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Same Zebra shark photo but I used Nik Software's Dfine (twice) and Topaz Adjust's "Low Key 1" filter to give it more of an otherworldly vibe. Comments?
Same photo run through Topaz Adjust's Sketch - Dark Charcoal filter.
Radiating light pattern created with MagMod "Orb" light stencil.
Cosplayer: Nightmare Loki
Another extremely unexpected roadside spot! It really is amazing what can still be found in NZ. These MkVIs have a definite resemblance to the Jaguar MkVII of the same era. I like both cars a lot.
The same Japan Airlines 747 coming in to land at Kai Tak Airport - stitched to make it look too close! The red birdcage was a landing beacon (I think)
I shot both stills & video at the same time during Lakey Peterson's record-setting heat at the pro women's Nike Hurley US Open Surfing contest in Huntington Beach!
Here's some of the video I shot with the above 45WINDSURF / 9SHOOTER rig:
www.youtube.com/watch?v=_o3Yh2CWKsk
And here're some of the photographic stills! www.flickr.com/photos/herosjourneymythology45surf/sets/72...
Enjoy!
Nikon D4 with AF-S Nikkor 600mm f/4G ED VR & Video Camera @ Huntington Beach!
Shooting some video and photographic stills of surfers at the Nike US Open at Huntingon Beach!
I call the above combination the 45WINDSURFER as it lets you SURF the intermittent waves of stills photography, while catching the constant WIND of video. :) I shoot all my models with a variation of this setup too, using the D800 instead with the 70-200 mm VR2.
Here is my gear for tomorrow's finals:
Nikon D4 with AF-S NIKKOR 600mm f/4G ED VR & Video Camera!
The AF-S NIKKOR
600mm f/4G ED VR is a high-speed, high-performance prime lens which features Nikon’s VR image stabilization and Nano Crystal Coat!
The Nikon D4 rocks! It focuses fast and continuously! It can shoot 12 RAWS/second! Ideal for shooting Kelly Slater pulling tricks!
The video camera is the amazing image-stabilized Panasonic X900MK 3MOS 3D Full HD SD Camcorder. The 3MOS Sensor splits the light information captured by the lens into the three primary colors - red, green and blue - and processes each color with its own individual sensor. This reduces light loss compared to the 1MOS sensor. Pixel Shift Technology, which took years to develop, provides a huge number of effective pixels for moving pictures – equivalent to four times the pixel count of Full-HD. This technology renders ultrafine images with excellent color reproduction and superb detail! It is built with an awesome F1.5 LEICA lens! The image stabilization is amazing on this, even at full zoom!
Using a rugged Manfrotto tripod and a Manfrotto Bogen tripod head!
Wish me luck @ the finals! :) Wish you could join me to shoot stills & video of the world's greatest surfers!
These pictures were shot with the Sony Alpha 65 (A65).
The panasonic camcorder shoots at 60P and I slow it down to 24P in post for slow motion!
I saw this vehicle at Park Street in Vernon-Rockville yesterday.
This is an amazing and great looking NBC Connecticut Breaking News vehicle ever and the vehicle's description is 2012 Ford Explorer with 4 seats on there.
This vehicle is actually from West Hartford, Connecticut and this is the same thing for NBC Connecticut Breaking News stuff with very nice graphic for the vehicle.
These photos are taken at the outside of Rockville Superior Court building at Park Street in Vernon-Rockville, CT which is during the ongoing coverage of Richard Dabate Murder Trial on the same day.
Last time, I was there for the same one that is still here at Vernon Public Schools on December 3, 2021 which is during the grief counseling service of the death of VCMS girl, Jaidyn Bolduc.
I'm huge fan of NBC Connecticut news stuff and I watched these news everyday in my life.
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of ​​"desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of ​​today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of ​​today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of ​​an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....
Archaeologist and painter Edward Dodwell (1767-1832), who came from a noble and rich Irish family, was born in Dublin (recitation: Eduard Doduel) and studied literature and archeology at Trinity College in Cambridge. Thanks to the economic comfort provided by his great fortune, he is completely away from the need to acquire a profession and gives himself to the researches about the Mediterranean civilizations.
In 1801, he traveled with Ionian islands (Corfu, Zante etc.) and the region of Troy together with Atkins and well-known traveler W. Gell. In 1805-06, he traveled to Central Greece with his traveling companion, Simone Pomardi. He then settled in Naples and Rome and marries a woman thirty years younger from him. He was an honorary member of many European cultural foundations. He died of sickness while exploring in the mountains of Italy. The large archaeological collection (coins, 115 copper items, 143 amphoras) he created was sold to the Munich Sculpture Museum after being housed in his home in Rome for a while.
