This record-smashing Rube Goldberg machine developed by engineering students at Purdue University takes you on a journey from the Big Bang to the Apocalypse in 244 easy steps — culminating in the watering of a flower.
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The Acámbaro Figures are a collection of small ceramic figurines allegedly found in Acámbaro, Guanajuato, Mexico. They were discovered by Waldemar Julsrud in July of 1944. According to accounts, Julsrud stumbled upon the artifacts while riding his horse in the Acámbaro area. He hired a local farmer to dig up the remaining figures, paying him for each object he found. Eventually, the farmer and his assistants discovered over 32,000 figures, which included representations of everything from dinosaurs to people from all over the world, including Egyptians, Sumerians, and bearded Caucasians.
The Acámbaro Figures have been cited as out of place artifacts, as they are clearly human made and portray a large variety of dinosaur species. According to all history books, humans did not live in the time of the dinosaurs. Upon the discovery of the figures, many creationists from all over the world proclaimed the artifacts legitimate. If these figures are genuine, it could stand as credible evidence for the coexistence of dinosaurs and humans, which would severely damage the theory of evolution and offer support for the literal interpretation of the Bible.
Attempts have been made to date these figures using Thermoluminescence, or TL dating, and the results suggested a date around 2500 BCE. A man named Don Patton claims he found radiocarbon dates for the figures ranging from 6500 years to 1500 years ago; however, the objects are in very good shape and show no characteristic evidence of having been in the ground for at least 1500 years. If they were authentic artifacts, they should be scratched and marred from the rocky soil, which is characteristic of other objects found in that area of Mexico. Other supporters of the figures claim that the incredible detail of the dinosaurs suggest a firsthand experience with the creatures. The sheer number of the figures discovered is often cited as evidence for a hoax. To date, no credible scholars of archaeology or paleontology accept the discovery as valid.
The final of our six part posting of England’s Hill Figures the Kilburn White Horse, is formed in the hillside near the village of Kilburn, in North Yorkshire, England. The horse is 318 feet long by 220 ft high and covers about 1.6 acres and is said to be the largest and most northerly of the chalk figures in England.
The Kilburn horse faces south-south-west and is clearly visible from some distance. On a clear day, the horse is visible from north Leeds, 28 miles away on the higher ground to the west of the Vale of York.
Sutton Bank, geologically, is formed of limestone. The horse was created by removing the topsoil and exposing the underlying rock. It was created in November 1857, and some accounts state that it was done by school master John Hodgson and his pupils, together with local volunteers. A tablet erected at the car park below it reads, “The Kilburn ‘White Horse’ — This figure was cut in 1857 on the initiative of Thomas Taylor, a native of Kilburn. In 1925 a restoration fund was created by the readers of the Yorkshire Evening Post to provide for the ongoing grooming of the figure.”
However, Morris Marples in his 1949 book gives Thomas Taylor the credit for being the prime mover: a native of Kilburn, he was a buyer for a London provision merchant, and he seems to have attended celebrations at Uffington White Horse in 1857, at which time he became inspired to give his home village a similar example. Thirty-three men were involved in the cutting of the figure, and 6 tons of lime were used to whiten the exposed rock. The image itself is now formed of off-white limestone chips, but the steep gradient of the hillside, especially at the horse’s breast and forelegs, have led to slumping. Retention boards have been used to fix and halt the degredation.
During World War II the horse was covered over to prevent it from becoming a conspicuous navigation landmark for enemy bombers. This white horse can reputedly be seen from Julian’s Bower, Alkborough in North Lincolnshire, over 45 miles away.
Crystal skulls are fashioned from large pieces of crystal, usually from the mineral quartz. They are often life-sized and bear the same distinguishing characteristics as a human skull with eye sockets, a nasal cavity, and a rounded cranium. The most exquisite crystal skulls have finely crafted jaws with removable mandibles.
In addition to claims of paranormal activity, controversy concerning crystal skulls centers on their origins. More than a dozen of them were claimed to have been discovered in Mexico and Central America and are dated by their founders or those who currently possess them as being hundreds, perhaps even thousands of years old. Common methods for dating artifacts can neither confirm nor refute claims about when these crystal skulls were crafted, but, generally speaking, skulls sculpted with metal tools cannot be more than a few centuries old if they originated in Mexico and Central America.
