality and increase fatalities.
A 2014 article in the medical journal Perspectives in Biology and Medicine posited that oleander was the substance used to induce hallucinations in the Pythia, the female priestess of Apollo, also known as the Oracle of Delphi in Ancient Greece. According to this theory, the symptoms of the Pythia's trances (enthusiasmos) correspond to either inhaling the smoke of or chewing small amounts of oleander leaves, often called by the generic term laurel in Ancient Greece, which led to confusion with the bay laurel that ancient authors cite.
In his book Enquiries into Plants of circa 300 BC, Theophrastus described (among plants that affect the mind) a shrub he called onotheras, which modern editors render oleander: "the root of onotheras [oleander] administered in wine", he alleges, "makes the temper gentler and more cheerful".
The root of onotheras [oleander] administered in wine makes the temper gentler and more cheerful. The plant has a leaf like that of the almond, but smaller, and the flower is red like a rose. The plant itself (which loves hilly country) forms a large bush; the root is red and large, and, if this is dried, it gives off a fragrance like wine.
In another mention, of "wild bay" (Daphne agria), Theophrastus appears to intend the same shrub.
Oleander was a very popular ornamental shrub in Roman peristyle gardens; it is one of the flora most frequently depicted on murals in Pompeii and elsewhere in Italy. These murals include the famous garden scene from the House of Livia at Prima Porta outside Rome, and those from the House of the Wedding of Alexander and the Marine Venus in Pompeii.
Carbonized fragments of oleander wood have been identified at the Villa Poppaea in Oplontis, likewise buried by the eruption of Mount Vesuvius in 79 AD. They were found to have been planted in a decorative arrangement with citron trees (Citrus medica) alongside the villa's swimming pool.
Herbaria of oleander varieties are compiled and held at the Smithsonian Institution in Washington, D.C., and at Moody Gardens in Galveston, Texas.
Ornamental gardening
Oleander is a vigorous grower in warm subtropical regions, where it is extensively used as an ornamental plant in parks, along roadsides and in private gardens. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. Hardy versions like white, red and pink oleander will tolerate occasional light frost down to −10 °C (14 °F), though the leaves may be damaged. The toxicity of oleander renders it deer-resistant and its large size makes for a good windbreak – as such it is frequently planted as a hedge along property lines and in agricultural settings.
The plant is tolerant of poor soils, intense heat, salt spray, and sustained drought – although it will flower and grow more vigorously with regular water. Although it does not require pruning to thrive and bloom, oleander can become unruly with age and older branches tend to become gangly, with new growth emerging from the base. For this reason gardeners are advised to prune mature shrubs in the autumn to shape and induce lush new growth and flowering for the following spring. Unless they wish to harvest the seeds, many gardeners choose to prune away the seedpods that form on spent flower clusters, which are a drain on energy. Propagation can be made from cuttings, where they can readily root after being placed in water or in rich organic potting material, like compost.
In Mediterranean climates oleanders can be expected to bloom from April through October, with the heaviest bloom usually occurring between May and June. Free-flowering varieties like 'Petite Salmon' or 'Mont Blanc' require no period of rest and can flower continuously throughout the year if the weather remains warm.
In cold winter climates, oleander is a popular summer potted plant readily available at most nurseries. They require frequent heavy watering and fertilizing as compared to being planted in the ground, but oleander is nonetheless an ideal flowering shrub for patios and other spaces with hot sunshine. During the winter they should be moved indoors, ideally into an unheated greenhouse or basement where they can be allowed to go dormant. Once they are dormant they require little light and only occasional watering. Placing them in a space with central heating and poor air flow can make them susceptible to a variety of pests – aphids, mealybugs, oleander scale, whitefly and spider mites.
Colors and varieties
Oleander flowers are showy, profuse, and often fragrant, which makes them very attractive in many contexts. Over 400 cultivars have been named, with several additional flower colors not found in wild plants having been selected, including yellow, peach and salmon. Many cultivars, like 'Hawaii' or 'Turner's Carnival', are multi-colored, with brilliant striped corollas. The solid whites, reds and a variety of pinks are the most common. Double flowered cultivars like 'Mrs. Isadore Dyer' (deep pink), 'Mathilde Ferrier' (yellow) or 'Mont Blanc' (white) are enjoyed for their large, rose-like blooms and strong fragrance. There is also a variegated form, 'Variegata', featuring leaves striped in yellow and white. Several dwarf cultivars have also been developed, offering a more compact form and size for small spaces. These include 'Little Red', 'Petite White', 'Petite Pink' and 'Petite Salmon', which grow to about 8 feet (2.4 m) at maturity.