Being a prolific writer and visual artist at the same time, Dodwell reveals his multi-faceted talent, consisting of a sense of curiosity, critical gaze and artistic sensitivity as an archaeologist in his works that are unique for his age. For the first time in his work, we witness the real discovery of a "place": While the phenomenon of walking becomes a form of discovering and recognizing (reading) the view, on the other hand, information based on monuments, history, contemporary people and documents all join together in this phenomenon.
The journey, which is described in these two volumes of publications and offers rich data in archeology and topography, constitutes a valuable treasure of information about the public and private lives of the Greeks before the rebellion (before 1821). Dodwell sets off from Venice by taking an intelligent and well-read Greek from Santorini, whom he had met in Italy in late April 1801, as an interpreter. He crosses the Adriatic sea and arrives in Corfu under Russian-Ottoman occupation with his travel companions within a month. Their journey continues towards Paksos islands, Parga, Lefkada (Santa Mavra). Dodwell writes about the nose of Lefkata, where ancient Greek poet Saffo, according to ancient ruins, products, villages and legend, fell into the sea because of his desperate love for Faon. From here go to Preveza and go to Nikopolis. He travels to the archeological site at the village, continues to Ithaka island and writes about the geography and economic situation there and about the search for ancient ruins. Finally, he came to Kefalonia and completed his first trip to Greece with William Gell.
In 1805, Dodwell, along with the artist Simone Pomardi, arrived in Zakinthos (Zante) from the city of Messina in Sicily, where he writes about the villages, population, products; he then goes to Mesolongi. Tepedelenli Ali Pasha writes about the persecution of local people, local products, the Akheloos river and the Echinades archipelago.
After the journey, he reached Patra and became the guest of the consul Nikolaos Stranis. Stranis's mansion had been the meeting place of many European guests for years. Dodwell's trip to Patra confirms his theoretical knowledge about them. Speaking of Contemporary Patra, he writes in an easy-to-understand manner both about the architectural order of the city ("The houses of the Greeks are lime and the houses of the Turks are painted in red") and its economic condition (including products exported from the region). In Patra, he visits the castle, the famous big-bodied cypress tree, the church of Saint Andrea and the holy spring (blessed water source / fountain). He adds the pattern that his travel companion Pomardi has drawn and displays the sacred source. Patra ' Noting that many black slaves were found in Dodwell, Dodwell also made efforts to obtain some archaeological artifacts. As he writes about Patra, he especially portrays the city's historical memory. On the Dodwell route, it documents scientifically its own knowledge as well as the old sources it used to showcase the contemporary reality of Greece and previous travel testimonies.
Due to an epidemic in Dodwell Peloponnese, he chose to go to Athens in another way, passing through Nafpaktos (Inebahtı), Galaksidi (watching the carnival shows here) and passing through Amfisa (here he is a guest at the house of a Kefalonian doctor and visits the voivodeship), climbs to Parnasos mountain, Hriso and stops in Kastri and tour the Kastalya fountain and few ancient ruins that can be seen in Delfi. The road passes through the villages of Arahova and Distomo and takes him to the ancient site of the Trophonius priests in Livadia, from there he continues to other Viotia (Boeotia) villages (Orchomenos, Aliartos, Thespiae). Passing through the Eleutherae road and the Eleusis plain, on March 26, lord Elgin's work teams arrive in Athens when the relief of the Acropolis relief (relief) marbles.
Dodwell will stay here until September and visit almost all of Attica (Pendeli mountain, Fili, Acharnai, Kifisia, Vrauron, Porto Rafti, Thorikos, Lavrion, Sunion, Piraeus) and the Egina and Salamis islands. In addition to archaeological issues, he writes about the folk dances, music and games of the Greeks, even about baths, even insects and birds.
After Athens, it passes through Thiva (Thebai), Kopais lake, Thermopylae and Lamia, Stylis and Almyros to Volos and Pelion; in his article he mentions all the ancient city ruins he met along the way. After that, Larissa and Ambelakia come and are highly affected by the high level of living, cultured people and the cotton yarn dyeing industry. Thessaly plain returns to Athens after passing through Lilaia, Amfikleia, Fokida, Viotia (Boeotia) and stops by Chalkida and Marathon.
He stays in Athens all summer. In December of 1805, we find him touring the Argos-Corinth region: Dafni monastery, Eleusis and its religious mysteries, Megara, Corinthian isthmus, Corinthian fortress, Kechries, Nemea and its vineyards, Acropolis and ancient theater in Argos, the treasure of Mikene and Atreus, The ruins of Tiryns and Nauplion, Epidaurus and Asclepius temple, Troizina, Methana, Poros are the places he traveled and wrote. Then, on the road of Aegion, Sikyon passes through Xylokastron and stops in the local inns, and after Patra, he reaches Olympia on January 24, 1806 by describing all villages of Achaia and Ileia.