One of archaeology’s most compelling mysteries is that of the 13 Crystal Skulls. Skulls have been one of the most powerful objects of symbolism in human history, all over the world. Several “perfect” crystal Skulls have been found in parts of Mexico, Central and South America. During early expeditions, archaeologists were told by locals that the skulls possessed magical powers and healing properties. However, people were unsure as to where they came from, or even why they existed. Some like to believe that these were remains from the lost civilization of Atlantis. Others like to believe these are fakes. And yet another group of psychics believe that these skulls have the capability to enable us to look into the past, present and future.
Historians and social anthropologists decided to find out more about the strange skulls. Very soon, they came across an ancient Indian legend saying that there had been thirteen crystal skulls of the Goddess of Death; they had been kept separately from each other under the strict control of pagan priests and special warriors.
Searches for more skulls started; some of them were found in museums and some in private collections not only in the USA, but in Mexico, Brazil, France, Mongolia, and in Tibet. There were more than 13 skulls found. However, not all of them were as perfect as Mitchell-Hedges- was. Very likely, those were just later attempts to create something similar to the original skulls that were believed to have been gifts by God to the people.
Some crystal skulls are attributed to the Mayan culture that thrived in southern Mexico and Central America during the first millennium C.E. However, as established through studies of recurring symbols, artifacts, or references in hieroglyphics, there is no known cultural tradition among the Mayans that relate to crystal skulls or any kind of skull worship or fascination. There is some evidence of skulls being symbolically important in Aztec culture, which flourished earlier and further north than Mayan civilization, yet there are far fewer claims among crystal skull enthusiasts that connect the objects to Aztec culture. Radio-carbon testing is not applicable to crystal, because the method works only on previously animate objects.
Crystal skulls are credited by believers for having the ability to awaken or raise human consciousness to a higher level. Some people assert that they experience a psychic connection when viewing a crystal skull, and commonly declare that they were infused with positive energy. Skulls of quartz crystal, like other quartz objects, are believed by mystic crystal enthusiasts to have the ability to record events, thoughts, and emotions that occur in their presence.
Some of the believers of the mystical qualities of the crystals credit ancient peoples with having crafted crystal skulls. According to them, ancients used the skulls to predict the future, to control the weather, as healing devices, as oracles to receive cosmic wisdom, as receivers of universal knowledge, and as a tool meant for future use to gain divine knowledge.
There is a crystal skull on display at the London Museum of Mankind, and the Paris Crystal Skull is on display at the Trocadero Museum. Both skulls can be traced back to Mexico, where records show they were purchased in the 1890s. The London Museum acquired its skull through Tiffanys of New York in 1898. Tests conducted in 1995, revealed scratches from steel tools, perhaps a jeweler’s wheel, confirming the skull must be of modern origin. The origin date of the skull was moved from the ancient Aztec times to the more recent period after the Spanish conquest of Mexico in 1520. Night workers at the museum reportedly refuse to work near the skull unless it’s covered, citing vibrations, colors shifts appearing in the skull, or a simple association of skulls and death.
The Amethyst Crystal Skull and the Mayan Crystal Skull were found in Guatemala in the early 1900s. The latter skull received its name because it was found at the site of Mayan ruins. “Maya” is kept by a psychic who uses the skull to assist her in readings.
Two skulls exhibit particularly exquisite craftsmanship. The Rose Quartz Crystal Skull, found along the Guatemala-Honduras border, includes removable mandibles, as does the Mitchell-Hedges skull, the most famous and notorious of crystal skulls. Named after its founders and keepers, F. A. Mitchell-Hedges (1882–1959) and his daughter Anna (1910–2007 ), it is considered the finest example of a crystal skull. Fashioned from clear quartz, the Mitchell-Hedges Crystal Skull is realistic in size (the cranium approximates that of an average female adult), and its jaws were formed from the same piece of crystal as the skull. The jaws fit neatly into sockets and maintain a perfect balance with the skull.