Toxicity
Oleander has historically been considered a poisonous plant because of toxic compounds it contains, especially when consumed in large amounts. Among these compounds are oleandrin and oleandrigenin, known as cardiac glycosides, which are known to have a narrow therapeutic index and are toxic when ingested.
Toxicity studies of animals concluded that birds and rodents were observed to be relatively insensitive to the administered oleander cardiac glycosides. Other mammals, however, such as dogs and humans, are relatively sensitive to the effects of cardiac glycosides and the clinical manifestations of "glycoside intoxication".
In reviewing oleander toxicity cases seen in-hospital, Lanford and Boor concluded that, except for children who might be at greater risk, "the human mortality associated with oleander ingestion is generally very low, even in cases of moderate intentional consumption (suicide attempts)." In 2000, a rare instance of death from oleander poisoning occurred when two toddlers adopted from an orphanage ate the leaves from a neighbor's shrub in El Segundo, California. Because oleander is extremely bitter, officials speculated that the toddlers had developed a condition caused by malnutrition, pica, which causes people to eat otherwise inedible material.
Effects of poisoning
Ingestion of this plant can affect the gastrointestinal system, the heart, and the central nervous system. The main effect of cardiotoxic glycosides is positive inotropy. Glycosides bind to the sarcolemma transmembrane ATPase of cardiac muscle cells and compete with K+ ions, inactivating the enzyme. This results in an accumulation of Na+ and Ca2+ ions into the cardiac muscle cells, leading to stronger and faster heart contractions. Moreover, the increased amount of extracellular K+ ions may lead to lethal hyperkalemia. Therefore, clinical features of oleander poisoning are similar to digoxin toxicity and include nausea, diarrhea, and vomiting due to stimulation of the area postrema of the medulla oblongata, neuropsychic disorders, and pathological motor manifestations. Cardiotoxic glycosides are also responsible for stimulating the vagus nerve (leading to sinus bradycardia) and the phrenic nerve (leading to hyperventilation), and lethal brady- and tachyarrhythmias, including asystole and ventricular fibrillation. Oleander poisoning can also result in blurred vision, and vision disturbances, including halos appearing around objects. Oleander sap can cause skin irritations, severe eye inflammation and irritation, and allergic reactions characterized by dermatitis.
The severity of the intoxication can vary based on the quantity ingested and an individual's physiological response, as well as the time of symptom onset after oleander ingestion: they can rapidly occur after drinking teas prepared with oleander leaves or roots or develop more slowly due to the ingestion of unprepared plant parts.
Treatment
Poisoning and reactions to oleander plants are evident quickly, requiring immediate medical care in suspected or known poisonings of both humans and animals. Induced vomiting and gastric lavage are protective measures to reduce absorption of the toxic compounds. Activated carbon may also be administered to help absorb any remaining toxins. Further medical attention may be required depending on the severity of the poisoning and symptoms. Temporary cardiac pacing will be required in many cases (usually for a few days) until the toxin is excreted.
Digoxin immune fab is the best way to cure an oleander poisoning if inducing vomiting has no or minimal success, although it is usually used only for life-threatening conditions due to side effects.
Drying of plant materials does not eliminate the toxins. It is also hazardous for animals such as sheep, horses, cattle, and other grazing animals, with as little as 100 g being enough to kill an adult horse. Plant clippings are especially dangerous to horses, as they are sweet. In July 2009, several horses were poisoned in this manner from the leaves of the plant. Symptoms of a poisoned horse include severe diarrhea and abnormal heartbeat. Aśvamāra (अश्वमार) in Sanskrit refers to this plant, meaning Aśva ‘horse’ and Māra ‘killing’. There is a wide range of toxins and secondary compounds within oleander, and care should be taken around this plant due to its toxic nature. Different names for oleander are used around the world in different locations, so, when encountering a plant with this appearance, regardless of the name used for it, one should exercise great care and caution to avoid ingestion of any part of the plant, including its sap and dried leaves or twigs. The dried or fresh branches should not be used for spearing food, for preparing a cooking fire, or as a food skewer. Many of the oleander relatives, such as the desert rose (Adenium obesum) found in East Africa, have similar leaves and flowers and are equally toxic.
