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Wiltshire, England
June 19, 2015
©Dale Haussner
"Stonehenge is perhaps the most famous prehistoric monument in the world. Begun as a simple earthwork enclosure, it was built in several stages. The first monument was as an early form of henge monument, built about 5,000 years ago, where prehistoric people buried their cremated dead. The unique lintelled stone circle with its enormous sarsens and smaller bluestones was erected in the late Neolithic period around 2500 BC. Stonehenge remained important into the early Bronze Age, when many burial mounds were built nearby. Today Stonehenge, together with Avebury and other associated sites, forms the heart of a World Heritage Site with a unique and dense concentration of outstanding prehistoric monuments.
The earliest structures known in the immediate area are four or five pits, three of which appear to have held large pine ‘totem-pole like’ posts erected in the Mesolithic period, between 8500 and 7000 BC. It is not known how these posts relate to the later monument of Stonehenge.
At this time, when much of the rest of southern England was largely covered by woodland, the chalk downland in the area of Stonehenge may have been an unusually open landscape. It is possible that this is why it became the site of an early Neolithic monument complex.
This complex included the causewayed enclosure at Robin Hood’s Ball, two cursus monuments or rectangular earthworks (the Greater, or Stonehenge, and Lesser Cursus), and several long barrows, all dating from the centuries around 3500 BC. The presence of these monuments probably influenced the later location of Stonehenge.
It is possible that features such as the Heel Stone and the low mound known as the ‘North Barrow’ were early components of Stonehenge,[3] but the earliest known major event was the construction of a circular ditch with an inner and outer bank, built about 3000 BC. This enclosed an area about 100 metres in diameter, and had two entrances. It was an early form of henge monument.
Within the bank and ditch were possibly some timber structures and set just inside the bank were 56 pits, known as the Aubrey Holes. There has been much debate about what stood in these holes: the consensus for many years has been that they held upright timber posts, but recently the idea has re-emerged that some of them may have held stones.
Within and around the Aubrey Holes, and also in the ditch, people buried cremations. About 64 cremations have been found, and perhaps as many as 150 individuals were originally buried at Stonehenge, making it the largest late Neolithic cemetery in the British Isles.
In about 2500 BC the stones were set up in the centre of the monument. Two types of stone are used at Stonehenge – the larger sarsens and the smaller ‘bluestones’. The sarsens were erected in two concentric arrangements – an inner horseshoe and an outer circle – and the bluestones were set up between them in a double arc.
Probably at the same time that the stones were being set up in the centre of the monument, the sarsens close to the entrance were raised, together with the four Station Stones on the periphery.
About 200 or 300 years later the central bluestones were rearranged to form a circle and inner oval (which was again later altered to form a horseshoe). The earthwork Avenue was also built at this time, connecting Stonehenge with the river Avon.
One of the last prehistoric activities at Stonehenge was the digging around the stone settings of two rings of concentric pits, the so-called Y and Z holes, radiocarbon dated by antlers within them to between 1800 and 1500 BC. They may have been intended for a rearrangement of the stones that was never completed.
The stone settings at Stonehenge were built at a time of great change in prehistory, just as new styles of ‘Beaker’ pottery and the knowledge of metalworking, together with a transition to the burial of individuals with grave goods, were arriving from the Continent. From about 2400 BC, well-furnished Beaker graves such as that of the Amesbury Archer are found nearby.
In the early Bronze Age, one of the greatest concentrations of round barrows in Britain was built in the area around Stonehenge. Many barrow groups appear to have been deliberately located on hilltops visible from Stonehenge itself, such as those on King Barrow Ridge and the particularly rich burials at the Normanton Down cemetery.
Four of the sarsens at Stonehenge were adorned with hundreds of carvings depicting axe-heads and a few daggers. They appear to be bronze axes of the Arreton Down type, dating from about 1750–1500 BC. Perhaps these axes were a symbol of power or status within early Bronze Age society, or were related in some way to nearby round barrow burials.
From the middle Bronze Age, less communal effort went into the construction of ceremonial monuments such as Stonehenge and more on activities such as the creation of fields.
In the Iron Age, probably about 700 BC, a major hillfort later known as Vespasian’s Camp was constructed 1¼ miles east of Stonehenge overlooking the river Avon. Stonehenge appears to have been frequently visited in the Roman period (from AD 43), since many Roman objects have been found there. Recent excavations raised the possibility that it was a place of ritual importance to Romano-British people.
The small town of Amesbury is likely to have been established around the 6th century AD at a crossing point over the Avon. A decapitated man, possibly a criminal, was buried at Stonehenge in the Saxon period. From this time on, sheep husbandry dominated the open downland around Stonehenge. The earliest surviving written references to Stonehenge date from the medieval period, and from the 14th century onwards there are increasing references to Stonehenge and drawings and paintings of it (see Research on Stonehenge).
Since 1897, when the Ministry of Defence purchased a vast tract of land on Salisbury Plain for army training exercises, the activities of the military have had an impact on the area. Barracks, firing ranges, field hospitals, airfields and light railways were established. Some of these, such as the Stonehenge airfield, have long since been demolished, but others, such as the Larkhill airfield sheds, still stand and are of importance in the history of early military aviation.
Meanwhile, the introduction of turnpike roads and the railway to Salisbury brought many more visitors to Stonehenge. From the 1880s, various stones had been propped up with timber poles, but concern for the safety of visitors grew when an outer sarsen upright and its lintel fell in 1900. The then owner, Sir Edmund Antrobus, with the help of the Society of Antiquaries, organised the re-erection of the leaning tallest trilithon in 1901.
This was the start of a sequence of campaigns to conserve and restore Stonehenge – the last stones were consolidated in 1964.
The monument remained in private ownership until 1918 when Cecil Chubb, a local man who had purchased Stonehenge from the Atrobus family at an auction three years previously, gave it to the nation. Thereafter, the duty to conserve the monument fell to the state, today a role performed on its behalf by English Heritage.