The two biggest mysteries of the Mitchell-Hedges skull concern the craftsmanship used to make it and the story surrounding its discovery. The skull is believed to have been formed from a large block of crystal that was carved into a rough shape of a skull and then smoothed into its final shape with water and a solution of silicon-crystal sand or, perhaps, through some unknown technology. There are no scratches on the Mitchell-Hedges skull that would indicate the work of metal tools. Shafts within the skull are said to channel light from the base of the skull to the eye sockets in a manner similar to modern optic technology, and the sockets have concave forms that reflect light to the upper cranium. Internal prisms and light tunnels are believed to be the reason why objects are magnified and brightened when held beneath the skull.
Like other crystal skulls, the Mitchell-Hedges skull reportedly changes color, sometimes clouding up white, and other times growing from a small patch of black to intensely black. Many of those who have viewed it report strange visions when looking in, and some have detected a faint hum or a scent. Like other mystical crystal objects, the Mitchell-Hedges version has been reputed to have oracular and healing powers, to be able to accumulate natural magnetism, and to amplify and transmit energy. Its keeper and early publicist, F. A. Mitchell-Hedges, also claimed it had the power to kill, citing several of his enemies who died before he did.
Mitchell-Hedges was an explorer and gambler who wrote books about his searches for remnants of lost tribes and the lost continent of Atlantis (Lands of Wonder and Fear, 1931) as well as his encounters with sea monsters (Battles with Giant Fish, 1923, and Battles with Monsters of the Sea, 1937). In 1927, Mitchell-Hedges and his daughter Anna were clearing debris atop a temple in the ancient Mayan city of Lubaantum (modern-day Belize) when Anna discovered what became known as the Mitchell-Hedges Crystal Skull on her seventeenth birthday. Weeks later, near the same site, she found the jaw of the skull.
Mitchell-Hedges did not publicize the skull until 1943, when he began referring to it as the Skull of Doom and claimed it was 3,600 years old. Curiously, he barely mentioned the skull in his autobiography, Danger, My Ally (1954). After he died in 1959, daughter Anna became the keeper of the skull.
It is now generally accepted that Anna Mitchell-Hedges did not discover the fabled crystal skull in the ruins of a Mayan city in 1927, but Mitchell-Hedges bought the artifact at an auction at Sothebys in London in 1943. Such claims have been verified by records at the British Museum, which had bid against Mitchell-Hedges for ownership of the object.
In 1970, the Mitchell-Hedges skull was examined by art conservator and restorer Frank Dorland. He claimed to have seen a spirit after studying the skull late at night in his home. According to Dorland, tests conducted at Hewlitt-Packard laboratories in Santa Clara, California, vouched for its craftsmanship including an absence of scars that would indicate metal tool work, and evidence that it was cut against the crystal axis. The validity of the tests has been questioned, as has the whole story of how the Mitchell-Hedges Crystal Skull was found and how far back it dates.
Jo Ann and Carl Parks became owners of the famous Texas Crystal Skull, whom they affectionately call Max, in 1980 when a Tibetan healer bestowed the artifact on them in payment of a debt. Admittedly unaware at first of the significance of this object, Carl and Jo Ann, residents of Houston, placed the skull in a closet for the next seven years. Not until they came into contact with F. R. “Nick” Nocerino of Pinole, California, one of the world’s foremost authorities of crystal skulls and director of the Society of Crystal Skulls, did they learn what an important artifact it was. Nocerino had been searching for that skull since the 1940s. He knew of its existence, but its actual location had sent him on a quest that had led him around the world.
Of the 13 crystal skulls known to researchers that are the actual true size, Max is the largest, weighing 18 pounds compared to the others, which weigh nine to 11 pounds. Max was found in a Mayan tomb at a site in Guatemala, and it has been estimated that Max came from a 50-to-60-pound piece of crystal that was more than a half a million years old. Other than Max and the crystal skull owned by Anna Mitchell-Hedges of Canada, all the others, each differing somewhat in size and detail, are held in museums or private collections.
