Konarak: the Eastern Heliopolis R.Balakrishnan
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Sun Temple, Konark
Sun Temple, Konark March 11, 2021 About Sun Temple, Konark Konark Sun Temple, located in the eastern State of Odisha near the sacred city of Puri, is dedicated to the sun God or Surya. It is a monumental representation of the sun God Surya’s chariot; its 24 wheels are decorated with symbolic designs and it is led by a team of six horses. It is a masterpiece of Odisha’s medieval architecture and one of India’s most famous Brahman sanctuaries. The Konark temple is widely known not only for its architectural grandeur but also for the intricacy and profusion of sculptural work. It marks the highest point of achievement of Kalinga architecture depicting the grace, the joy and the rhythm of life all its wondrous variety. The temple declared a world heritage by UNESCO was built in A.D. 1250, during the reign of the Eastern Ganga King Narasimhadeva-I (A.D. 1238-64). There are two rows of 12 wheels on each side of the Konark sun temple. Some say the wheels represent the 24 hours in a day and others say the 12 months. The seven horses are said to symbolize the seven days of the week. Sailors once called this Sun Temple of Konarak, the Black Pagoda because it was supposed to draw ships into the shore and cause shipwrecks. The Konark is the third link of Odisha’s Golden Triangle. The first link is Jagannath Puri and the second link is Bhubaneswar (Capital city of Odisha). This temple was also known as Black Pagoda due to its dark color and used as a navigational landmark by ancient sailors to Odisha. -
Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand
Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand Dr. Virendra Bangroo Assistant Professor IGNCA, New Delhi. & Dr. Richan Kamboj Assistant Professor & HOD, Department of Drawing & Painting M.K.P.(P.G.) College Dehra Dun. The Sun, the source of light and solar energy, is the sources of all life and finds mention in all the sacred texts like the Rig Veda, the Vishnu Purana, the Mahabharta, the Bhavisya Purana, the Chandogya Upanishad, the Markandaya Purana, the Taittiriya Upansihad, the Nilarudra Upanishad and the Varaha purana. The Sun or Surya is also known by other names, each name highlights the grandeur, brilliance, quality and power of the Sun,viz:- 1. Aditya- Son of the primordial vastness ss 2. Aja-ekapad – one legged goat 3. Pavaka – Purifier 4. Jivana- the source of life 5. Jayanta-Victorious 6. Ravi - Divider 7. Martanda- born from life less egg 8. Savitr -Nourisher 9. Aharpati-Lord of the day 10. Jagat chaksu-Eye of the world 11 - Karma Sanskasin -Witness of deeds 12. Graha Rajan-King of Planets 13. Sahasra-Kirana-Having Thousand beams 14. Saptashwa-Having seven horses 15. Dyumani-Gem of the sky 1 Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 16. Graha pati-Lord of the Planets 17. Heli-Pervader 18. Khaga-Wanderer of space 19. Padma-bandhu-Friend of the lotus 20. Padma Pani-Lotus in hand 21. Himarati- Enemy of snow 22. -
Ancient Temples of Kashmir
Ancient Temples of Kashmir by Virendra Bangroo Kashmir is bestowed with nature's bounties and the mystical environment has fascinated people irrespective of caste, creed and language. Scholars coming from far and wide have carried away with them its, immense spiritual wealth shedding the shackles of this materialistic work and merging with the ultimate. The Kashmir valley blessed with the natural bounties is rightly celebrated as the valley of Gods. Apart from its natural beauty an added attraction are the ancient stone temples of Kashmir, noteworthy for unique architectural elements and fine stone carvings. The Hindu temple represents the cosmological symbolism in an aesthetic grab. The Hindu temple is a symbol or rather an aggregate of various symbols. It is ritually invested with human personality (Vastupursha) and conceived in terms of human organism, which is the most evolved form. The scriptures say that the temple should be worshipped as Pursa. The names of the various limbs of the human body from the foot to the crown of the head are applied in Indian architectural texts to different parts of the temple structure. The door of the temple is its mouth, the platform terminating the trunk to the superstructure, represents the shoulder of the Pursa; the projection, the arms and down to the wall, the leg and to the very bottom, to the lower most molding- the feet. The temple is Pursa and conceived by means of Prakrti the feminine form. We talked about the perfect body- the Vastupursha, but it is lifeless without the resident soul. The image in the temple, the Pratima is the very life of the temple. -
Adopt a Heritage Project - List of Adarsh Monuments