From 1927, the National Trust began to acquire the land around Stonehenge to preserve it and restore it to grassland. Large areas of the Stonehenge landscape are now in their ownership. The removal of the old visitor facilities, together with the closure of the section of the A344 which ran close to the monument, will finally return Stonehenge to an open grassland setting.
For more info, see:
www.english-heritage.org.uk/visit/places/stonehenge/histo...
Konark Sun Temple is a 13th-century CE Sun Temple at Konark in Orissa, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty in 1255 CE. The temple complex is in the shape of a gigantic chariot, having elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India. The temple is 35 km from Puri and 65 km from Bhubaneswar.
The name Konark derives from the combination of the Sanskrit words, Kona (corner or angle) and Ark (the sun), in reference to the temple which was dedicated to the Sun God Surya.
Konark Sun Temple is a 13th-century CE Sun Temple at Konark in Orissa, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty in 1255 CE. The temple complex is in the shape of a gigantic chariot, having elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India. The temple is 35 km from Puri and 65 km from Bhubaneswar.
The name Konark derives from the combination of the Sanskrit words, Kona (corner or angle) and Ark (the sun), in reference to the temple which was dedicated to the Sun God Surya.
This is the Pont du Gard, a famous Roman Aqueduct on the Gardon River in France.
This monumental structure spanning the Gardon River valley is 275 metres long, 49 metres high, 6 metres wide at the base, 3 metres wide at the top and has a total of fifty three arches. It is only one part of a fifty kilometre aqueduct which supplied Roman Nimes with fresh water. It is estimated to have carried twenty thousand cubic metres per day.
It was built using six-ton stone blocks, coloured a delicate shade of pink, laid dry, and is a technological and aesthetic masterpiece.
Through poor maintenance, the aqueduct gradually became unusable in the 9th Century.
But the many times restored Pont du Gard, still remains its haughty air even after nearly two thousand years.
From a tourist book on La Provence (English version)
Begun around 19 BC, this bridge is part of an aqueduct which transported water from a spring near Uzes to Roman Nimes. An underground channel, bridges and tunnels were engineered to carry the 20 million litre (4.4 million gallon) daily water supply 50 km (31 miles).
The three-tiered structure of the Pont du Gard spans the Gardon valley and was the tallest aqueduct in the Roman empire.
Its huge limestone blocks, some as heavy as 6 tonnes, were erected without mortar. The water channel covered by stone slabs, was in the top tier of the three. Skillfully designed cutwaters ensured that the bridge has resisted many violent floods.
It is not known for certain how long the aqueduct continued in use but it may still have been functioning as late as the 9th century AD.
The adjacent road bridge was erected in the 1700s.
Taken from DK Eyewitness Travel: Provence & The Cote D'Azur
On the way back.
Architecture in Cuba: Havana
It’s well known that traveling to Havana is like traveling back in time: the weathered buildings, the old classic cars and the rich history standing out as top lures on your visit to Cuba. It’s less known however, that at the beginning of the 20th century, the Cuban capital was spectacularly rich – not unlike Newport’s Gilded Age – in which Havana underwent an extraordinary boom period, architecturally enriching with international influences such as art nouveau, art deco and eclectic design.
To this day, Havana is one of the most architecturally diverse cities in the world, and safe to say, a city photographer’s paradise. Its buildings clearly mirror its social and political history ever since the Spanish colonial times, up to the more modern present day.
Colonial & baroque period:
Ever since the arrival of Christopher Columbus in 1492, Havana became a key transshipment point between the Old World and the New World, with resources being brought from the colonialists into and through the city. As a result, Havana was the most heavily fortified city in the Americas. Most examples of early architecture can be seen in military fortifications such as La Fortaleza de San Carlos de la Cabana (1558-1577), located at the entrance of Habana Bay, which now acts as symbol of the wealth at that time.
The biggest impact the different cultures had upon the Cuban capital can be seen in Havana's colonial architecture, with a strong Moorish and Spanish influence, including Italian, Greek and Roman styles. The Convento de Santa Clara is a good example of early Spanish influenced architecture, while the Cathedral dominating the Plaza de la Catedral (1749) is most representative of Cuban Baroque.
Neo-classical period
The beginning of the 19th century and the now implanted Spanish influence, brought upon the unequalled recurrent arcades, with many interior patios similar to the designs in Seville, Cadiz and Granada.
Neo-classicism soon took over and influenced buildings all over the city. The Aldama Palace (1844) is considered the most important neoclassical residential property in Cuba, one that exemplifies the look of this period: columns facing spacious courtyards and French inspired lavish interiors. The peak of Neoclassicism came with the construction of the Vedado district (1859), a neighborhood rich with notable buildings.
Art Nouveau, Art Deco & Eclectic influences
During the first decades of the 20th century, Havana expanded more rapidly than at any other time throughout its history. Havana became – along with Buenos Aires – the finest city in Latin America. This prompted Havana’s architecture to be infused with the art nouveau, art deco and eclectic styles from abroad. Not only that, but the 1902 Real Estate Record and Guide imposed strict levels of regulation: balconies, ornaments and even colors required approval, while the architect had to present an elevation drawing of the entire block, to make sure the house was aesthetically agreeable within the neighborhood.
Wealthy districts quickly came to existence, such as Miramar, set out on the American street grid pattern and home to diplomats and foreigners. Prado Boulevard became a Fifth Avenue of sorts, while the section around Obispo and O’Reilly Streets was home to so much banking construction that it was nicknamed “little Wall Street.”
The 1912 Spanish Railway Terminal, with its twin towers, terra-cotta medallions and broad waiting room, as well as the Capitolio, an exact replica to half its size of the Capitol building in Washington DC, are a good example of the eclectic style.
The Lopez Serrano Building (1932) by Ricardo Mira is Cuba’s first tall building, inspired by the Rockefeller Centre in New York, while The Edificio Bacardi (1930) is one of Havana's most outstanding buildings and the best example of Art Deco.