In the continuation of the trip, Messini visits Sparta in late February after visiting the ruins in Megalopolis and Vassai. After crossing Arkadiya and Achaia (by stopping at Tegea, Tripoliçe, Mantineia, Orchomenos, Stymphalia, Feneos, Kalavrita, Mega Spilaion), it reaches Patra in the spring and finally reaches Rome on September 18, 1806.
Dodwell (who has drafted about 400 places and monuments) has been aiming to combine the scientific look with art by adding the engravings to them after using the camera obscura technique and documenting the archaeological ruins he has visited recently. The four volumes of his work, published after Dodwell, are a basic handbook for all travelers traveling around Greece and are still considered a very useful resource for archaeological research today.
The work was published 2 years after Dodwell's death in 1834. Publishers received the material to create the book and detailed instructions about the publication from Dodwell himself. Paintings with stone prints and based on Dodwell's own drawings show magnificent relic images from Greece and Italy. These include, in particular, wall forms, acropolis (city hills or endpoints), fortifications, and domed tombs. Engravings showing monuments in Greece are accompanied by descriptive and explanatory texts; the same is not true for monuments in Italy, however, because Dodwell was unable to write his explanations about them. Publishers have not been able to fill this gap. The embroidery of the paintings on stone was made by the well-known engraver C. Hullmandel.
Despite the misrepresentation of naming and identification in some of the architectural remains, Dodwell's work remains a pioneer in terms of both its subject and less-known archaeological sites. The aim of the author was to add this book to his two volume volume "Classical and Topographical Tour in Greece", published in 1819.
Written By: Ä°oli Vingopoulou
We do not like the same face and do not like what we love and what we do not like we share the road
So you must be your friend
Same photo, but with some sharpness brought back to the eyes and lips. Missing nail polish was also filled in.
Same spot as last year, other side of the table at The Sunset Bar and Grill, Maho Beach, Sint Maarten. Little Softer, a lot less colour, and a totally different mood.
Same location as 6011 previous but 60015 appeared from the posession first with 7T70 13.00 Armley Jnc - Doncaster Up Decoy engineers, Sunday 10 April 2011.
Same difficult problem, two slightly different ways of tackling it..
I have been going here since it opened!!
Luther, Katie and I had a good session down there this evening..
Luther and Katie were doing great!
History -
"The Foundry Climbing Centre in Sheffield was the UK's first dedicated indoor climbing centre. Opened in 1991 it was designed, by climbers, to suit everyone from beginner to expert. It offers walls up to 13m high and lead/top rope climbs with 150 routes and bouldering"
"We at The Foundry provide climbing facilities for people of all ages and abilities. We have over 75 lead routes, 75+ top rope routes, 7 Autobelays, 100+ boulder problems and training and gym facilities"
St. Paul, Minnesota
July 28, 2010
The National Organization for Marriage (NOM) seeks to protect their marriages by opposing same-sex marriage.
Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.
HISTORY
- Dravidian architecture - Badami Chalukyas
- Hindu temple architecture - Badami Chalukya architecture
- Political history of medieval Karnataka - Badami Chalukyas
- Architecture of Karnataka - Badami Chalukya architecture
- Chalukyas of Badami
PRE-HISTORIC
Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.
BADAMI CHALUKYAS AND OTHER DYNASTIES
MYTHOLOGY
The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.
BADAMI CHALUKYAS
It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.
The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.
The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.
Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.
INSCRIPTIONS
Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.
VATAPI GANAPATI
In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.
In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.
TOURISM
Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.
- A Buddhist cave in a natural setting that can be entered only by crawling on knees.
- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.
- Badami Fort situated on top of the hill.
- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.
- The Dattatreya temple.
- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.
- a Dargah, a dome of an Islamic place of worship on the south fort side.
- Vista points on top of the North Fort for the view of the ancient town below.
- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.
- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.
BADAMI CAVE TEMPLES
The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.
The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.
GEOGRAPHY
The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.
HISTORY OF CAVE TEMPLES
The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.
TEMPLE CAVES
The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.
The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.
CAVE 1
The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.
The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.
The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.
Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.
CAVE 2
Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.
The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.
The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.
CAVE 3
The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.
Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.
The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.
CAVE 4
The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.
CAVE 5
It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.
The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.
The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.
The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.
OTHER CAVES
In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.
OTHER TEMPLES AT BADAMI
On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.
Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.
The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.
BADAMI FORT
Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.
ETYMOLOGY
The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.
It is also believed that name Badami has come from colour of its stone (badam - Almond).
CULTURE
The main language is Kannada. The local population wears traditional Indian cotton wear.
GEOGRAPHY
Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.
It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.
WIKIPEDIA
where this came from, i'm not sure.
i suppose things just come and go, and i am affected by the coming and going of people and idea.
i'm used to it now.