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Scripture reference: Psalm 72:8. The drawing is by Art Patterson, a very active member of our church, who lives with Cerebral Palsy.
“Start where you will, by any river you choose, and Messiah’s kingdom will reach on to the utmost bounds of the round world. We are encouraged to look for the Saviour’s universal reign.” --- Commentary on Psalm 72:8 by Charles H. Spurgeon (1834-1892)
The Bible in West Walton Church (dedicated to St Mary).
The 50p Camera Project
Olympus XA2 35mm film compact camera
Kodak Tmax 400 b/w film
Developed in Ilford LC29
;;;;; O Lord my God, how great you are! You are robed with honor and majesty. You are dressed in a robe of light. You stretch out the starry curtain of the heavens: you lay out the rafters of your home in the rain clouds. You make the clouds your chariot; you ride upon the wings of the wind. Ps 104: 1-3
Kathmandu Durbar Square (Nepali: वसन्तपुर दरवार क्षेत्र, Basantapur Darbar Kshetra) in front of the old royal palace of the former Kathmandu Kingdom is one of three Durbar (royal palace) Squares in the Kathmandu Valley in Nepal, all of which are UNESCO World Heritage Sites.
Several buildings in the Square collapsed due to a major earthquake on 25 April 2015. Durbar Square was surrounded with spectacular architecture and vividly showcases the skills of the Newar artists and craftsmen over several centuries. The Royal Palace was originally at Dattaraya square and was later moved to the Durbar square.
The Kathmandu Durbar Square held the palaces of the Malla and Shah kings who ruled over the city. Along with these palaces, the square surrounds quadrangles, revealing courtyards and temples. It is known as Hanuman Dhoka Durbar Square, a name derived from a statue of Hanuman, the monkey devotee of Lord Ram, at the entrance of the palace.
CONTENTS
HISTORY AND CONSTRUCTION
The preference for the construction of royal palaces at this site dates back to as early as the Licchavi period in the third century. Even though the present palaces and temples have undergone repeated and extensive renovations and nothing physical remains from that period. Names like Gunapo and Gupo, which are the names referred to the palaces in the square in early scriptures, imply that the palaces were built by Gunakamadev, a King ruling late in the tenth-century. When Kathmandu City became independent under the rule of King Ratna Malla (1484–1520), the palaces in the square became the Royal Palaces for its Malla Kings. When Prithvi Narayan Shah invaded the Kathmandu Valley in 1769, he favored the Kathmandu Durbar Square for his palace. Other subsequent Shah kings continued to rule from the square until 1896 when they moved to the Narayan Hiti Palace.
The square is still the center of important royal events like the coronation of King Birendra Bir Bikram Shah in 1975 and King Gyanendra Bir Bikram Shah in 2001.
Though there are no written archives stating the history of Kathmandu Durbar Square, construction of the palace in the square is credited to Sankharadev (1069–1083). As the first king of the independent Kathmandu City, Ratna Malla is said to have built the Taleju temple in the Northern side of the palace in 1501. For this to be true then the temple would have had to have been built in the vihara style as part of the palace premise surrounding the Mul Chok courtyard for no evidence of a separate structure that would match this temple can be found within the square.
Construction of the Karnel Chok is not clearly stated in any historical inscriptions; although, it is probably the oldest among all the courtyards in the square. The Bhagavati Temple, originally known as a Narayan Temple, rises above the mansions surrounding it and was added during the time of Jagajaya Malla in the early eighteenth century. The Narayan idol within the temple was stolen so Prithvi Narayan Shah replaced it with an image of Bhagavati, completely transforming the name of the temple.
The oldest temples in the square are those built by Mahendra Malla (1560–1574). They are the temples of Jagannath, Kotilingeswara Mahadev, Mahendreswara, and the Taleju Temple. This three-roofed Taleju Temple was established in 1564, in a typical Newari architectural style and is elevated on platforms that form a pyramid-like structure. It is said that Mahendra Malla, when he was residing in Bhaktapur, was highly devoted to the Taleju Temple there; the Goddess being pleased with his devotion gave him a vision asking him to build a temple for her in the Kathmandu Durbar Square. With a help of a hermit, he designed the temple to give it its present form and the Goddess entered the temple in the form of a bee.