People claim that being in Max’s proximity provokes images and visions within them. They believe to see scenes from the past history of Earth, and frequently they perceive UFO-related scenes and messages. “Whether you believe any of that or not, if you simply look at the artifact on a scientific and archaeological level, you cannot help being over-whelmed and awed at the skilled worksmanship that was involved in creating him,” Jo Ann Parks has commented.
The British Crystal Skull on display at the London Museum of Mankind is considered to be a nineteenth-century artifact. Scientists, at least, are convinced that all evidence weighs toward recent origins of all crystal skulls. Until convincing evidence that a known civilization venerated such an object, or that crystal skulls are remnants of a vanished civilization, belief in special qualities of the skulls are in the minds of beholders of mysticism.
Via in Part: EncyclopediaOThefUnusualAndUnexplained
The more we dig, the more the mystery seems to deepen,” said William Hawley (1851–1941), the official archaeologist of Stonehenge following World War I. He was reporting to the press about his underfunded historical project that seemed to be languishing. Hawley wasn’t able to make much progress in understanding Stonehenge by the time he wearily gave up the task around 1925. Since then, many others have tried, and much information has been gained. Still, old legends and theories about Stonehenge seem to carry as much validity as information based on careful tests performed with the best in modern equipment. As Hawley observed, each new discovery seems to broaden the sublime aura of Stonehenge.
Located on Salisbury Plain in England, Stonehenge is a site of concentric rings of stone, an avenue, and paths leading to nearby burial sites. The stone circles are situated on a henge, an area enclosed by a bank and ditch; the surrounding circular ditch is 340 feet in diameter and five feet deep. There are four stone alignments—two are circles and two others are horseshoe-shaped patterns. The outer circle is about 100 feet in diameter and originally consisted of 30 upright stones (17 still stand), weighing an average of 25 tons and linked on top by a ring of stones. The stones, composed of Sarsen, a kind of sandstone, average about 26 feet in height. Pairs of standing stones are topped by a series of lintels—a term that describes an object that rests across two pillars, similar to the top part of a doorway. Such pairs of standing stones with a third horizontal lintel joining them at the top are called trilithons. All the stones were smoothed and shaped. The lintels are locked in place by sculpted, dovetail joints, and the edges were smoothed to maintain a gentle curving appearance.
A second ring consists of bluestones, a smaller-sized stone. Within that circle are five linteled pairs of Sarsen stones in a horseshoe shape. Another horseshoe, consisting of blue-stones, is at the center. An avenue outlined with parallel banks and ditches 40 feet apart leads into the henge. A single standing stone, called the Heel Stone, is positioned in the center of the avenue just outside the outer circular ditch.
Several of the upright stones were toppled during the Roman occupation of Britain between 55 B.C.E. and 410 C.E. Two upright stones and a lintel fell in 1797, and two more in 1900. The five stones that fell since 1797 were put back in place in 1958 to restore the look Stonehenge had between 400 and 1797.
Several theories have emerged about when Stonehenge was erected and the purposes it served. Stonehenge begins being mentioned in recorded history during the twelfth century, most notably by Geoffrey of Monmouth (c. 1100–1154) in his History of the Kings of Britain. Geoffrey’s history freely mixes documented events with folklore and contains many chronological inaccuracies. Still, his fanciful story of how Stonehenge was erected on Salisbury Plain remained popular for centuries. Geoffrey credited Stonehenge to Merlin, a wizard most often associated with the legendary King Arthur. In Geoffrey’s account, Merlin was asked by Ambrosius Aurelianus, brother of Uther Pendragon and uncle of King Arthur, to erect a monument to commemorate the site where several hundred British nobles were murdered by Saxons. Merlin used magic to transport the stones from Ireland, where they had been erected in the form of Stonehenge after having been brought from Africa by giants. The formation of stones was called the Giants Dance.
Later theories emerged to overshadow Geoffrey’s tale. Stonehenge was credited as the work of the Mycenae, a civilization that thrived in the Aegean Sea area of the eastern Mediterranean region before the rise of Greece in the first millennium B.C.E. The Mycenae connection fit together with a theory that prevailed into the twentieth century that ancient megaliths throughout western Europe were designed and erected by members of eastern Mediterranean cultures, from which modern languages, histories, and other forms of culture emerged. In the second half of the twentieth century, however, advanced techniques for dating ancient objects showed that Stonehenge actually preceded the rise of Mycenean cuture.