So take the leap and step back in time, for just 90 miles off the coast of the United States, there’s a fascinating aesthetic journey waiting. Whether it’s discovering Old Havana – a UNESCO World Heritage Site - or the eclectic styles of the more present days, Havana’s architectural diversity won’t disappoint!
Written by Monica Suma. You can follow her on Twitter at @MonicaSuma.
At the Real Alcázar in Seville.
The Alcázar of Seville (Spanish "Reales Alcázares de Sevilla" or "Royal Alcazars of Seville", Spanish pronunciation: [alˈkaθar])) is a royal palace in Seville, Spain, originally a Moorish fort. It is the oldest royal palace still in use in Europe, and it was registered in 1987 by UNESCO as a World Heritage Site, along with the Seville Cathedral and the General Archive of the Indies.
The Almohades were the first to build a palace, which was called Al-Muwarak, on the site of the modern day Alcázar. The palace is one of the best remaining examples of mudéjar architecture. Subsequent monarchs have added their own additions to the Alcázar. The upper levels of the Alcázar are still used by the royal family as the official Seville residence and are administered by the Patrimonio Nacional.
Chamber of the Catholic Kings Ceiling
Sala del Techo de los Reyes Catolicos
This square room that joined the private with the public sector, is covered by a magnificent ceiling carried out during the Catholic Monarchs reign, as attested to by the heraldic decoration that accompanies the interlaced patterns. It appears represented the emblems of the Catholic Kings: the yoke, the sheaf of arrows and the motto, "tanto monta". In the coat-of-arms crowned by Saint John's eagle are represented all the kingdoms of the Iberian Peninsula at the end of the fifteenth century: the kingdom of Castile, Leon, Aragon and the two Sicilies. The pomegrante is represented in the bottom, indicating that it is a later work to the victory in the war against Granada, which occured in 1492.
We had a 3 hour guided tour of The Alhambra in Granada.
The site includes the Nasrite palaces and the Generalife pleasure palace. Also here is the Alcazaba, gardens and the Palace of Charles V.
It is a World Heritage Site. Alhambra, Generalife and Albayzín, Granada.
The Alcazaba, a fortress, is the oldest part of the Alhambra, as is the case of the Vermilion Towers (Torres Bermejas). It is thought that before it was built and before the Muslims arrived to Granada, there were already several constructions in the same area. The first historical reference to the existence of the Alcazaba dates from the 9th century and it is believed that it was then built by Sawwar ben Hamdun during the fights between Muslims and muwalladins [Christians who converted to the Islam and lived among the Muslims].
Now into the Jardín de los Adarves (Garden of Adarves).
fountain / water feature
This is the seaward end of "The Gut" [aka Patea Passage].
Other Fjordland images can be found in my album at www.flickr.com/photos/36791099@N08/sets/72157633278423373/
The largest known cave system in the world, the Mammoth-Flint Ridge Cave System, as of 2022, has 426 miles of documented passages, and sits beneath the ground in Mammoth Cave National Park, established in 1941, and was listed as a UNESCO World Heritage Site in 1981, the only designation in the state of Kentucky. The park is also an International Biosphere Reserve, designated in 1990, and an International Dark Sky Park, designated in 2021. The Mammoth-Flint Ridge Cave System formed in Mississippian Limestone rock underneath a Big Clifty Sandstone cap, which has formed several stable arched passages of varying sizes from the intrusion of water into the rock layers, with the less porous sandstone cap preventing water intrusion at most locations, which have kept the caverns beneath intact and stable for eons. The water that passes through the cave system drains into the adjacent Green River, and has continuously eroded deeper into the rock along with the river. The cave is home to endemic species of organisms that have adapted to the dark conditions within the cave system. The cave system was known to indigenous people, whom mined gypsum from the walls of the caves and explored the caves, with human remains, signs of human activity, and artifacts from their presence in the cave. The cave became known to European settlers in the 1790s, and it started being mined by Valentine Simon for saltpeter to create gunpowder in 1798, with the mining activities intensifying around the time of the War of 1812, and becoming an industrial-scale operation under the ownership of Charles Wilkins and Hyman Gratz, whom used slave labor to exploit the cave’s resources. In 1838, with the decline in value of saltpeter, the cave was sold to Franklin Gorin, whom operated the cave as a tourist attraction, but was sold to Doctor John Croghan the following year. Under Gorin and Croghan, Black slaves served as tour guides for visitors, with Stephen Bishop being the most notable of these guides. Bishop made many maps of the caves during the 1840s and 1850s, and was the first known person to cross Bottomless Pit and discover the River Styx and Mammoth Dome on the other side. Croghan attempted to run a Tuberculosis Hospital within the cave in 1842-1843, believing the stable temperatures and air would assist patients, but this was short lived. In 1886, the Mammoth Cave Railroad was built between Park City and the historic Mammoth Cave Hotel, which operated until 1931. The caves were mapped more accurately by German visitor Max Kämper in 1908, whom mapped the surface topography and used instruments to document the cave, allowing for the opening of new entrances to the caverns from the surface and being the most accurate maps of the caves until the 1960s. Sadly, this was not appreciated by the Croghan family, whose historic cavern entrance was threatened in status by these maps, and Kämper returned to Germany, where he died as a soldier during World War I’s Battle of the Somme in 1916. Starting in the 1920s, the land around the caves was purchased by the private Mammoth Cave National Park Association, with the park being officially authorized in 1926. Between 1933 and 1942, the park’s landscape was reforested and infrastructure was constructed by the Civilian Conservation Corps (CCC), part of the New Deal. Between 1954 and 1972, the cave system was further explored, culminating in the connection between the longer Flint Ridge System and wider Mammoth Cave being found, making it the longest known cave system in the world. Today, the park sees about half a million visitors annually, and contains the majority of the Mammoth-Flint Ridge Cave system, with some portions of the system extending east of the park’s boundaries under privately-owned land.
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
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The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
In the strait between Grand Terre and the Isle of Pines. This area was inscribed on UNESCO's World Heritage list in 2008 as Le Grand Lagon Sud. I took this photo from the deck of the expedition cruise ship Orion.