His successors Sadasiva (1575–1581), his son, Shiva Simha (1578–1619), and his grandson, Laksmi Narsingha (1619–1641), do not seem to have made any major additions to the square. During this period of three generations the only constructions to have occurred were the establishment of Degutale Temple dedicated to Goddess Mother Taleju by Shiva Simha and some enhancement in the royal palace by Laksminar Simha.
UNDER PRATAP MALLA
In the time of Pratap Malla, son of Laksminar Simha, the square was extensively developed. He was an intellectual, a pious devotee, and especially interested in arts. He called himself a Kavindra, king of poets, and boasted that he was learned in fifteen different languages. A passionate builder, following his coronation as a king, he immediately began enlargements to his royal palace, and rebuilt some old temples and constructed new temples, shrines and stupas around his kingdom.During the construction of his palace, he added a small entrance in the traditional, low and narrow Newari style. The door was elaborately decorated with carvings and paintings of deities and auspicious sings and was later transferred to the entrance of Mohan Chok. In front of the entrance he placed the statue of Hanuman thinking that Hanuman would strengthen his army and protect his home. The entrance leads to Nasal Chok, the courtyard where most royal events such as coronation, performances, and yagyas, holy fire rituals, take place. It was named after Nasadya, the God of Dance, and during the time of Pratap Malla the sacred mask dance dramas performed in Nasal Chok were widely famed. In one of these dramas, it is said that Pratap Malla himself played the role of Lord Vishnu and that the spirit of the Lord remained in the king's body even after the play. After consulting his Tantric leaders, he ordered a stone image of Lord Vishnu in his incarnation as Nara Simha, the half-lion and half-human form, and then transferred the spirit into the stone. This fine image of Nara Simha made in 1673 still stands in the Nasal Chok. In 1650, he commissioned for the construction of Mohan Chok in the palace. This chok remained the royal residential courtyard for many years and is believed to store a great amount of treasure under its surface. Pratap Malla also built Sundari Chok about this time. He placed a slab engraved with lines in fifteen languages and proclaimed that he who can understand the inscription would produce the flow of milk instead of water from Tutedhara, a fountain set in the outer walls of Mohan Chok. However elaborate his constructions may have been, they were not simply intended to emphasize his luxuries but also his and the importance of others' devotion towards deities. He made extensive donations to temples and had the older ones renovated. Next to the palace, he built a Krishna temple, the Vamsagopala, in an octagonal shape in 1649. He dedicated this temple to his two Indian wives, Rupamati and Rajamati, as both had died during the year it was built. In Mohan Chok, he erected a three roofed Agamachem temple and a unique temple with five superimposing roofs. After completely restoring the Mul Chok, he donated to the adjoining Taleju Temple. To the main temple of Taleju, he donated metal doors in 1670. He rebuilt the Degutale Temple built by his grandfather, Siva Simha, and the Taleju Temple in the palace square. As a substitute to the Indreswara Mahadeva Temple in the distant village of Panauti he built a Shiva temple, Indrapura, near his palace in the square. He carved hymns on the walls of the Jagannath Temple as prayers to Taleju in the form of Kali.
At the southern end of the square, near Kasthamandap at Maru, which was the main city crossroads for early traders, he built another pavilion named Kavindrapura, the mansion of the king of poets. In this mansion he set an idol of dancing Shiva, Nasadyo, which today is highly worshipped by dancers in the Valley.
In the process of beautifying his palace, he added fountains, ponds, and baths. In Sundari Chok, he established a low bath with a golden fountain. He built a small pond, the Naga Pokhari, in the palace adorned with Nagakastha, a wooden serpent, which is said he had ordered stolen from the royal pond in the Bhaktapur Durbar Square. He restored the Licchavi stone sculptures such as the Jalasayana Narayana, the Kaliyadamana, and the Kala Bhairav. An idol of Jalasayana Narayana was placed in a newly created pond in the Bhandarkhal garden in the eastern wing of the palace. As a substitute to the idol of Jalasayana Narayana in Buddhanilkantha, he channeled water from Buddhanilkantha to the pond in Bhandarkhal due bestow authenticity. The Kalyadana, a manifestation of Lord Krishna destroying Kaliya, a water serpent, is placed in Kalindi Chok, which is adjacent to the Mohan Chok. The approximately ten-feet-high image of terrifyingly portrayed Kal Bhairav is placed near the Jagannath Temple. This image is the focus of worship in the chok especially during Durga Puja.