The most popular modern theory connects Stonehenge with Celtic culture that thrived in Britain before the Romans came. A priestly order among the Celts called the Druids were believed to have supervised construction of Stonehenge and other stone circles in the region. Druids were keepers of lore and leaders of ceremonial rites among Celts. They have been associated with magic powers, human sacrifice, and various mystical rites, but many of those attributes were bestowed on them by non-Celtic historians and are, therefore, suspect. As Christianity spread through Great Britain by the fourth century, Celtic culture and the Druids were eventually overwhelmed.
Under the supervision of Druids, the theory goes, Stonehenge was a sacred ceremonial site. The famous Slaughter Stone at Stonehenge, which shows traces of red after a rain, was believed to have been an altar where Druids performed human sacrifices. It was subsequently discovered that the redness derives from iron minerals in the Slaughter Stone.
William Stukeley (1687–1765) perpetuated the Druid link to Stonehenge in the 1740s with his book, Stonehenge: A Temple Restor’d to the British Druids (1740). Stukeley identified the avenue leading into Stonehenge as a procession route. Back during the 1720s, he had discovered parallel lines of banks and ditches near Stonehenge. He called the phenomenon a cursus, a Latin word for racetrack, since he thought the lines were joined at the ends to form an oval.
Stukeley contributed to a growing trend in Great Britain to recognize ancient Britons, especially Druids, as “bards” (poets) living in communion with nature. Stukeley himself “went Druid” and joined an order that practiced secret Druidic rites, and he assumed the name of Chyndonax after a fabled French Druid priest.
Sir J. Norman Lockyer (1836–1920), who was once director of the Solar Physics Observatory in London and the founder of the journal Nature, published The Dawn of Astronomy in 1894. The book argued that ancient temples in Egypt were aligned for stellar observations and as calendars—to determine the summer solstice, for instance. His findings were controversial, but they helped spur further studies of the astronomical interests of ancient societies. Lockyer came to the same conclusion about ancient Britons as he had of Egyptians after studying Stonehenge and nearby pre-historic, megalithic structures. Lockyer believed that Stonehenge served as a calendar. It was known that Celts had divided their year into eight parts. According to Lockyer, Stonehenge and other megalithic sites were used to determine key points of the year, such as the coming of warm weather for planting. Lockyer viewed Druids, the keepers of Celtic lore and knowledge, as astronomer priests responsible for devising the megalithic calendars.
The astronomical orientation of Stonehenge, meanwhile, was largely ignored by archaeologists. However, it received a tremendous boost during the 1960s and 1970s when Boston University astronomer Gerald Hawkins studied the site and used a computer to compare historical solar and lunar alignments with vantage points in Stonehenge. He published his findings in 1963 in Nature, then in an expanded version in a book, Stonehenge Decoded (1965), which offered the most convincing scientific evidence yet that Stonehenge served as an astronomical observatory, specifically as a calendar.
When one stands in the middle of Stonehenge and looks through the entrance of the avenue on the morning of the summer solstice, for example, the Sun will rise above the Heel Stone, which is set on the avenue. If one stands in the entrance and looks into the circle at dusk of that day, the Sun will set between a trilithon. According to Hawkins, the use of Stonehenge as a calendar probably evolved from painstaking trial and error experiments with wooden poles to a permanent form with the standing stones. Hawkins’s work was greeted with great interest and much skepticism. Nevertheless, along with other studies around the same time, it helped spur a trend for greater scientific research into Stonehenge and confirmed a new discipline, archaeoastronomy, the study of the use of astronomy among ancient societies.
Credit for Stonehenge to the Celts continued until the 1950s, when radiocarbon testing determined that Stonehenge dated from about 3000 B.C.E. and that work was begun on the site even before the Celts migrated into Britain from the European continent. Subsequent studies have revealed that Stonehenge was built in waves of construction spanning several centuries. Smaller stones were brought to the site around 2600 B.C.E. and the largest stones arrived around 2100 B.C.E. The last work on the site dates from around 1800 B.C.E.