On the right hand side, the frieze at the bottom depicts war elephants dressed for battle, separated by lotuses. One elephant holds a rope securing a series of prisoners.
The upper Mariposa grove is shockingly quiet given how many people visit the lower grove. Only a bit further up the trail, this is a beautiful place with many more enormous trees and way more solitude than the area around the parking lot.
west front: The University and Modern Mexico
Universidad Nacional Autónoma de México (UNAM)
Ciudad Universitaria, Ciudad de México, D.F., Mexico
DSC08152
The building of the church started in 1902 according to the plans of Ciril Ivekovic and according to the inscriptions on the façade it was finished in 1909. It was built in the Pseudo-Byzantine style as one-nave church. The church has and a large cupola which rises above the rooftops, while the details were done in a Romanesque style.
The main façade is framed with two bell towers, with its black domes topped by golden crosses that were a gift from Russia. On the second floor hangs a Serbian flag. Just above the entrance there is a marvellous mosaic.
. . . this is what the audience will see
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Wayang kulit is a traditional form of puppet-shadow play originally found in the cultures of Java, Bali and Lombok in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life.
Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment. Today, it is spread out, in various forms and guises, across Asia - from Turkey and China to Thailand and Malaysia. On November 7, 2003, UNESCO designated wayang kulit from Indonesia as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
ETYMOLOGY
The term wayang is the Javanese word for "shadow" or "imagination". Its equivalent in standard Indonesian is bayang.
In modern daily Javanese and Indonesian vocabulary, wayang can refer to the puppet itself or the whole puppet theatre performance. Kulit means "skin" or "leather", the material from which the figures are carved.
HISTORY
Wayang kulit originated in southern India as Tholpavakoothu.[citation needed] Tholpavakoothu was dedicated to a goddess to witness the slaying of Ravana in the Hindu epic Ramayana. Hinduism arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali. Wayang kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from Muslim religious leaders.
Religious leaders attempted to skirt the Muslim prohibition by converting the wayang golek into wayang purwa made from leather and displayed only the shadow instead of the puppets themselves.
WAYANG PUPPET FIGURES
The wayang comes in sizes from 25 cm to 75 cm. The important characters are usually represented by several puppets each. The wayang is usually made out of water buffalo hide and goat hide and mounted on bamboo sticks. However, the best wayang is typically made from young female buffalo parchment, cured for up to ten years. The carving and punching of the rawhide, which is most responsible for the character's image and the shadows that are cast, are guided by this sketch. A mallet is used to tap special tools, called tatah, to punch the holes through the rawhide. Making the wayang sticks from horn is a complicated process of sawing, heating, hand-molding, and sanding until the desired effect is achieved. When the materials are ready, the artist attaches the handle by precisely molding the ends of the horn around the individual wayang figure and securing it with thread. A large character may take months to produce.
There are important differences between the three islands where wayang kulit is played (due to local religious canon):
In Java (where Islam is predominant), the puppets (named ringgit) are elongated, the play lasts all night and the lamp (named blencong) is, nowadays, almost always electric. A full gamelan with (pe)sinden is typically used.
In Bali (where Hinduism is predominant), the puppets look more real, the play lasts a few hours and, if at night, the lamp uses coconut oil. Music is mainly by the four gender wayang, with drums only if the story is from the Ramayana. There are no sinden. The dalang does the singing. Balinese dalangs are often also priests (amangku dalang). As such, they may also perform during daylight, for religious purposes (exorcism), without lamp and without screen (wayang sakral, or "lemah").
In Lombok (where Islam is predominant and Bali's influence is strong), vernacular wayang kulit is known as wayang sasak, with puppets similar to Javanese ringgits, a small orchestra with no sinden, but flutes, metallophones and drums. The repertoire is unique to the island and is based on the Muslim Menak Cycle (the adventures of Amir Hamzah).
PERFORMANCE
The stage of a wayang performance includes several components. A stretched linen canvas (kelir) acts as a canvas, dividing the dalang (puppeteer) and the spectator. A coconut-oil lamp (Javanese blencong or Balinese damar) – which in modern times is usually replaced with electric light – casts shadows onto the screen. A banana trunk (Javanese gedebog, Balinese gedebong) lies on the ground between the screen and the dalang, where the figures are stuck to hold them in place. To the right of the dalang sits the puppet chest, which the dalang uses as a drum during the performance, hitting it with a wooden mallet. In a Javanese wayang kulit performance, the dalang may use a cymbal-like percussion instrument at his feet to cue the musicians. The musicians sit behind the dalang in a gamelan orchestra setting. The gamelan orchestra is an integral part of the Javanese wayang kulit performance. The performance is accompanied by female singers (pesinden) and male singers (wirasuara).
The setting of the banana trunk on the ground and canvas in the air symbolizes the earth and the sky; the whole composition symbolizes the entire cosmos. When the dalang animates the puppet figures and moves them across the screen, divine forces are understood to be acting in his hands with which he directs the happening. The lamp is a symbol of the sun as well as the eye of the dalang.
A traditional wayang kulit performance begins after dark. The first of the three phases, in which the characters are introduced and the conflict is launched, lasts until midnight. The battles and intrigues of the second phase last about three hours. The third phase of reconciliation and friendship is finished at dawn.
Wayang shadow plays are usually tales from the two major Hindu epics, the Ramayana and Mahabharata. The puppet master contextualizes stories from the plays, making them relevant to current community, national or global issues. Gamelan players respond to the direction of the dalang.
WIKIPEDIA
Konark Sun Temple is a 13th-century CE Sun Temple at Konark in Orissa, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty in 1255 CE. The temple complex is in the shape of a gigantic chariot, having elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India. The temple is 35 km from Puri and 65 km from Bhubaneswar.
The name Konark derives from the combination of the Sanskrit words, Kona (corner or angle) and Ark (the sun), in reference to the temple which was dedicated to the Sun God Surya.