Adopt a Heritage Project - List of Adarsh Monuments Monument Mitras are invited under the Adopt a Heritage project for selecting/opting monuments from the below list of Adarsh Monuments under the protection of Archaeological Survey of India. As provided under the Adopta Heritage guidelines, a prospective Monument Mitra needs to opt for monuments under a package. i.e Green monument has to be accompanied with a monument from the Blue or Orange Category. For further details please refer to project guidelines at https://www.adoptaheritage.in/pdf/adopt-a-Heritage-Project-Guidelines.pdf Please put forth your EoI (Expression of Interest) for selected sites, as prescribed in the format available for download on the Adopt a Heritage website: https://adoptaheritage.in/ Sl.No Name of Monument Image Historical Information Category The Veerabhadra temple is in Lepakshi in the Anantapur district of the Indian state of Andhra Virabhadra Temple, Pradesh. Built in the 16th century, the architectural Lepakshi Dist. features of the temple are in the Vijayanagara style 1 Orange Anantpur, Andhra with profusion of carvings and paintings at almost Pradesh every exposed surface of the temple. It is one of the centrally protected monumemts of national importance. 1 | Page Nagarjunakonda is a historical town, now an island located near Nagarjuna Sagar in Guntur district of Nagarjunakonda, 2 the Indian state of Andhra Pradesh, near the state Orange Andhra Pradesh border with Telangana. It is 160 km west of another important historic site Amaravati Stupa. Salihundam, a historically important Buddhist Bhuddist Remains, monument and a major tourist attraction is a village 3 Salihundum, Andhra lying on top of the hill on the south bank of the Orange Pradesh Vamsadhara River. -
The Divine Name
THE DIVINE NAME by Raghava Chaitanya Das Published by BHAKTI VIGYAN NITYANANDA BOOK TRUST SRI KRISHNA CHAITANYA MISSION (Regd.) SRI BHAKTI VINOD ASHRAM BERHAMPUR-6(GM) (INDIA) SRI GAUR JAYANTI 24 March 1997 (WWW Edition - Vamana dvadasi 2007) All Rights Reserved By BHAKTI VIGYAN NITYANANDA BOOK TRUST CONTENTS PREFACE........................................................................................................9 DIVINE NAME AND ITS EFFICACIES.................................................................14 DIVINE NAME - THE SWEETEST OF ALL..........................................................................................14 DIVINE NAME - THE SOLE REMEDY FOR ALL ILLS...............................................................................15 DIFFERENT DIVINE DISPENSATIONS..............................................................................................15 DIVINE NAME - THE BEST IN KALI YUGA.......................................................................................16 AGE OF MACHINES................................................................................................................16 AGE OF FREE CONTROVERSY......................................................................................................17 ABODES OF KALI..................................................................................................................17 DIVINE GRACE - ESSENTIAL......................................................................................................18 SELF-SURRENDER - WAY -
The Architectural Study of Sun Temples in India: Based on Location, Construction Material and Spatial Analysis Study
International Journal of Scientific and Research Publications, Volume 11, Issue 1, January 2021 331 ISSN 2250-3153 The Architectural Study of Sun Temples in India: Based on Location, Construction Material and Spatial Analysis Study Ar. Swarna Junghare Amity school of architecture and planning Amity University Raipur, Chhattisgarh DOI: 10.29322/IJSRP.11.01.2021.p10935 http://dx.doi.org/10.29322/IJSRP.11.01.2021.p10935 Abstract-Religious places are most important constructions in India in every religion. In Hindu religion, the temples have supreme importance and different god and goddesses like Vishnu, Mahadeva, et. Are being worshiped. among them we are focusing on sun temples because they are believed to be built either because of some vow or to celebrate victory. Concept behind building sun temple is sun as a celestial body in universe, earth’s rotation around sun, period of completion of one rotation. elements of ornamentation are focused on the above-mentioned factors. In India the origin of the worship of the Sun is several centuries old. Sun temples are constructed in different time period by various dynasties. The study of sun temples in India is based on their location, spatial arrangement, historical background, construction material, time line, evolution and ornamentation. By comparing above mentioned parameters, we can find out over the period of time changes occurred in the construction of the sun temple in India. This study helps in the construction of contemporary sun temples. Index Terms - Architectural Details, India, Light, Sun Temple, time line I INTRODUCTION The history of India is very old and from historical time in India, religion, culture, festivals plays important role. -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 4