With the death of Pratap Malla in 1674, the overall emphasis on the importance of the square came to a halt. His successors retained relatively insignificant power and the prevailing ministers took control of most of the royal rule. The ministers encountered little influence under these kings and, increasingly, interest of the arts and additions to the square was lost on them. They focused less on culture than Pratap Malla during the three decades that followed his death, steering the city and country more towards the arenas of politics and power, with only a few minor constructions made in the square. These projects included Parthivendra Malla building a temple referred to as Trailokya Mohan or Dasavatara, dedicated to Lord Vishnu in 1679. A large statue of Garuda, the mount of Lord Vishnu, was added in front of it a decade later. Parthivendra Malla added a pillar with image of his family in front of the Taleju Temple.
Around 1692, Radhilasmi, the widowed queen of Pratap Malla, erected the tall temples of Shiva known as Maju Deval near the Garuda image in the square. This temple stands on nine stepped platforms and is one of the tallest buildings in the square. Then her son, Bhupalendra Malla, took the throne and banished the widowed queen to the hills. His death came early at the age of twenty one and his widowed queen, Bhuvanalaksmi, built a temple in the square known as Kageswara Mahadev. The temple was built in the Newari style and acted as a substitute for worship of a distant temple in the hills. After the earthquake in 1934, the temple was restored with a dome roof, which was alien to the Newari architecture.
Jayaprakash Malla, the last Malla king to rule Kathmandu, built a temple for Kumari and Durga in her virginal state. The temple was named Kumari Bahal and was structured like a typical Newari vihara. In his house resides the Kumari, a girl who is revered as the living goddess. He also made a chariot for Kumari and in the courtyard had detailed terra cotta tiles of that time laid down.
UNDER THE SHAH DYNASTY
During the Shah dynasty that followed, the Kathmandu Durbar Square saw a number of changes. Two of the most unique temples in the square were built during this time. One is the Nautale, a nine-storied building known as Basantapur Durbar. It has four roofs and stands at the end of Nasal Chok at the East side of the palace. It is said that this building was set as a pleasure house. The lower three stories were made in the Newari farmhouse style. The upper floors have Newari style windows, sanjhya and tikijhya, and some of them are slightly projected from the wall. The other temple is annexed to the Vasantapur Durbar and has four-stories. This building was initially known as Vilasamandira, or Lohom Chok, but is now commonly known as Basantapur or Tejarat Chok. The lower floors of the Basantapur Chok display extensive woodcarvings and the roofs are made in popular the Mughal style. Archives state that Prthivi Narayan Shah built these two buildings in 1770.
Rana Bahadur Shah was enthroned at the age of two. Bahadur Shah, the second son of Prithvi Narayan Shah, ruled as a regent for his young nephew Rana Bahadur Shah for a close to a decade from 1785 to 1794 and built a temple of Shiva Parvati in the square. This one roofed temple is designed in the Newari style and is remarkably similar to previous temples built by the Mallas. It is rectangular in shape, and enshrines the Navadurga, a group of goddesses, on the ground floor. It has a wooden image of Shiva and Parvati at the window of the upper floor, looking out at the passersby in the square. Another significant donation made during the time of Rana Bahadur Shah is the metal-plated head of Swet Bhairav near the Degutale Temple. It was donated during the festival of Indra Jatra in 1795, and continues to play a major role during the festival every year. This approximately twelve feet high face of Bhairav is concealed behind a latticed wooden screen for the rest of the year. The following this donation Rana Bahadur donated a huge bronze bell as an offering to the Goddess Taleju. Together with the beating of the huge drums donated by his son Girvan Yudha, the bell was rung every day during the daily ritual worship to the goddess. Later these instruments were also used as an alarm system. However, after the death of his beloved third wife Kanimati Devi due to smallpox, Rana Bahadur Shah turned mad with grief and had many images of gods and goddesses smashed including the Taleju statue and bell, and Sitala, the goddess of smallpox.