Konark Sun Temple is a 13th-century CE Sun Temple at Konark in Orissa, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty in 1255 CE. The temple complex is in the shape of a gigantic chariot, having elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India. The temple is 35 km from Puri and 65 km from Bhubaneswar.
The name Konark derives from the combination of the Sanskrit words, Kona (corner or angle) and Ark (the sun), in reference to the temple which was dedicated to the Sun God Surya.
Wayang kulit is a traditional form of puppet-shadow play originally found in the cultures of Java, Bali and Lombok in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life.
Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment. Today, it is spread out, in various forms and guises, across Asia - from Turkey and China to Thailand and Malaysia. On November 7, 2003, UNESCO designated wayang kulit from Indonesia as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
ETYMOLOGY
The term wayang is the Javanese word for "shadow" or "imagination". Its equivalent in standard Indonesian is bayang.
In modern daily Javanese and Indonesian vocabulary, wayang can refer to the puppet itself or the whole puppet theatre performance. Kulit means "skin" or "leather", the material from which the figures are carved.
HISTORY
Wayang kulit originated in southern India as Tholpavakoothu.[citation needed] Tholpavakoothu was dedicated to a goddess to witness the slaying of Ravana in the Hindu epic Ramayana. Hinduism arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali. Wayang kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from Muslim religious leaders.
Religious leaders attempted to skirt the Muslim prohibition by converting the wayang golek into wayang purwa made from leather and displayed only the shadow instead of the puppets themselves.
WAYANG PUPPET FIGURES
The wayang comes in sizes from 25 cm to 75 cm. The important characters are usually represented by several puppets each. The wayang is usually made out of water buffalo hide and goat hide and mounted on bamboo sticks. However, the best wayang is typically made from young female buffalo parchment, cured for up to ten years. The carving and punching of the rawhide, which is most responsible for the character's image and the shadows that are cast, are guided by this sketch. A mallet is used to tap special tools, called tatah, to punch the holes through the rawhide. Making the wayang sticks from horn is a complicated process of sawing, heating, hand-molding, and sanding until the desired effect is achieved. When the materials are ready, the artist attaches the handle by precisely molding the ends of the horn around the individual wayang figure and securing it with thread. A large character may take months to produce.
There are important differences between the three islands where wayang kulit is played (due to local religious canon):
In Java (where Islam is predominant), the puppets (named ringgit) are elongated, the play lasts all night and the lamp (named blencong) is, nowadays, almost always electric. A full gamelan with (pe)sinden is typically used.
In Bali (where Hinduism is predominant), the puppets look more real, the play lasts a few hours and, if at night, the lamp uses coconut oil. Music is mainly by the four gender wayang, with drums only if the story is from the Ramayana. There are no sinden. The dalang does the singing. Balinese dalangs are often also priests (amangku dalang). As such, they may also perform during daylight, for religious purposes (exorcism), without lamp and without screen (wayang sakral, or "lemah").
In Lombok (where Islam is predominant and Bali's influence is strong), vernacular wayang kulit is known as wayang sasak, with puppets similar to Javanese ringgits, a small orchestra with no sinden, but flutes, metallophones and drums. The repertoire is unique to the island and is based on the Muslim Menak Cycle (the adventures of Amir Hamzah).
PERFORMANCE
The stage of a wayang performance includes several components. A stretched linen canvas (kelir) acts as a canvas, dividing the dalang (puppeteer) and the spectator. A coconut-oil lamp (Javanese blencong or Balinese damar) – which in modern times is usually replaced with electric light – casts shadows onto the screen. A banana trunk (Javanese gedebog, Balinese gedebong) lies on the ground between the screen and the dalang, where the figures are stuck to hold them in place. To the right of the dalang sits the puppet chest, which the dalang uses as a drum during the performance, hitting it with a wooden mallet. In a Javanese wayang kulit performance, the dalang may use a cymbal-like percussion instrument at his feet to cue the musicians. The musicians sit behind the dalang in a gamelan orchestra setting. The gamelan orchestra is an integral part of the Javanese wayang kulit performance. The performance is accompanied by female singers (pesinden) and male singers (wirasuara).
The setting of the banana trunk on the ground and canvas in the air symbolizes the earth and the sky; the whole composition symbolizes the entire cosmos. When the dalang animates the puppet figures and moves them across the screen, divine forces are understood to be acting in his hands with which he directs the happening. The lamp is a symbol of the sun as well as the eye of the dalang.
A traditional wayang kulit performance begins after dark. The first of the three phases, in which the characters are introduced and the conflict is launched, lasts until midnight. The battles and intrigues of the second phase last about three hours. The third phase of reconciliation and friendship is finished at dawn.
Wayang shadow plays are usually tales from the two major Hindu epics, the Ramayana and Mahabharata. The puppet master contextualizes stories from the plays, making them relevant to current community, national or global issues. Gamelan players respond to the direction of the dalang.
WIKIPEDIA
"St. Emmeram's Abbey (Kloster Sankt Emmeram or Reichsabtei Sankt Emmeram), now known as Schloss Thurn und Taxis, Schloss St. Emmeram, and St. Emmeram's Basilica, was a Benedictine monastery founded in about 739 in Regensburg in Bavaria (modern southern Germany) at the grave of the itinerant Frankish bishop Saint Emmeram." Wiki
All pictures clickable and some more in the set.