Though information has come forth about when Stonehenge was erected, the identity of its builders remains unknown—and where the stones came from and how they were moved into place, are yet other matters to be investigated. The Sarcens likely came from Marlborough Downs, a quarry site about 18 miles northeast of Stonehenge. How the stones could be moved from by a prehistoric people without the aid of the wheel or a pulley system is not known. The most common theory of how prehistoric people moved megaliths has them creating a track of logs on which the large stones were rolled along.
Another megalith transport theory involves the use of a type of sleigh running on a track greased with animal fat. Such an experiment with a sleigh carrying a 40-ton slab of stone was successful near Stonehenge in 1995. A dedicated team of more than 100 workers managed to push and pull the slab along the 18-mile journey from Marlborough Downs.
To erect the slab, the group dug a hole. The slab was pushed over the hole until it fell in. Then, a team pushed while another pulled by rope to make the slab stand upright. The hole was filled after the process was repeated with a second slab. The lintel stone that forms the top of the trilithon was pushed up a ramp and then maneuvered into place on top of the two pillars. Engineers at the test site believed that levers may have been used to raise the lintel stone, and timber put underneath; the process was repeated until the lintel stone rested on timber at the necessary height to push it in place to complete the trilithon.
Whether such methods were actually used during the construction is not known. Still, human sweat and ingenuity were shown as a legitimate alternative to Merlin’s magic and other theories about how Stonehenge was erected.
Melvin the Machine is best described as a Rube Goldberg machine with a twist. Besides doing what Rube Goldbergs do best – performing a simple task as inefficiently as possible, often in the form of a chain reaction – Melvin has an identity. Actually, the only purpose of this machine is promoting its own identity.
Melvin, who was created by Dutch Studio, HEYHEYHEY, takes pictures and makes video’s of his audience which he instantly uploads to his blog, Facebook and Twitter account. Besides that he also makes his own merchandise. The whole crazy process happens in about four minutes!
Sarcophagus lid from King Pacal’s Tomb
c. 680 A.D. Temple of Inscriptions Palenque
One of the most magnificent and famous pieces of Maya art yet discovered, King Pacal’s sarcophagus lies deep within Palenque’s Temple of Inscriptions. King Pacal was one of the longest ruling kings in history and left behind a grand legacy in the monuments of Palenque. The original is over 6’ wide by 10’ long, weighs several tons and cannot be removed from the tomb.
It was on June 15, 1952, that AIfred Ruz and his excavation crew looked upon a tomb that had been hidden away for over twelve centuries. It was from the inscriptions on Pacal’s sarcophagus that we have learned about his life, reign, death, and beliefs about the afterlife. To be sure conventional archaeology has what it thinks is a prosaic explanation for the strange markings on the sarcophagus lid; Pacal entering the underworld.
Too some others, this explanation is too conventional and does not explain the apparent machine from a culture supposedly without wheels or machinery. Some have suggested that this is a capsule, as in space capsule, with the orientation of the craft to be vertical rather than horizontal, as shown. Others believe it is some type of earthbound vehicle perhaps built to negotiate the miles of tunnels found under the earth.
Perhaps, we have an ancient man operating the dials of a machine, supported by a head rest, leaning forward, with evidence of some form of propulsion from the back.
The sarcophagus showed a well shaved man wearing clothings much like a close-fitting space-suit. The man was half way lying on a wrapping seat which held his lower back and his thighs, his nape reclined on a head-rest. His hands seem to be moving levers and controls.
The obvious question is: is the man depicted, a Mayan? In fact, supposedly, the Maya did not know machines of any kind, nor did were they aware of the wheel. Nevertheless, the side panels, the tubes and the other devices make one think of some high developed technology. That’s why this tomb is called the tomb of the astronaut.
The Badami cave temples are a complex of temples located at Badami, a town in the Bagalkot District in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya Architecture. Badami, the capital of the Early Chalukyas, who ruled much of Karnataka in the 6th to 8th centuries, lies at the mouth of a ravine with rocky hills on either side and a town tank in which water from the ravine flows. The town is known for its ancient cave temples carved out of the sandstone hills above.
