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Wikipedia:Featured article candidates/Bobby Fischer

Bobby Fischer
Bobby Fischer is famous not only as former World Chess Champion, but also for the controversy surrounding his views on September 11 and his long detention in Japan and subsequent adoption of Icelandic citizenship. The article has been through peer review, and includes a merge of the formerly separate Bobby Fischer (biography) article. I have made a few minor edits to this article, but all the real work has been done by others. Quale 17:43, 16 July 2005 (UTC)
 * Peer review/Bobby Fischer/archive1
 * Mild object most of my concerns were addressed in the peer review, but the lead is not long enough and I still have concerns with the ==Fischer in popular culture== section. - SimonP 22:39, July 16, 2005 (UTC)
 * I've racked my brain, but I just can't think of any way to expand the lead. Can you give some ideas on what else could be included there? --malathion talk 14:02, 17 July 2005 (UTC)
 * The lead is now much approved, good work. I still do not think much of the popular culture section, but it is not a major issue and I have withdrawn my objection. - SimonP 00:59, July 18, 2005 (UTC)
 * I've merged the popular culture section into the Popularity of chess section. Is there anything else preventing a support vote? --malathion talk 01:31, 18 July 2005 (UTC)
 * Support, great work and thanks for being so responsive to comments. - SimonP 17:02, July 18, 2005 (UTC)
 * I want to support, and will once Simon's points are taken care of. Very good article on the whole though. Harro5 02:05, July 17, 2005 (UTC)
 * Good work dealing swiftly with issues arising from the FAC. Support. Harro5 01:54, July 18, 2005 (UTC)
 * Support with note: I inserted a 2nd paragraph of the lead.  I fully understand if it's reverted, but I had wanted to indicate some of the areas that could be included to introduce the man's significance and interest and to give a thumbnail sketch of the parabola of his public life, his cultural significance.  It's US-centric and leaves out, e.g., how the Icelanders have remained supportive of him, so I make no great claims for that paragraph except that I hope it's a vague pointer to a way of making the lead bigger.  Geogre 19:02, 17 July 2005 (UTC)
 * I think that's great. I reworded it a bit but that's a good contribution. Thanks a lot! --malathion talk 20:59, 17 July 2005 (UTC)
 * Object. The section on his recent detention and subsequent Icelandic citizenship needs expanding. Try yanking something from Wikinews ;) - Haukurth 22:49, 17 July 2005 (UTC)
 * Oddly enough someone else said I should cut that part, because it used to be quite long. Anyway, I'll add some stuff back in from the old article. Check back in 10-15 minutes. --malathion talk 22:52, 17 July 2005 (UTC)
 * Done. --malathion talk 23:08, 17 July 2005 (UTC)
 * Thanks for a swift response. It's good to have more detail but the current text belies its origins as day-by-day news updates. Maybe this could be rewritten into a more readable account with less obsessive footnotes. That would solve my current objection. As for the rest of the article I'll read it again tomorrow before commenting further. - Haukurth 23:36, 17 July 2005 (UTC)
 * I'm not certain that this objection is actionable. Since Fischer disappeared, information about him and what's going on in his life is very fragmented. An attempt to write a flowing prose account of his activities since his disappearance would either read badly because of the holes in the story, or obsfucate the holes. Also, I think this is the first time I've seen someone object to an article getting featured status because it had too many footnotes. ;) --malathion talk 23:53, 17 July 2005 (UTC)
 * I think coherent information is not too hard to find. Fischer has given several interviews with Icelandic media and he's not even that hard to find. My dad ran into him at a restaurant the other day and chatted with him at length while they waited for their orders. Heck, *I* could maybe even get an interview with Fischer if I really wanted, in the name of Wikinews/Wikipedia/whatever. Talk about original research. At least that would get us a GFDL-picture. - Haukurth 00:07, 18 July 2005 (UTC)
 * Hey, go for it. Maybe I just don't know what you have in mind, so its probably best if you could rewrite the sections you are having problems with. --malathion talk 00:14, 18 July 2005 (UTC)
 * I found out that most of the in-text citations in that article were dead anyway. I removed them. I also tried to fix up the timeline feel of that section, but I left some dates in where I thought they were relevant. Let me know what you think. --malathion talk 13:41, 18 July 2005 (UTC)