Research
Drugs derived from N. oleander have been investigated as a treatment for cancer, but have failed to demonstrate clinical utility. According to the American Cancer Society, the trials conducted so far have produced no evidence of benefit, while they did cause adverse side effects.
Culture
In a research study done by Haralampos V. Harissis, he claims that the laurel the Pythia is commonly depicted with is actually an oleander plant, and the poisonous plant and its subsequent hallucinations are the source of the oracle's mystical power and subsequent prophecies. Many of the symptoms that primary sources such as Plutarch and Democritus report align with results of oleander poisoning. Harissis also provides evidence claiming that the word laurel may have been used to describe an oleander leaf.
Folklore
The toxicity of the plant makes it the center of an urban legend documented on several continents and over more than a century. Often told as a true and local event, typically an entire family, or in other tellings a group of scouts, succumbs after consuming hot dogs or other food roasted over a campfire using oleander sticks. Some variants tell of this happening to Napoleon's or Alexander the Great's soldiers.
There is an ancient account mentioned by Pliny the Elder in his Natural History, who described a region in Pontus in Turkey where the honey was poisoned from bees having pollinated poisonous flowers, with the honey left as a poisonous trap for an invading army. The flowers have sometimes been mis-translated as oleander, but oleander flowers are nectarless and therefore cannot transmit any toxins via nectar. The actual flower referenced by Pliny was either Azalea or Rhododendron, which is still used in Turkey to produce a hallucinogenic honey.
Oleander is the official flower of the city of Hiroshima, having been the first to bloom following the atomic bombing of the city in 1945.
In painting
Oleander was part of subject matter of paintings by famous artists including:
Gustav Klimt, who painted "Two Girls with an Oleander" between 1890 and 1892.
Vincent van Gogh painted his famous "Oleanders" in Arles in 1888. Van Gogh found the flowers "joyous" and "life-affirming" because of their inexhaustible blooms and vigour.
Anglo-Dutch artist Sir Lawrence Alma-Tadema incorporated oleanders into his classically inspired paintings, including "An Oleander" (1882), "Courtship", "Under the Roof of Blue Ionian Weather" and "A Roman Flower Market" (1868).
"The Terrace at Méric (Oleanders)", an 1867 Impressionist painting by Frédéric Bazille.
In literature, film and music
Janet Fitch's 1999 novel White Oleander is centered around a young Southern California girl's experiences growing up in foster care after her mother is imprisoned for poisoning an ex-boyfriend with the plant. The book was adapted into a 2002 film of the same name starring Michelle Pfeiffer and Alison Lohman.
In the 17th century AD Farsi-language book the Jahangirnama, the Mughal emperor Jahangir passes a stream overgrowing with oleanders along its banks. He orders the nobles in his train to adorn their turbans with oleander blossoms, creating a "field of flowers" on their heads.
Steely Dan's 1973 song "My Old School" contains the line "Oleanders growing outside her door, soon they're gonna be in bloom up in Annandale" in the second verse. It has been theorized that this reference is either a metaphor for a harmful relationship, or marijuana, which is the subcontext of the song.
The Yeasayer song "I Am Chemistry" contains the refrain "My momma told me not to fool with oleander, and never handle the deadly quaker buttons again".
Indie rock band Mother Mother has a song called "Oleander" on their 2011 album Eureka.
In video games
Red Dead Redemption 2 features a deadly plant, oleander sage, which may be used to craft poisonous weapons, and is based on nerium oleander.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
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Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
The precise spot where the sand was collected is where the zip lock bag is located (left center).
The darker grains on this beach represent grains created by the weathering of the local basalt, which is very rich in magnetite. (Many of the black grains are highly magnetic.)
For a general view of this beach, follow this link:
Nissan GTR on 21" COR Classic Series: Precise
Finished in Matte Grey Centers, with Polished Step Lips
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
The precise timing of the Serengeti Wildebeest migration varies from year to year, and is dependent upon variations in the weather, the available grazing and available water.