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"Die romanische dreischiffige Basilika mit Westquerhaus und drei Chören geht auf einen ersten Kirchenbau aus der zweiten Hälfte des 8. Jahrhunderts zurück. Seither wurde die Kirche immer wieder teilweise zerstört und angebaut. Die drei mittelalterlichen Steinreliefs am Nordportal, die frühesten ihrer Art in Deutschland (um 1052), stellen Christus, St. Emmeram und St. Dionysius dar. Das Westquerhaus besitzt eine bemalte Holzdecke, die den heiligen Benedikt zeigt. Unter dem Dionysiuschor liegt die Wolfgangs-Krypta. Neben dem Dionysiusaltar des nördlichen Seitenschiffs ist das Grabmal der Königin Hemma († 876) in die Wand eingefügt. Der Hochaltar stammt aus dem Jahre 1669. Der älteste Teil der Kirche ist die Ringkrypta im nördlichen Nebenchor." Wiki
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A romanesque cathedral in Chartres (North of the Loire / Eure-et-Loir)
The Cathedral of Our Lady of Chartres, (French: Cathédrale Notre-Dame de Chartres), a Latin Rite Catholic cathedral located in Chartres, about 80 kilometres (50 mi) southwest of Paris, is considered one of the finest examples in all France of the Gothic style of architecture. The current cathedral is one of at least four that have occupied the site. From a distance it seems to hover in mid-air above waving fields of wheat, and it is only when the visitor draws closer that the city comes into view, clustering around the hill on which the cathedral stands. Its two contrasting spires — one, a 105 metre (349 ft) plain pyramid dating from the 1140s, and the other a 113 metre (377 ft) tall early 16th century Flamboyant spire on top of an older tower — soar upwards over the pale green roof, while all around the outside are complex flying buttresses.
Gia Long King is the only King who has couple tomb with his Queen.
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Gia Long Temple, điện thờ vua Gia Long, điện thờ, vua Gia Long,
Gia Long Tomb, Lăng Gia Long, Mộ Vua Gia Long, Mộ Vua, Gia Long,
Tomb of Gia Long, Emperor Gia Long, Hue, Huế, The Imperial City,
Complex of Hue Monuments, UNESCO World Heritage Site, UNESCO
Architecture in Cuba: Havana
It’s well known that traveling to Havana is like traveling back in time: the weathered buildings, the old classic cars and the rich history standing out as top lures on your visit to Cuba. It’s less known however, that at the beginning of the 20th century, the Cuban capital was spectacularly rich – not unlike Newport’s Gilded Age – in which Havana underwent an extraordinary boom period, architecturally enriching with international influences such as art nouveau, art deco and eclectic design.
To this day, Havana is one of the most architecturally diverse cities in the world, and safe to say, a city photographer’s paradise. Its buildings clearly mirror its social and political history ever since the Spanish colonial times, up to the more modern present day.
Colonial & baroque period:
Ever since the arrival of Christopher Columbus in 1492, Havana became a key transshipment point between the Old World and the New World, with resources being brought from the colonialists into and through the city. As a result, Havana was the most heavily fortified city in the Americas. Most examples of early architecture can be seen in military fortifications such as La Fortaleza de San Carlos de la Cabana (1558-1577), located at the entrance of Habana Bay, which now acts as symbol of the wealth at that time.
The biggest impact the different cultures had upon the Cuban capital can be seen in Havana's colonial architecture, with a strong Moorish and Spanish influence, including Italian, Greek and Roman styles. The Convento de Santa Clara is a good example of early Spanish influenced architecture, while the Cathedral dominating the Plaza de la Catedral (1749) is most representative of Cuban Baroque.
Neo-classical period
The beginning of the 19th century and the now implanted Spanish influence, brought upon the unequalled recurrent arcades, with many interior patios similar to the designs in Seville, Cadiz and Granada.
Neo-classicism soon took over and influenced buildings all over the city. The Aldama Palace (1844) is considered the most important neoclassical residential property in Cuba, one that exemplifies the look of this period: columns facing spacious courtyards and French inspired lavish interiors. The peak of Neoclassicism came with the construction of the Vedado district (1859), a neighborhood rich with notable buildings.
Art Nouveau, Art Deco & Eclectic influences
During the first decades of the 20th century, Havana expanded more rapidly than at any other time throughout its history. Havana became – along with Buenos Aires – the finest city in Latin America. This prompted Havana’s architecture to be infused with the art nouveau, art deco and eclectic styles from abroad. Not only that, but the 1902 Real Estate Record and Guide imposed strict levels of regulation: balconies, ornaments and even colors required approval, while the architect had to present an elevation drawing of the entire block, to make sure the house was aesthetically agreeable within the neighborhood.
Wealthy districts quickly came to existence, such as Miramar, set out on the American street grid pattern and home to diplomats and foreigners. Prado Boulevard became a Fifth Avenue of sorts, while the section around Obispo and O’Reilly Streets was home to so much banking construction that it was nicknamed “little Wall Street.”
The 1912 Spanish Railway Terminal, with its twin towers, terra-cotta medallions and broad waiting room, as well as the Capitolio, an exact replica to half its size of the Capitol building in Washington DC, are a good example of the eclectic style.
The Lopez Serrano Building (1932) by Ricardo Mira is Cuba’s first tall building, inspired by the Rockefeller Centre in New York, while The Edificio Bacardi (1930) is one of Havana's most outstanding buildings and the best example of Art Deco.
So take the leap and step back in time, for just 90 miles off the coast of the United States, there’s a fascinating aesthetic journey waiting. Whether it’s discovering Old Havana – a UNESCO World Heritage Site - or the eclectic styles of the more present days, Havana’s architectural diversity won’t disappoint!
Written by Monica Suma. You can follow her on Twitter at @MonicaSuma.
Haeinsa (해인사, 海印寺: Temple of the Ocean Mudra) is a head temple of the Jogye Order (대한불교조계종, 大韓佛敎 曹溪宗) of Korean Buddhism in the Gaya Mountains (가야산, 伽倻山), South Gyeongsang Province South Korea. Haeinsa is most notable for being the home of the Tripitaka Koreana, the whole of the Buddhist Scriptures carved onto 81,350 wooden printing blocks, which it has housed since 1398.
Haeinsa is one of the Three Jewel Temples of Korea, and represents Dharma or the Buddha’s teachings. It is still an active Seon (선, 禪) practice center in modern times, and was the home temple of the influential Rev. Seongcheol (성철, 性徹), who died in 1993.