 * Weak objection. A lot of further reading resources and offline references cited, but the article does need some expanding (even though it is quite big by now). — Stevey7788 (talk) 17:19, 18 July 2005 (UTC)
 * Expanding how? Please be more specific about what you think needs improvement. --malathion talk 18:08, 18 July 2005 (UTC)
 * Changed my mind. No more expanding, great article. — Stevey7788 (talk) 20:27, 20 July 2005 (UTC)
 * Object. The images Image:BobbyFischer.jpg, Image:Young Fischer.jpg, Image:Fischerchess92.jpg, and Image:Fischer arrest.jpg are claimed as "fair use".  Wikipedia is not just an encyclopedia, it is a free content encyclopedia.  As such, fair-use images should be avoided if at all possible.  If they are used, the source needs to be identified, and a specific rationale for why the image can be used under fair use needs to be placed on the image talk page. --Carnildo 20:40, 18 July 2005 (UTC)
 * The Fair_use guideline permits the use of the images in this article. Please post on the talk page for that guideline if you disagree with it. Until the guideline is changed, this objection does not have a rational basis. --malathion talk 21:14, 18 July 2005 (UTC)
 * I'd prefer to see at least one picture of him that's not fair use. (suggestion - try googling for images of him and emailing the owner to ask permission). →Raul654 16:40, July 25, 2005 (UTC)
 * From Wikipedia_talk:Featured_article_candidates: CC, CC-by, CC-by-SA, GFDL, GPL, BSD (and alike), and public domain are all OK. Plus FA requirement five states: "Have images where appropriate, with good captions and acceptable copyright status. However, an article does not have to have a picture to be featured." Zscout370 (Sound Off) 21:45, 18 July 2005 (UTC)
 * Comment. I've gone through the article and tried to help the prose a little but I still feel it needs polishing to reach featured standard. I tried rewriting the Icelandic chapter but it's still not very good. I'm afraid I must still object since I feel the prose is too disconnected. The article just doesn't flow well and even though the subject is interesting the article doesn't do a good job of drawing the reader in. It's too obvious that different authors have written different chapters at different times. The chapter about the religious beliefs comes out of the blue and breaks up the chess carrier narrative. What about his later religious views? Surely some information can be found. This just isn't comprehensive enough. I think the separation into References and Further reading is not useful, except perhaps to reveal the poor quality of the article. Fischer's major biographies weren't used as references? That's just not good enough. But the article is obviously improving and if it improves enough I will certainly change my vote. I'd love this to become a featured article. - Haukurth 23:03, 18 July 2005 (UTC)
 * Generally speaking I think that in order to satisfy your objections, this article would have to be expanded until it is a full length biographical novel. Any biographical article is going to need to be highly selective about what is relevant enough to put in and what isn't and that's going to mean that a lot gets left out. Wikipedia's length requirements effectively forbid comprehensively covering anything as huge as a person's entire life. If you can think of something in particular that should be added and that we have information available for, that would be moving in the right direction. Otherwise I can't even begin to act on your objection on comprehensiveness. --malathion talk 23:32, 18 July 2005 (UTC)
 * It's not so much that I want everything to be expanded - it's more that I want a better overall balance. The guy is famous for his chess so we need a reasonably comprehensive and coherent account of his chess carrier. The article doesn't really live up to that as it is. Fischer's "religious beliefs around 1975" and the speculation about the jewishness of his parents take up proportionally too much space. The best way to fix the proportions is to expand the important sections. We have many much longer articles on Wikipedia, especially featured ones. And I don't want the article to be the length of a biography but I want Fischer's biographies to be used as sources for the article. I wish you the best of luck. - Haukurth 01:50, 19 July 2005 (UTC)
 * I sort of understand what you're saying here, but I just can't act on it. The kind of information you seem to want is just not available, and other featured articles like Garry Kasparov are less detailed and developed than this one. Let me know if you can think of any more concrete ways to improve this though. --malathion talk 15:18, 19 July 2005 (UTC)
 * Support Although note I've done a lot of work on this article, and I'm clearly trying to get it featured, so maybe my vote shouldn't be counted. --malathion talk 22:03, 19 July 2005 (UTC)