In 1908, a palace, Gaddi Durbar, was built using European architectural designs. The Rana Prime Ministers who had taken over the power but not the throne of the country from the Shahs Kings from 1846 to 1951 were highly influenced by European styles. The Gaddi Durbar is covered in white plaster, has Greek columns and adjoins a large audience hall, all foreign features to Nepali architecture. The balconies of this durbar were reserved for the royal family during festivals to view the square below.
Some of the parts of the square like the Hatti Chok near the Kumari Bahal in the southern section of the square were removed during restoration after the devastating earthquake in 1934. While building the New Road, the southeastern part of the palace was cleared away, leaving only fragments in places as reminders of their past. Though decreased from its original size and attractiveness from its earlier seventeenth-century architecture, the Kathmandu Durbar Square still displays an ancient surrounding that spans abound five acres of land. It has palaces, temples, quadrangles, courtyards, ponds, and images that were brought together over three centuries of the Malla, the Shah, and the Rana dynasties. It was destroyed in the April 2015 Nepal earthquake.
VISITING
Kathmandu's Durbar Square is the site of the Hanuman Dhoka Palace Complex, which was the royal Nepalese residence until the 19th century and where important ceremonies, such as the coronation of the Nepalese monarch, took place. The palace is decorated with elaborately-carved wooden windows and panels and houses the King Tribhuwan Memorial Museum and the Mahendra Museum. It is possible to visit the state rooms inside the palace.
Time and again the temples and the palaces in the square have gone through reconstruction after being damaged by natural causes or neglect. Presently there are less than ten quadrangles in the square. The temples are being preserved as national heritage sites and the palace is being used as a museum. Only a few parts of the palace are open for visitors and the Taleju temples are only open for people of Hindu and Buddhist faiths.
At the southern end of Durbar Square is one of the most curious attractions in Nepal, the Kumari Chok. This gilded cage contains the Raj Kumari, a girl chosen through an ancient and mystical selection process to become the human incarnation of the Hindu mother goddess, Durga. She is worshiped during religious festivals and makes public appearances at other times for a fee paid to her guards.
WIKIPEDIA
Scripture - Matthew 3:13-17
The Baptism of Jesus
Then Jesus came from Galilee to the Jordan to be baptized by John. But John tried to deter him, saying, "I need to be baptized by you, and do you come to me?"
Jesus replied, "Let it be so now; it is proper for us to do this to fulfill all righteousness." Then John consented.
As soon as Jesus was baptized, he went up out of the water. At that moment heaven was opened, and he saw the Spirit of God descending like a dove and lighting on him. And a voice from heaven said, "This is my Son, whom I love; with him I am well pleased."
The stained glass window detail was photographed inside St. Virgil Church. The Catholic church is located in Morris Plains, NJ, USA.
Photograph Copyright 2010 Loci B. Lenar
This manuscript, illustrated with 155 marginal paintings, is one the few surviving “marginal psalters,” in which images provide a pictorial commentary on the Biblical text. Other examples include the Khludov Psalter (ca. 850 CE, Moscow, State Historical Museum, Muz. 129), the Barberini Psalter (ca. 1050 CE, Vat. Barb. Gr. 372), the Theodore Psalter (1066 CE, London, British Library, Add. Ms. 19,352), and a Cyrillic psalter made in Kiev (1397 CE, Saint Petersburg, National Library of Russia, cod. OLDP, F6). The Walters' psalter was apparently copied from the same eleventh-century model as the Saint Petersburg manuscript, as the iconography of the two is very similar.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Japanese Garden＆Art
念佛宗(念仏宗無量寿寺) 総本山 兵庫県加東市
Nenbutsushu Sanpouzan Muryojuji "The Royal Grand Hall of Buddhism"
This is the only temple of the world that Buddha scriptures are dedicated by Buddhist leaders from 33 countries and one region around the world, His Majesty the King, His Excellency Prime Minister, and President of the Country.