HISTORY
The temple was first built in 802. Legend says that two Korean monks returned from China, Suneung and Ijeong, and healed King Aejang's (애장왕, 哀莊王) wife of her illness. In gratitude of the Buddha's mercy, the king ordered the construction of the temple.[1] Another account, by Choe Chi-Won in 900 states that Suneung and his disciple Ijeong, gained the support of a queen dowager who converted to Buddhism and then helped to finance the construction of the temple.
The temple complex was renovated in the 10th century, 1488, 1622, and 1644. Huirang, the temple abbot enjoyed the patronage of Taejo of Goryeo during that king’s reign. Haeinsa was burned down in a fire in 1817 and was rebuilt in 1818. Another renovation in 1964 uncovered a royal robe of King Gwanghaegun, who was responsible for the 1622 renovation, and an inscription on a ridge beam.
The main hall, Daejeokkwangjeon (대적광전, 大寂光殿: Hall of Great Silence and Light), is unusual because it is dedicated to Vairocana where most other Korean temples house Shakyamuni (Kr. Seokgamoni) in their main halls.
The Temple of Haeinsa and the Depositories for the "Tripitaka Koreana" Woodblocks, were added to the UNESCO World Heritage List in 1995. The UNESCO committee noted that the buildings housing the Tripitaka Koreana are unique because no other historical structure was specifically dedicated to the preservation of artifacts and the techniques used were particularly ingenious.
The temple also holds several official treasures including a realistic wooden carving of a monk and interesting Buddhist paintings, stone pagodas, and lanterns.
CRISIS
After independence, when the Korean War broke out, Haeinsa encountered a crisis. In September 1951, after the Battle of Inchon, South Korea turned the war around but then North Korea did not retreat so the remnants of one thousand North Korean soldiers around Haeinsa enacted guerrilla war. UN forces were ordered to bomb Haeinsa with four bombers. However, at that time Kim Young Hwan, Leader of Air Force pilots worried about the loss of Haeinsa Tripitaka Koreana and did not obey the command. Due to his lack of action, Haeinsa weathered the crisis and did not experience the bombing. Haeinsa gongdeokbi honors him with the landscaped grounds of Haeinsa.
JANGGYEONG PANJEON
The storage halls known as the Janggyeong Panjeon complex are the depository for the Tripitaka Koreana woodblocks at Haeinsa and were also designated by the Korean government as a national treasure of Korea on December 20, 1962. They are some of the largest wooden storage facilities in the world. Remarkably, the halls were untouched during the Japanese invasion of Korea and were spared from the 1818 fire that burned most of the temple complex down. All told, the storage halls have survived seven serious fires and one near-bombing during the Korean War when a pilot disobeyed orders because he remembered that the temple held priceless treasures.
Janggyeong Panjeon complex is the oldest part of the temple and houses the 81,258 wooden printing blocks from the Tripitaka Koreana. Although the exact construction date of the hall that houses the Tripitaka Koreana is uncertain, it is believed that King Sejo expanded and renovated it in 1457. The complex is made up of four halls arranged in a rectangle and the style is very plain because of its use as a storage facility. The northern hall is called Beopbojeon (Hall of Dharma) and the southern hall is called Sudarajang (Hall of Sutras). These two main halls are 60.44 meters in length, 8.73 meters in width, and 7.8 meters in height. Both have fifteen rooms with two adjoining rooms. Additionally, there are two small halls on the east and west which house two small libraries.
Several ingenious preservation techniques are utilized to preserve the wooden printing blocks. The architects also utilized nature to help preserve the Tripitaka. The storage complex was built at the highest point of the temple and is 655 meters above sea level. Janggyeong Panjeon faces southwest to avoid damp southeasterly winds from the valley below and is blocked from the cold north wind by mountain peaks. Different sized windows on the north and south sides of both main halls are used for ventilation, utilizing principles of hydrodynamics. The windows were installed in every hall to maximize ventilation and regulate temperature. The clay floors were filled with charcoal, calcium oxide, salt, lime, and sand, which reduce humidity when it rains by absorbing excess moisture which is then retained during the dry winter months. The roof is also made with clay and the bracketing and wood rafters prevent sudden changes in temperature. Additionally, no part of the complex is exposed to sun. Apparently, animals, insects, and birds avoid the complex but the reason for this is unknown. These sophisticated preservation measures are widely credited as the reason the woodblocks have survived in such fantastic condition to this day.
In 1970, a modern storage complex was built utilizing modern preservation techniques but when test woodblocks were found to have mildewed, the intended move was canceled and the woodblocks remained at Haeinsa.
This wood altarpiece by Veit Stoss is the largest Gothic altarpiece in the world. Its carving was started in 1477. Its main artistic and religious accent is the monumental scene of the Dormition of the Virgin Mary surrounded by the Apostles.
This area of Avignon is the Place du Palais.
In this square is the Papal Palace (Palais des Papes), the Metropolitan Basilica, and The Old Mint (hotel des Monnaies)
Close ups of the Papal Palace (in French Palais des Papes).
The old Palace was begun under Pope Benoit XII. The new Palace under Pope Clement VI.
Dates from the 14th century.
These buildings give an idea of the grand life under the seven French popes who built a miniature Vatican during their rule here, lasting from 1309-77. They owned their own mint, baked a vast number of loaves every day, and fortified themselves against the French.
Entrance is by means of the Porte des Champeaux, beneath the twin pencil-shaped turrets of the flamboyant Palais Neuf (1342-52), built by Clement VI, which extends south from the solid Palais Vieux (1334-42) of Benoit XII.
Taken from DK Eyewitness Travel: Provence & The Cote D'Azur
Panoramic of the Metropolitan Basilica and the Papal Palace.
A tourist train was near the Metropolitan Basilica.
Walking round the back of Seville Cathedral towards Plaza Virgen de los Reyes.