The Wildebeest journey starts in the south of the Serengeti where the herds occupy the short-grass plains that spread over the lower northern slopes of the Ngorongoro Crater highlands and around Olduvai Gorge. Half a million calves are born between January and March. Predators like lions and hyenas are constantly hunting for young calves, and thousands of calves are born within a couple weeks of each other.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
The precise title for this structure is the Murray County Government Center. I was told, inside, that it functions as a courthouse as well as a county government administration center. It was erected in 1982 with the designs of the Spitznagel Partners Inc. of Sioux Falls.
Top left: pen and pencil technical drawing, A4
Bottom: photos of the production of the skirt and of the finished garment
Conversely, the skirt required precise measurements and technical sketching. I decided to produce it in four different parts that would be cut and stitched independently before being assembled according to a specific diagram. The first was a simple skirt base on top of which three panels of folds (A, B and C) were each divided into different shades of gold and copper. Panels A and B were directly sewn on the base whilst C was adjusted onto panel B at the end. All panels followed patterns I had drawn and numbered and the folds were first created on the mannequin, in the same coarse cream cotton I had used for the skirt base, then laid flat to be reinforced with metal rods and cardboard. Some of them were dyed in copper tones and others in gold, using spray fabric paint and glued up glitter, whilst the rest was overlaid with gold lamé and cream satin. This created a contrast in texture whilst retaining unity in the colour theme. The finished outfit does differ slightly from the conceptual drawing in some respects but these differences reflect practical changes I chose to make during the course of my project.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
"The precise date of construction is unknown but it is generally thought that the original tower was built around 1765 to 1770 by John Hanbury, a local landowner and ironmaster who owned Pontypool Park. The local name of The Folly was in use as far back as 1865 when the Free Press of Monmouthshire described it as:
"...an elevated spot where a Tower (formerly a Roman watch-tower) was many years since rebuilt as an observatory and which is popularly known as 'The Folly'."
It is thought the tower was renovated around 1831 by Capel Hanbury Leigh. This date is derived from a keystone from the doorway bearing an '1831' inscription. The tower provided a vantage point over the local area and quickly became popular and a well known feature of the area.
In May 1935 an estimated 15 to 20,000 people gathered at the Folly Tower to celebrate the Silver Jubilee of King George V with the lighting of a bonfire.
However, the folly, being open to the elements, began to fall into a state of disrepair during the late 1930s. Pontypool Park Estate Office attached notices to the structure informing visitors of the potential dangers of falling masonry.
On July 9, 1940, the War Office ordered that, as a security measure under the Emergency Powers (Defence) Act 1939, the Folly be demolished. This was in the belief that its presence would be a landmark for the Luftwaffe seeking to raid the nearby Royal Ordnance Factory at ROF Glascoed to the east beyond Little Mill.
In 1946, Pontypool Chamber of Trade led the first campaign to rebuild the local landmark but the project stalled quickly. Another attempt in 1948 campaigns started to collect public donations to rebuild the Folly Tower. However, an attempt to get local council funding was thwarted during a local council meeting in July of that year, the council's priority at the time being post-war house building programmes in the local area.
At the beginning of 1990, a number of local historians and conservationists decided it was time to restore the Folly Tower to its former glory and a committee was set up to canvas various funding bodies as well as open negotiations with the National Park Authority. . . . "
This precise location (well within a few feet) is featured Joe Cornish's book "First Light" (see page 101). As he explains in his book the boulder has a northwesterly bearing and the best time to catch the early morning light on this scene is in the summer months. At the end of October it is almost directly behind the camera. The composition is not what I would have wanted but I had to take this hand held crouching down behind a rock to avoid getting my shadow in the frame.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
PRECISE, STABLE TEMPERATURE CONTROL
Sample temperature control and magnetic coil stabilization are achieved through accurate liquid temperature control. The upper yoke is thermally conductive, ensuring temperature uniformity throughout the sample thickness. In all cases, sample temperature is monitored by a probe directly beneath the plate surface and recorded in the data file. Precise control of sample temperature is provided by closed-loop control of the fluid circulator temperature, eliminating temperature drifts and offsets.
Here's a bunch of tricks that I've cooked up in the interest of getting precise fender lines. It takes a while, but they come out really good.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
_____________________________
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Ford Ecosport ST-Line dashboard (from Enterprise Rent a Car).
I have to admit that having the speed in the centre, as a precise number is most helpful. You can read the speed instantaneously, no "where the needle pointing?" mental calculation is required - as least to my brain.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
How to be exact and precise when we have so many edges, aspects, details, and the surroundings are so uncertain...?