St Peter and St Paul, Felixstowe, Suffolk
This is the church of Old Felixstowe. Until a couple of hundred years ago, this was a small church in the middle of a tiny, straggling fishing hamlet. It was an outpost of the much larger village of Walton, a couple of miles to the south. In the 1830s, Felixstowe was discovered by Ipswich's middle classes as a south-facing bathing resort. By the end of the century a massive building programme had been undertaken. Now, Felixstowe has reached out and engulfed Walton, becoming Suffolk's fourth largest town, home to not far short of 40,000 people. Walton parish church sits on the edge of Felixstowe's modern town centre, but the church that is Felixstowe's in name sits far out in the north-eastern suburbs, so that you would be most surprised to see its modern setting if you had travelled in time from then to now. Not far from here, and just across the parish boundary in Walton, stood the now submerged Roman fortification of Walton Castle. It was here in 631 that St Felix came ashore after travelling from Burgundy at the invitation of the King Sigebert and the East Anglian royal family, and established his see of Dumnoc. You can still see remains of the castle off of Old Felixstowe at very low tides - or, at least, it is easy to imagine that you can.
A medieval time traveller would be even more surprised to see that this church has been almost completely rebuilt since its Catholic days, in a grand and fascinating manner. The transformation was carried out by Edwards and Roberts of Dundee in 1872. The lower part of the tower survives, the oldest structure in the parish by hundreds of years. The upper part, in common with many in this part of Suffolk, succumbed to the coastal weather in the late 18th century, and is a capped twin to that at Bawdsey, two miles or so across the Deben estuary. The ruinous building was patched up in an economical fashion, including the construction of the rather curious red brick chancel shown in mid-19th Century photographs. It is an odd date to Build a chancel. Perhaps it was used as a school room.
So it was then, in the 1870s, that a substantial rebuilding took place. The chancel was taken down, and transepts and a new chancel added, more than doubling the length of the church. Much was retained in the superstructure of the nave, but the roof was renewed, as were all the windows. The crossing is very high, much higher than the nave, and outside on its gable sits a fine sanctus bell turret. I found this intriguing, since it appears to be medieval at heart (despite now incorporating a chimney) but as you can see the photograph of the church before its restoration does not show it. I wonder where it came from.
The parish war memorial is one of those grand ones designed by Henry Munro Cautley for about half a dozen churches in the Ipswich area. Even so, it doesn't feature as many names as you might expect for a port of this size. This is because by the end of the 19th Century most Felixstowe people were living in the new parish of St John the Baptist, carved out of this parish in the 1890s and served by Arthur Blomfield's magnificent red brick twilight of St John's. By the time of the Second World War, St Peter and St Paul parish was even smaller, the town centre end of the parish forming the new parish of St Andrew, served by Mason and Erith's remarkable concrete church of St Andrew.
There is a George V Royal arms in glass by FC Eden in the north transept. The windows up in the apse-like sanctuary are jewel-like in this setting, but unfortunately no record survives of which workshop made them. They have something of Powell & Son about them. They show a combination of the East Anglian Saints Felix and Edmund, as well as that Saint associated with the sea that are so familiar in this part of Suffolk, St Nicholas. Anna stands beside St Luke with his story about her at the presentation in the temple. The church patrons St Peter and St Paul and King Sigebert of East Anglia complete the set. Below Felix is Norwich Cathedral, and under Edmund is Bury Abbey, neither place ever visited by them - or, at least, not while alive. More surreally, St Luke is paired with Kings College, Cambridge, and Anna with Hadleigh Deanery and church. Presumably these are places of significance to the Cobbold family who gave the glass.
Either side of the chancel arch are two high quality memorials in shimmering alabaster to two brothers, Henry Arthur and John Hudspith Turner. In the early years of the 20th Century they were canons of Aklavik Cathedral, which sounds terribly grand. In fact, this was a tiny mission church beside Hudson Bay, 150 miles within the arctic circle, in Canada's North Western Territories. The little town is accessible by boat only in the summer months and across the ice at other times. Even today, Aklavik has only 600 people living in it. The mission was founded in 1916, and the church was built out of log panels in 1919. The Turners arrived soon after. Henry's memorial records that facing difficulties with cheerful courage he laboured with the Bible Churchmen's Missionary Society among the Eskimo of Baffin Island for 25 years where he was also Engineer, Builder, Schoolmaster and Translator of the Scriptures. On John's memorial it notes that he worked in the service of his Master for 18 years in Baffin Island, making long journeys from thence over frozen seas to Eskimo camps and translating the Scriptures into the native tongue. The church they knew burned down in 1972, and its replacement, also of log panels, remains the most northerly cathedral in the world.
