The Temple Complex of Ggantija and the Major Lunar Standstill as Given by the Photographer's Ephemeris

2016 ◽  
Author(s):  
Amelia Carolina Sparavigna
Keyword(s):  
Temple Complex ◽  
The Temple

Tirumala Tirupati: Wait a Moment

2015 ◽  
pp. 1-10
Author(s):  
Stephen E. Maiden ◽  
Gerry Yemen ◽  
Elliott N. Weiss ◽  
Oliver Wight
Keyword(s):  
Waiting Times ◽  
Throughput Rate ◽  
Religious Traditions ◽  
Temple Complex ◽  
The World ◽  
Hindu Temples ◽  
Challenging Students ◽  
The Many ◽  
The Temple

This case examines the queueing issues caused by the growth in popularity of one of the most visited Hindu temples in the world. On January 2, 2015, Ramesh and Vasantha Gupta visit Tirumala Venkateswara Temple, just a day after some 210,000 people crowded the 2,000-year-old site. The case describes the many enhancements that the temple administrator, Tirumala Tirupati Devasthanams (TTD), has implemented since its management of the temple complex began in 1932. The soaring popularity of the temple, however, has led to safety and comfort concerns for pilgrims. While challenging students to consider additional improvements that might benefit pilgrim throughput rate and time in the temple system, the case highlights the tension TTD must manage between maximizing efficiency and maintaining religious traditions. Additionally, the case demonstrates the importance of perceived waiting times in the management of queues.

scholarly journals Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы

2020 ◽  
Vol 13 (6) ◽  
pp. 1513-1523
Author(s):  
Veronika V. Kapišovská ◽  
Keyword(s):  
Diplomatic Relations ◽  
Religious Ritual ◽  
Black And White ◽  
Unique Position ◽  
Temple Complex ◽  
Ritual Dance ◽  
Artistic Heritage ◽  
The Temple

Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.

The Dikpālas of ancient Java revisited: A new identification for the 24 directional deities on the Śiva temple of the Loro Jonggrang complex

2012 ◽  
Vol 168 (2-3) ◽  
pp. 274-313 ◽  
Author(s):  
Andrea Acri ◽  
Roy Jordaan
Keyword(s):  
Art History ◽  
Ninth Century ◽  
Master Plan ◽  
Unresolved Issue ◽  
Central Java ◽  
Clockwise Direction ◽  
Temple Complex ◽  
History Of ◽  
Prime Objective ◽  
The Temple

Caṇḍi Śiva, sacred centre of the famous ninth-century Loro Jonggrang temple complex at Prambanan, Central Java, is decorated with numerous iconic and narrative reliefs. Starting from the eastern staircase and traversing the perambulatory in a clockwise direction, we find the narrative reliefs of the Rāmāyaṇa on the balustrade wall on our left, and the iconic reliefs of twenty-four seated male deities, each flanked by several attendants – collectively referred to in the accompanying iconographic plan as ‘Lokapālas with attendants’– on our right, that is, on the temple body proper. The prime objective of the present inquiry is propose a new identification of this set of twenty-four deities forming Śiva’s entourage, which remains an unresolved issue in the art history of Central Java. Our findings will have implications for our understanding of the iconographical master plan of Loro Jonggrang, and, in a wider sense, of certain developments in Indo-Javanese and Balinese iconography.

The Temple Complex at Horvat Omrit

2015 ◽  
Author(s):  
Michael C. Nelson ◽  
Daniel Schowalter ◽  
John Andrew Overman
Keyword(s):  
Temple Complex ◽  
The Temple

Marble relief ‘Nero and Armenia’ from the Sebasteion at aPhrodisias in Caria (Asia Minor)

Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 185-206
Author(s):  
Hasmik Z. Markaryan
Keyword(s):  
Comparative Analysis ◽  
Historical Study ◽  
Asia Minor ◽  
Stylistic Analysis ◽  
Temple Complex ◽  
History Of ◽  
Imperial Art ◽  
The Temple

The article is devoted to an artistic and historical study of a marble relief with a symbolic scene of Nero’s victory over Armenia from the Sebasteion sanctuary complex in the ancient town of Aphrodisias in Asia Minor. The temple complex was dedicated to the cult of the Julio-Claudian imperial dynasty. The artistic and stylistic analysis of the relief was performed in the context of the sculptural program and decoration of the whole complex, and took into consideration other images of Nero in the Sebasteion. Through a comparative analysis of the figure personifying Armenia depicted on the marble relief in Aphrodisias, as well as a series of images on coins and small statuary samples, characteristic iconographic traits of Armenia in the Roman imperial art were revealed. Along with this, the paper presents an in-depth ‘reading’ of this scene within the context of specific epi- sodes from the history of the Parthian-Roman conflict and the Roman struggle for Armenia during the period of 54–68 AD.

scholarly journals Documentation and Architectural Interpretation of the Panishail Temple Complex, Maulvibazar, Bangladesh

2021 ◽  
Author(s):  
Kawshik Saha ◽  
Shamsul Arefin ◽  
Gourpada Dey
Keyword(s):  
Sacred Landscape ◽  
Religious Architecture ◽  
Temple Complex ◽  
Heritage Buildings ◽  
Historic Landmark ◽  
Landscape Heritage ◽  
Ancient Monuments ◽  
Physical Features ◽  
The Temple ◽  
Architectural Interpretation

This article represents survey data of historical and architectural documentation of Sri Radha Binod Ashrama locally known as the Panishail temple. Temple architecture is a common feature of traditional religious architecture practice in Bangladesh. This article is a historical and architectural investigation of a less known and mixed type of Hindu temple style in the Bengal region. The Panishail temple complex has a collection of structures that include tomb, temples, and residences aged between fifty to two hundred years. Over the ages, these heritage buildings have displayed a unique architectural style of ancient Bengal and still serving as a living sacred landscape heritage. However, like most of the ancient monuments of Bangladesh, Panishail structures inside this complex stand against the threat of decay and anthropogenic destruction with no effort to conserve them. There is a need for immediate action of research, exploration and preservation to save this historic landmark. This research aims to investigate historic and physical features of the temple complex through a systematic survey and documentation effort. This research will lay a foundation for future conservation intervention on this site. Moreover, this work will significantly contribute to historic temple architecture study in Bangladesh.

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