I was trying to take macro shots this time, after a friend's request (the topic, as to say). I experimented with quotes on paper, a propelling pencil, my hand... and with my small cactus.
Damn, it's so hard to focus on all those tiny little "spikes". And its colour is so close to the ground around. I began to feel that I was really bad with the zooming thing. But then I thought about it: so many small details in each and every direction. >_<' Not exactly easy to make things clear there.
I then decided to move on to an easier subject. Sea orchids (shells)! Well, they also have many spikes, at some point in their lives... u_u'
The shot still has problems, but the focus was much simpler to achieve.
The realisation, though, stayed - some stuff *will* be hard to sort out, to handle. Because that's what we are - a bunch of details, big or small, crazy edges going in all directions... The resulting complexity is beautiful, but fucking hard to picture...
And then I look again at my final shot... And even when you get a simpler subject, it's still too complex to get all right...
Day 21. Topic: Microcosmos (suggested by dogsbreath).
“Trench G confirmed the precise location and condition of the remains of Hawkley Hall beneath the pile of debris left after demolition, and this has protected the surviving footings from further decay.
Although the external south wall appeared to have been robbed away, internal walls have survived to heights of between 300mm and 1.4m. From the exposed layout of interior features it was possible to predict accurately the extent of the building, by correlating excavated evidence with that of the modern published survey.”
[From M Fletcher and P Arrowsmith, “Hawkley Hall, Wigan: An Archaeological Assessment and Evaluation”, GMAU Report No 1993/30]
The 1993 investigation of the debris field and surrounds by the Greater Manchester Archaeological Unit involved the cutting of seven trenches using a hydraulic excavator. By projecting the locations onto plans of the Hawkley Hall estate drawn in 1927 and subsequently, it was possible to determine roughly where the trenches were in relation to the original buildings. Trench G was a reversed and inverted L shape, with the longer length intersecting the line of the Hall's external south wall, at 90 degrees, midway between what had been the projecting west and east wings. The intact section of brickwork shown here may have bordered a small staircase facing the main entrance. This staircase led to a cellar of probable 19th century excavation. The large cut stones are thought to be part of a garden feature, moved from their original position during or shortly after the demolition.
My submission for Ubuntu Precise Pangolin 12.04 wall paper contest. Out of four candidates this gathered least views and no comments. I like it best though out of four candidates.
Raw processed with Photivo. Anisotropic filtering, Unsharp mask, Vignette, increased vibrance and Hue adjustment. Some details were manually color corrected with Gimp after raw processing.
2560 x 1600 original available
Photo was taken at my home yard in Helsinki
License Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0)
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Please distribute this image freely under attached Creative Commons license. You may not use, abuse or distribute this image under any such license that you pay of, namely you may not use or distribute this image under Finnish Copyright Groups Digilupa bit.ly/ozwGtt or corresponding license.
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MQCOLL-JML04349
Clitocybe blanchi, sous-espèce sudorifère
Anc. nom. : Clitocybe rivulosa
Récolté à Québec (Baie de Beauport) par J. Labrecque
Date de récolte: 2022-09-24
Habitat: parc urbain, au sol en bordure de piste cyclable, dans pelouse et mousse
Chapeau: jusqu'à 4 cm de diam.
Cuticule faiblement viscidule à l'humidité
Odeur légèrement fongique/terreuse
Saveur indistincte
Proposition d'identification en 2022 (C. dealbata subsp. sudorifica): J. Labrecque
Kilmallie Parish / Banavie War Memorial
More precise NGR NN 10875 76986
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Many local war memorials have been recently cleaned so came to see if this one had been cleaned but does not seem to have had any work done on it
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TO THE GLORIOUS MEMORY
OF THESE LOCHABER MEN WHO DIED
FOR KING AND COUNTRY IN THE GREAT WAR
1914- 1916
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MJR. E.S. GOOCH, TORCASTLE, BERKS YEOMANRY
TPR. A. MACDOUGALL, CORPACH, SCOTTISH HORSE
Q.M.S. J. CAMERON, MUIRSHEARLICH, LOVAT SCOUTS
TPR. J. MACSALMAN, BANAVUIE, LOVAT SCOUTS
TPR. A. CAMERON, GLENLOY, LOVAT SCOUTS
TPR. A. CAMERON, GUISACHAN, LOVAT SCOUTS
GUNR. D. MACDOUGALL, CORPACH, ARG.MTN.BTY.