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) BLANK DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 4 Compiled by VASANT MOON Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 4 First Edition by Education Department, Govt. of Maharashtra : October 1987 Re-printed by Dr. Ambedkar Foundation : January, 2014 ISBN (Set) : 978-93-5109-064-9 Courtesy : Monogram used on the Cover page is taken from Babasaheb Dr. Ambedkar’s Letterhead. © Secretary Education Department Government of Maharashtra Price : One Set of 1 to 17 Volumes (20 Books) : Rs. 3000/- Publisher: Dr. Ambedkar Foundation Ministry of Social Justice & Empowerment, Govt. of India 15, Janpath, New Delhi - 110 001 Phone : 011-23357625, 23320571, 23320589 Fax : 011-23320582 Website : www.ambedkarfoundation.nic.in The Education Department Government of Maharashtra, Bombay-400032 for Dr. Babasaheb Ambedkar Source Material Publication Committee Printer M/s. Tan Prints India Pvt. Ltd., N. H. 10, Village-Rohad, Distt. Jhajjar, Haryana Minister for Social Justice and Empowerment & Chairperson, Dr. Ambedkar Foundation Kumari Selja MESSAGE Babasaheb Dr. B.R. Ambedkar, the Chief Architect of Indian Constitution was a scholar par excellence, a philosopher, a visionary, an emancipator and a true nationalist. He led a number of social movements to secure human rights to the oppressed and depressed sections of the society. He stands as a symbol of struggle for social justice. The Government of Maharashtra has done a highly commendable work of publication of volumes of unpublished works of Dr. Ambedkar, which have brought out his ideology and philosophy before the Nation and the world. In pursuance of the recommendations of the Centenary Celebrations Committee of Dr. -
Rajaji-Mahabharata.Pdf
MAHABHARATA retold by C. Rajagopalachari (Edited by Jay Mazo, International Gita Society) Contents 39. The Wicked Are Never Satisfied 1. Ganapati, the Scribe 40. Duryodhana Disgraced 2. Devavrata 41. Sri Krishna's Hunger 3. Bhishma's Vow 42. The Enchanted Pool 4. Amba And Bhishma 43. Domestic Service 5. Devayani And Kacha 44. Virtue Vindicated 6. The Marriage Of Devayani 45. Matsya Defended 7. Yayati 46. Prince Uttara 8. Vidura 47. Promise Fulfilled 9. Kunti Devi 48. Virata's Delusion 10. Death Of Pandu 49. Taking Counsel 11. Bhima 50. Arjuna's Charioteer 12. Karna 51. Salya Against His Nephews 13. Drona 52. Vritra 14. The Wax Palace 53. Nahusha 15. The Escape Of The Pandavas 54. Sanjaya's Mission 16. The Slaying Of Bakasura 55. Not a Needle-Point Of Territory 17. Draupadi's Swayamvaram 56. Krishna's Mission 18. Indraprastha 57. Attachment and Duty 19. The Saranga Birds 58. The Pandava Generalissimo 20. Jarasandha 59. Balarama 21. The Slaying Of Jarasandha 60. Rukmini 22. The First Honor 61. Non-Cooperation 23. Sakuni Comes In 62. Krishna Teaches 24. The Invitation 63. Yudhishthira Seeks Benediction 25. The Wager 64. The First Day's Battle 26. Draupadi's Grief 65. The Second Day 27. Dhritarashtra's Anxiety 66. The Third Day's Battle 28. Krishna's Vow 67. The Fourth Day 29. Pasupata 68. The Fifth Day 30. Affliction Is Nothing New 69. The Sixth Day 31. Agastya 70. The Seventh Day 32. Rishyasringa 71. The Eighth Day 33. Fruitless Penance 72. The Ninth Day 34. Yavakrida's End 73. -
Thesis Title: Shimenawa: Weaving Traditions with Modernity – Interdisciplinary Research on the Cultural History of Japanese Sacred Rope
Thesis Title: Shimenawa: Weaving Traditions with Modernity – Interdisciplinary Research on the Cultural History of Japanese Sacred Rope Shan Zeng, Class of 2019 I have not received or given unauthorized assistance. 1 Acknowledgements I would like to express my greatest appreciation to my advisors Professor Morrison and Professor Laursen, as well as Professor Sassin and Professor Garrison, without whose support this project would not have come to fruition. I also want to thank my Japanese instructors Hayasaka sensei, Takahashi sensei, and Cavanaugh sensei, whose exceptional language classes gave me the courage and competence to conduct fieldwork in Japanese. My thanks go to Professor Milutin for patiently sifting through emaki and ancient Japanese poems with me and to Professor Ortegren for sharing her experiences on ethnographic fieldwork. I would also like to thank my first-year advisor Professor Sheridan, and all the other faculty and staff from the Middlebury Department of Religion and Department of History of Art and Architecture for their valuable feedback and support. I extend my special thanks to the following people, who not only graciously accepted my interviews but showed me the incredible hospitality, kindness and patience of the Japanese people: Orihashi san and her fellow colleagues at Nawawaseya, Shiga san and his family, Nagata san of Izumo Oyashiro, Nasu san and his colleagues at Oshimenawa Sousakukan, Matsumoto San, Yamagawa san and his father at Kyoto, Koimizu san, Takashi san, Kubishiro and his workshop, and Oda san. My appreciation goes to all the other people who have helped me one way or another during my stay in Japan, from providing me food and shelter to helping me find my lost camera. -