The Cathedral of Saint Mary of the See (Spanish: Catedral de Santa María de la Sede), better known as Seville Cathedral, is a Roman Catholic cathedral in Seville (Andalusia, Spain). It is the largest Gothic cathedral and the third-largest church in the world. It is also the largest cathedral in the world, as the two larger churches, the Basilica of the National Shrine of Our Lady of Aparecida and St Peter's Basilica, are not the seats of bishops. It was registered in 1987 by UNESCO as a World Heritage Site, along with the Alcázar palace complex and the General Archive of the Indies.
After its completion in the early 16th century, the Seville Cathedral supplanted Hagia Sophia as the largest cathedral in the world, a title the Byzantine church had held for nearly a thousand years. The cathedral is also the burial site of Christopher Columbus. The Archbishop's Palace is located on the northeastern side of the cathedral.
The view from Calle Alemanes in Seville. First glimpsed from Calle Hernando Colon.
This name is known to the access door to the Patio de los Naranjos Germans from the street and therefore is not properly a cathedral door.
Panamá Viejo, also known as Panamá la Vieja, are the ruins of old Panama City.
The settlement was founded on August 15, 1519 by Pedro Arias Dávila. At the time, it was the first permanent European settlement on the Pacific Ocean.
On January 28, 1671, the Welsh pirate Henry Morgan attacked the city with 1,400 men. Morgan's force defeated the city's militia then proceeded to sack Panamá. A resulting fire destroyed the city. It was not rebuilt.
It is a UNESCO World Heritage Site.
The tower is part of the ruins of the cathedral.
Floor mosaic in the Villa Romana del Casale in Piazza Armerina, Sicily that dates from the late 3rd and early 4th century AD. The unique feature of this villa are it's well preserved mosaic floor, over 50 rooms of them. Its decorative mosaics are exceptional for their artistic quality and invention as well as their extent, making it the richest, largest and most complex collection of late Roman mosaics in the world. The Villa Romana del Casale is a UNESCO World Heritage Site.
Royal Mulu Resort staff dressed in Kenyah or Orang Ulu costumes welcome guests to the Resort in the Gunung Mulu National Park in Sarawak (Mon 5-10-2009).
Borobudur is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside a perforated stupa.
Built in the 9th century during the reign of the Sailendra Dynasty, the temple's design in Gupta architecture reflects India's influence on the region. It also depicts the gupta style from India and shows influence of Buddhism as well as Hinduism. The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.
Evidence suggests Borobudur was constructed in the 9th century and abandoned following the 14th century decline of Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, then the British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the 8th and 9th centuries. Borobudur was likely founded around 800 CE. This corresponds to the period between 760 and 830 CE, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Buddhism, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountains around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 CE, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir hill, only 10 km east of Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 CE. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Sometime between 928 and 1006, King Mpu Sindok moved the capital of the Medang Kingdom to the region of East Java after a series of volcanic eruptions; it is not certain whether this influenced the abandonment, but several sources mention this as the most likely period of abandonment. The monument is mentioned vaguely as late as ca. 1365, in Mpu Prapanca's Nagarakretagama written during Majapahit era and mentioning "the vihara in Budur". Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the 15th century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the 18th century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for Mas Dana, a rebel who revolted against Pakubuwono I, the king of Mataram in 1709. It was mentioned that the "Redi Borobudur" hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of Prince Monconagoro, the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.
Lieutenant Governor-General Thomas Stamford Raffles took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate. In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.
The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859.
Borobudur attracted attention in 1885. The restoration was carried out between 1907 and 1911. Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975 and 1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991. It is listed under Cultural criteria "to represent a masterpiece of human creative genius", "to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design", and "to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance".
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square metres and they are distributed at the hidden foot and the five square platforms.
The narrative panels, which tell the story of Sudhana and Manohara,[69] are grouped into 11 series encircled the monument with the total length of 3,000 metres (9,800 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.[70]
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
Apart from the story of the Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).
At first glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism.
For detailed explanation go to WIKIPEDIA
The fort was built in the 13th and 14th centuries, when the oasis of Bahla was prosperous under the control of the Banu Nebhan tribe. The fort's ruined adobe walls and towers rise some 165 feet above its sandstone foundations.
Konark Sun Temple is a 13th-century CE Sun Temple at Konark in Orissa, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty in 1255 CE. The temple complex is in the shape of a gigantic chariot, having elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India. The temple is 35 km from Puri and 65 km from Bhubaneswar.
The name Konark derives from the combination of the Sanskrit words, Kona (corner or angle) and Ark (the sun), in reference to the temple which was dedicated to the Sun God Surya.
I followed a path up to the top to get shots of the Pont du Gard from above.
This is the Pont du Gard, a famous Roman Aqueduct on the Gardon River in France.
This monumental structure spanning the Gardon River valley is 275 metres long, 49 metres high, 6 metres wide at the base, 3 metres wide at the top and has a total of fifty three arches. It is only one part of a fifty kilometre aqueduct which supplied Roman Nimes with fresh water. It is estimated to have carried twenty thousand cubic metres per day.
It was built using six-ton stone blocks, coloured a delicate shade of pink, laid dry, and is a technological and aesthetic masterpiece.
Through poor maintenance, the aqueduct gradually became unusable in the 9th Century.
But the many times restored Pont du Gard, still remains its haughty air even after nearly two thousand years.
From a tourist book on La Provence (English version)
Begun around 19 BC, this bridge is part of an aqueduct which transported water from a spring near Uzes to Roman Nimes. An underground channel, bridges and tunnels were engineered to carry the 20 million litre (4.4 million gallon) daily water supply 50 km (31 miles).
The three-tiered structure of the Pont du Gard spans the Gardon valley and was the tallest aqueduct in the Roman empire.
Its huge limestone blocks, some as heavy as 6 tonnes, were erected without mortar. The water channel covered by stone slabs, was in the top tier of the three. Skillfully designed cutwaters ensured that the bridge has resisted many violent floods.
It is not known for certain how long the aqueduct continued in use but it may still have been functioning as late as the 9th century AD.
The adjacent road bridge was erected in the 1700s.
Taken from DK Eyewitness Travel: Provence & The Cote D'Azur
Slightly higher