PTE. D. CAMERON, CAOL, ROYAL SCOTS.
PTE. A. DONALDSON, MOUNT, K.O.S.B.
PTE. J. ROY DALZIEL, GUISACHAN, SCOTTISH RFLS.
PTE. A. GILLIES, LOCHY-SIDE, SCOTTISH RFLS.
L/CPL. A. CAMERON, BRAINCHAMUS, BLACK WATCH
L/CPL. J. GILMOUR, BLAICH, BLACK WATCH
SERGT. D. CAMPBELL, GLENPEAN, SEAFORTH HDRS.
L/CPL. J. GRAY, BANAVIE, SEAFORTH HDRS.
L/CPL. E. CAMPBELL, GLENPEAN, GORDON HDRS.
PTE. A. MACPHERSON, MUIRSHEARLICH, GORDON HDRS.
CAPT. A. CAMERON. OF LOCHIEL, CAMERON HDRS.
LIEUT. ARCHD. CAMERON. OF LOCHIEL, CAMERON HDRS.
PTE. P.A. SHAND, ACHNACARRY, CAMERON HDRS.
PTE. J. MACDONALD, ACHNACARRY, CAMERON HDRS.
PTE. H. MACCULLOCH, ACHNACARRY, CAMERON HDRS.
PTE. R. BAKER, ACHNACARRY, CAMERON HDRS.
PTE. P. MACDONALD, PUTACHAN, CAMERON HDRS.
PTE. J. MACLENNAN, GLEN-KINGIE, CAMERON HDRS.
PTE. B. SUTHERLAND, GLEN-KINGIE, CAMERON HDRS.
PTE. D. CAMPBELL, GAIRLOCHY,, CAMERON HDRS.
PTE. A. MACMASTER, MUIRSHEARLICH, CAMERON HDRS.
PTE. R.R.S. CRAWFORD, MANSE, CAMERON HDRS.
PTE. A. MACKENZIE, CORPACH, CAMERON HDRS.
PTE. D. MACMILLAN, CORPACH, CAMERON HDRS.
PTE. A. MACINTYRE, TRISLAIG, CAMERON HDRS.
PTE. J. CAMPBELL, BADABRIE, CAMERON HDRS.
PTE. A. MACLAREN, ARDECHIVE, CAMERON HDRS.
PTE. A. CAMERON, ACHAPHUBLE, CAMERON HDRS.
PTE. A. CAMERON, GLENMAILLIE, CAMERON HDRS.
PTE. J. MACLAREN, GLENFINNAN, CAMERON HDRS.
L/CPL. N. MARTIN, BANAVIE, ARG. & SUTHD. HDRS.
PTE. A.C. CAMERON, GLENMAILLIE, M.C.G.
PTE. M. COLQUHOUN, CORPACH, R.A.M.C.
PTE. J. CAMPBELL, GLENPEAN, R.A.M.C.
PTE. J. MACMASTER, FASSFERN, CANADIAN SFTHS.
D. GILLIES, LOCHY=SIDE, TRANSPORT
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"BITHIDH AN CLIU BUAN"
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1939 - 1945
A.B. T. ALEXANDER, TOMONIE, R.N.
A.B. J. MACDONALD, CORPACH, R.N.
A.B. D. ROBERTSON, CORPACH, R.N.
SGT. A. MACINTOSH, CORPACH, R.A.F.
PTE. D. MACDOUGALL, CORPACH, R.A.S.C.
PTE. K. MACDONALD, ACHNACARRY, CAM. HRS.
PTE. P. WILSON, TOMONIE, CAM. HRS.
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ID:MHG52984
Type of record:Monument
Name:Banavie War Memorial, Fort William
Grid Reference:NN 10871 76995
Map Sheet:NN17NW
Civil Parish:KILMALLIE
Geographical Area:LOCHABER
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Site Type WAR MEMORIAL (20TH CENTURY)
Canmore ID 318842
Site Number NN17NW 63
NGR NN 10871 76994
Council HIGHLAND
Parish KILMALLIE
Former Region HIGHLAND
Former District LOCHABER
Former County INVERNESS-SHIRE