Early Vaiava Imagery
Early Vaiṣṇava Imagery: Caturvyūha and Variant Forms Author(s): Doris Srinivasan Source: Archives of Asian Art, Vol. 32 (1979), pp. 39-54 Published by: University of Hawai'i Press for the Asia Society Stable URL: http://www.jstor.org/stable/20111096 . Accessed: 31/05/2013 04:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Hawai'i Press and Asia Society are collaborating with JSTOR to digitize, preserve and extend access to Archives of Asian Art. http://www.jstor.org This content downloaded from 146.95.253.17 on Fri, 31 May 2013 04:45:05 AM All use subject to JSTOR Terms and Conditions Early Vaisnava Imagery: Caturvyuha and Variant Forms Doris Srinivasan George Mason University arts are Otudents of the of Hindu India closely fa which may be represented either anthropomorphi or in art. miliar with evolving traditions of Vaisnava imagery cally theriomorphically Hindu at catur from the Gupta period onward such prominent It has recently been recognized that the as near was in Ma sites Udayagiri Besnagar, Deogarh, Badami, vyuha concept plastically portrayed the art in icon Aihole, and Mamallapuram. The origins of these thura school of the Kushan period.2 The artistic traditions are less well known, however, and comes from the Satsamudri Well situated on the to exam is now it is the purpose of this paper suggest that compound of the Mathura Museum, and in ples of Vaishnava figurai sculpture and cult imagery housed theMuseum. -
Dispute Over Restoration of Konark Sun Temple
Dispute Over Restoration of Konark Sun Temple drishtiias.com/printpdf/dispute-over-restoration-of-konark-sun-temple The 13th century Sun Temple at Konark (Odisha) has entered into controversy over allegations that the stone carvings on the outer surface are being replaced with plain blocks of stones causing irreplaceable loss to the uniqueness of the temple. As per a regional news report, it is alleged that 40% of the artistic stone carvings of the existing Konark Sun Temple have been replaced by ASI with plain stones. It is alleged that the stones used in restoration do not match the quality of the original stone blocks, which are still available nearby. UNESCO guidelines on restoration of World Heritage Sites mandate that when an original stone carving is lost, it cannot be replicated. The understanding is that as monuments deteriorate, if one keeps on replicating then nothing original will remain. However, ASI has denied the allegations of replacement of artistic stone works at the world heritage monument. About Sun Temple at Konark The Sun temple at Konark was constructed by the Eastern Ganga ruler Narasimha Deva I in about 1250 A.D. The name of Konark temple is an amalgamation of two words-Kona meaning corner and Arka meaning the Sun. That is to say that the Sun god worshipped in Ark Kshetra is called Konark. Architecture of the Temple The temple was also known as 'BLACK PAGODA' due to its dark colour and used as a navigational landmark by sailors to Odisha. It is carefully oriented towards the east so that the first rays of sunrise strikes the principal entrance. -
Astronomy, Topography and Dynastic History in the Age of the Pyramids
Astronomy, topography and dynastic history in the Age of the Pyramids. Giulio Magli Faculty of Civil Architecture - Politecnico di Milano Piazza Leonardo da Vinci 32, 20133 Milan, Italy It is known since the 19 century that in the layout of the pyramid field of the pharaohs of the 4 th Egyptian dynasty at Giza, a “main axis” exists. Indeed, the south-east corners of these monuments align towards the site of the temple of Heliopolis, which was plainly visible in ancient times. It was later discovered that a similar situation occurs in the main pyramid field of the subsequent dynasty at Abu Sir. Here, the north-west corners of three chronologically successive pyramids again voluntarily align towards Heliopolis. However, the temple was in this case not visible, due to the rock outcrop- today occupied by the Cairo citadel - which blocks the view. In the present paper, a multi-disciplinary approach based on historical, topographical and archaeoastronomical analysis is developed in an attempt at understanding this peculiar feature, which governed from the very beginning the planning of such wonderful monuments. A general pattern actually arises, which appears to have inspired the choice of the sites and the disposition on the ground of almost all the funerary complexes of the kings during the Old Kingdom. 1. Introduction An interesting feature exists in the layouts of the pyramids of Giza and Abu Sir: the presence of a “main axis” directed to the area where the ancient temple of the sun of Heliopolis once stood, on the opposite bank of the Nile. These axes are connected with a process of “solarisation” of the pharaoh which probably started with Khufu, the builder of the Great Pyramid.