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Willie Colón

William Anthony Colón Román (born April 28, 1950) is an American Salsa musician and social activist. He began his career as a trombonist but also sings, writes, produces and acts. Colón is considered a pioneer of Salsa music and a best-selling artist in the genre, having been a key figure in the nascent New York City scene associated with the legendary Fania Records. He is also noteworthy for having assumed the gangster image in his album covers before it was culturally popular. Since the 1980s he has at times been deeply involved in the politics of New York City.

Early years
Colón was born in the South Bronx in New York City to Puerto Rican parents. He picked up the trumpet from a young age, and later switched to trombone, inspired by the all-trombone sound of Mon Rivera and Barry Rogers. He spent some summers at his maternal grandmother's sister's farm in the outskirts of Manatí, Puerto Rico on the road to neighboring Ciales, Puerto Rico.

At the age of 15, he was signed to Fania Records, and at 17, he recorded his first album, which ultimately sold more than 300,000 copies. The main record producer at Fania at the time, Johnny Pacheco, recommended Héctor Lavoe to him.

He has also acted in films, including roles in Vigilante (1983), The Last Fight (1983), Miami Vice (in the season 3 episode "Cuba Libre") (1987) and It Could Happen to You (1994).

Colón has been a civil rights, community, and political activist since the age of 16. He has served as a member of the Latino Commission on AIDS and President of the Arthur Schomburg Coalition for a Better New York, member of the board of directors of the Congressional Hispanic Caucus Institute. In 1995, Colón became the first person of color to serve on the American Society of Composers, Authors and Publishers (ASCAP) national board, replacing Stephen Sondheim, and was also a member of the ASCAP Foundation.

Music career

Beyond the trombone, he has also worked as a composer, arranger, and singer, and eventually as a producer and director. Combining elements of jazz, rock, and salsa, his work incorporates the rhythms of traditional music from African descendants in Cuba, the Dominican Republic, Puerto Rico, and Brazil, representing mostly a one-way flow from Puerto Rico to the New York-based diaspora. "His life and music commute back and forth between his home turf in the Bronx and his ancestral Puerto Rico, with more than casual stop-offs in other musical zones of the Caribbean." Colón "makes the relation between diaspora and Caribbean homeland the central theme of his work," particularly in his 1971 Christmas album, Asalto Navideño. The lyrics and music of the songs on this album "enact the diaspora addressing the island culture in a complex, loving but at the same time mildly challenging way."

He went on to have many successful collaborations with other salsa musicians and singers, such as Ismael Miranda, Celia Cruz, Soledad Bravo, and singer-songwriter Rubén Blades. On his website, Colón claims to hold the "all time record for sales in the Salsa genre, [having] created 40 productions that have sold more than thirty million records worldwide."

One significant overarching theme in Colón's music, which draws from many cultures and several different styles, is an exploration of the competing associations that Puerto Ricans have with their home and with the United States. He uses his songs to depict and investigate the problems of living in the United States mainland as a Puerto Rican, and also to imply the cultural contributions that Puerto Ricans have to offer.

In May 2007, Colón sued Ruben Blades for breach of contract. This led to a series of suits and countersuits that lasted over five years. A book titled "Decisiones" detailing the story of the legal battle was written by Blades' former agent, Robert J. Morgalo, and published in 2016 in both English and Spanish. Court documents and transcripts of depositions and court rulings were published on the book's website.

Colón released two singles, "Amor de Internet" and "Corazón Partido", to promote for his album El Malo Vol II: Prisioneros del Mambo. In 2016, Colón began his 50th Anniversary Tour. In 2017, Colón announced his upcoming book titled Barrio de Guapos (The Secret Life of Willie Colón) and the launching of his record label 'Willie Colón Presenta'. For 2018 Colón kicked off his "Rumba Del Siglo" (Jam of the Century) World Tour performing in U.S., Latin America and Europe to mostly sold-out venues. Because of the great success of his last tour, Colón will continue "Rumba Del Siglo 2019" (Jam of the Century 2019).