The Badami cave temples are composed of four caves, all carved out of the soft Badami sandstone on a hill cliff in the late 6th to 7th centuries. The planning of four caves is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The temple caves represent different religious sects. Among them, two (cave 2 and 3) are dedicated to god Vishnu, one to god Shiva (cave 1) and the fourth (cave 4) is a Jain temple. The first three are devoted to the Vedic faith and the fourth cave is the only Jain temple at Badami.
The cave temples date back to 600 and 700 CE. Their architecture is a blend of North Indian Nagara Style and South Indian Dravidian style. As described above each cave has a sanctum sanctorum, a mandapa, a verandah and pillars. The cave temples also bear exquisite carvings, sculptures and beautiful murals.
Important part of historical heritage at Badami cave temples are inscriptions in old Kannada script. There is also the fifth cave temple in Badami – Buddhist temple in natural cave which can be entered only on all fours.
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Via: The PreSurfer
His thirty-five year career of public recognition was celebrated in 1993-94 by The Solomon R. Guggenheim Museum in New York with a large scale retrospective of his work.
Born in Manhattan Roy went to high school there. By age 14, he was taking art classes at the Parsons School of Design and also studied briefly with Reginald Marsh at the Art Students League in 1939. He then attended Ohio State University where his major influence was Hoyt Sherman, whose figure-ground relationships inspired Lichtenstein’s treatment of cliche subjects.
In 1943, he was drafted into the Army and served in Europe and then returned to Ohio State, completing his BFA and MFA and then teaching at that campus. From Cleveland, Ohio, he made frequent trips to New York and started to exhibit there in 1949. In the 1950s, he used various techniques of Abstract Expressionism, did figurative work, and like many of his generation, began employing pop art images. But he was searching for a style.
In 1957, he left Cleveland to teach at New York University in Oswego, New York, and in 1961, he began teaching at Rudgers University, where one of his colleagues, Allan Kaprow, used cartoon figures. Through Kaprow, he met many renegade New York artists including Claes Oldenburg and Jim Dine.
In 1962, he had a landmark exhibition at the Castelli Gallery that showed enlarged depictions of advertisements and comic strip images. In fact, it was gallery owner Leo Castelli who, as a major promoter of the contemporary art scene, was a key person in launching Roy’s career.
Although Lichtenstein’s pop paintings had widespread popular acceptance, he began in 1965 to do Abstract Expressionism, but in contrast to others in that style, he did work that was hard and static. In the 1990s, he did large-scale abstract interiors, and he also worked in ceramics and enamelled steel.
Throughout his career, he appeared in many documentary films and did posters for entertainments including Bill Clinton’s United States presidential campaign. Lichtenstein’s murals are in Dusseldorf, Germany; Tel Aviv, Israel; and New York City. He died unexpectedly on September 29, 1997, from viral pneumonia, having worked until the time of his death.
Spread all over Diquis Delta, and on the Isla de Cano, the mysterious stone spheres of Costa Rica have fascinated scientists ever since they were discovered, in 1930.
Known as “Las Bolas”, by the locals, the spheres range from a few inches to meters, in diameter, and reach weights of up to 16 tons. Researchers believe they were sculpted before 200 BC and 1500 AD, but since the only way of establishing their age is stratigraphic, and most of the balls are no longer in their original locations, it’s difficult to say for sure.
Uncovered by workers who clearing the jungle for a banana plantation, the stone spheres were brutally pushed out of the way, and damaged in the process. Fascinated by legends of treasures in the area, some of the workers drilled holes in the sculptures, or blew them to pieces, with dynamite.
There are many theories regarding the purpose of these seemingly perfect round spheres. Unfortunately, the pre-Columbian people who carved “Las Bolas” didn’t leave any any written records as to why they were made. Some people have said they form a map pointing to the location of Atlantis, while others claim they are the result of an ancient potion used to soften rock.
The true purpose of the stone spheres of Costa Rica will probably never be uncovered, but that’s what makes them so damn fascinating.