Politics

Colón campaigned, and later became a special assistant and spokesperson for, New York City Mayor David Dinkins from 1989 to 1993.

In 1994, in his first political run, Colón challenged Representative Eliot Engel for the Democratic party primary for New York's 17th congressional district. He was defeated, 62% to 38%.

In 2001, Colón ran for New York City Public Advocate, receiving 101,393 votes.

Colón served for 12 years as Mayor Michael Bloomberg's representative advisor and liaison to the Latin Media Entertainment Commission.

On April 16, 2008, Colón announced his endorsement of U.S. Senator Hillary Clinton in her 2008 presidential campaign.

On April 25, 2010, Colón appeared at The National Mall for The Earth Day Climate Rally, along with Sting, John Legend, The Roots, Jimmy Cliff, Passion Pit, Bob Weir, Joss Stone, Robert Randolph, Patrick Stump, Mavis Staples, Booker T, Honor Society and Tao Rodríguez-Seeger.

In 2012 and 2013, Colón campaigned against Venezuelan president Hugo Chávez and the left-wing Bolivarian Revolution. Chávez responded scathingly to Colón via Twitter. After Chávez' death, Willie Colón endorsed opposition candidate Henrique Capriles Radonski, vigorously using social media and composing a campaign theme, "Mentira Fresca" (or "fresh lies", which became the nickname of regime's candidate, Nicolás Maduro); the song went viral throughout Latin America, garnering millions of plays and downloads. Colón continued to be active in Venezuelan politics, having pressed for the release of journalist Leocenis García, and the release of political prisoner General Antonio Rivero.

Awards and honors
In addition to serving as a visiting professor and receiving honorary degrees for music and humane letters at various universities, in 1991, Colón received Yale University's Chubb Fellowship.

In 1999, Colón was a member of the Jubilee 2000 delegation to the Vatican, along with Randall Robinson of Trans Africa, Harvard economist Jeffrey Sachs, Bono from U2 and Quincy Jones. This initiative received Pope John Paul II's endorsement and later prompted President Clinton to forgive the US portion of the debt owed by some developing countries. Jubilee 2000 resulted in the forgiveness of a total of $100 billion to debt-ridden countries.

In September 2004, Colón received the Lifetime Achievement Award from The Latin Recording Academy. Over the course of his career, he has collaborated with notable musicians such as the Fania All-Stars, Héctor Lavoe, Rubén Blades, David Byrne, and Celia Cruz. Siembra, his record with Rubén Blades, was the best selling album for its genre. Colón was inducted into the International Latin Music Hall of Fame in 2000 and the Latin Songwriters Hall of Fame in 2019.

In 2006, Colón was portrayed by actor John Ortiz, along with Marc Anthony's Héctor Lavoe in the biopic El Cantante, also starring Jennifer Lopez. The movie is about the life of Héctor Lavoe and it covers his achievements with Colón as the top salsa duo from the 1960s through the mid-1970s.

In 2010, The "International Trombone Association" bestowed their Lifetime Achievement Award upon Colón. In their journal they went on to say, "Willie Colón has probably done more than anyone since Tommy Dorsey to keep the trombone before the public. Stylistically they are poles apart, Dorsey representing an ultra-smooth approach, Colón a Hard-edged roughness reportedly inspired by Barry Rogers. Unfortunately, Colón's public is largely Latino, so his music and contribution have gone unnoticed or ignored by the general press"- Gerald Sloan, professor of music University of Arkansas.

On October 7, 2011, Westchester Hispanic Law Enforcement Association recognized Colón for his social and community activism and support.

In 2015 Billboard magazine named Willie Colón one of the 30 most influential Latin Artists of All Time.

On May 12, 2018, The Ellis Island Honor Society awarded Willie Colón the Ellis Island Medal of Honor which are presented annually to a select group of individuals whose accomplishments in their field and inspired service to the nation are cause for celebration. The Medal has been officially recognized by both Houses of Congress as one of our nation's most prestigious awards and is annually memorialized in the Congressional Record.

On October 31, 2018, Willie Colón was awarded the "Lunas Del Auditorio Award" by El Auditorio Nacional. A recognition granted by the National Auditorium to the best live shows in Mexico, the award is a replica of the sculpture of La Luna by sculptor Juan Soriano that is outside that enclosure. This award is transmitted by Televisa, TV Azteca, Channel 22 of the Ministry of Culture and Channel Eleven of the National Polytechnic Institute.

Colón has served as the chair of the Association of Hispanic Arts.

Personal life
Willie Colon is married. On April 20, 2021, Colón and his wife, Julia Colón were involved in a serious vehicle accident while driving a recreational vehicle through the Outer Banks of North Carolina. Colón suffered lacerations and a head injury and was evacuated to a hospital in Virginia.

On May 26, 2014, after graduating from Westchester County Police Academy, Colón was sworn in as a Deputy Sheriff for the Department of Public Safety. On December 13, 2017, Colón became a Deputy Lieutenant.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Willie Colón


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The September When

The September When is a Norwegian rock band.

History
The band was formed in Stavanger in 1987, by vocalist Morten Abel, guitarist Tor Øyvind Syvertsen and keyboardist Helge Hummervoll, all former members of the band Mods. They signed a recording contract with Warner Music in Norway, and released their self-titled debut album in 1989. The band line-up was broadened by the addition of bassist Gulleiv Wee and drummer Stene Osmundsen before the following tour. Syvertsen left the band the following year, and Morten Mølster took his place.

The new line-up released their break-through album Mother I've Been Kissed in 1991. In 1993, they released the album One Eye Open, which contains the band's highest-charting Norwegian hit, "Can I Trust You"; it peaked at number two on the VG-lista chart the same year. After releasing one more album, HuggerMugger in 1994, the September When split up in 1996. The same year they released the compilation Absolute The September When – Prestige de la Norvège 1989–96. Another compilation, The Best Of TSW, got released in 2002 and contains remastered songs.

According to the Morten Abel website, The September When reunited for a show on August 28, 2008, in Stavanger, Norway. The band returned with a fifth studio album "Judas Kiss" on December 5, 2008. Guitarist Morten Mølster died on January 14, 2013.

Last line-up

 * Morten Abel – vocals, acoustic guitar, electric guitar, harmonica (1987–1996)
 * Morten Mølster – electric guitar (1990–1996)
 * Torkild Viig – bass (1994–1996)
 * Stene Osmundsen – drums and percussion (1990–1996)
 * Helge Hummervoll – keyboards (1987–1996)

Former members

 * Tor Øyvind Syvertsen – electric guitar (1987–1990)
 * Gulleiv Wee – bass (1990–1994)

Albums

 * The September When (1989)
 * Mother I've Been Kissed (1991)
 * One Eye Open (1993)
 * HuggerMugger (1994)
 * Judas Kiss (2008)

EPs

 * Mortal (1989)
 * Bullet Me (1991)
 * Mama Won't To Tell You No Lie (1991)
 * Roundabout... Now (1991)
 * Cries Like A Baby (1994)
 * Sometimes Serious (1994)
 * I Can Take It (1994)
 * Daydreaming (1996)

Compilations

 * Absolute The September When – Prestige de la Norvège 1989–96 (1996)
 * The Best Of TSW (2002)

title: The September When


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File:SavatageSirens.jpg

Summary
This is the cover of the Sirens by Savatage

title: File:SavatageSirens.jpg


text: User talk:216.49.221.35

title: User talk:216.49.221.35


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User:Aleichem

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title: User:Aleichem


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Eagle (crater)

Eagle is a 22-metre long impact crater located on the Meridiani Planum extraterrestrial plain, situated within the Margaritifer Sinus quadrangle (MC-19) portion of the planet Mars. The Opportunity rover came to rest inside Eagle crater when it landed in 2004. Scientists were delighted that the rover landed there, as the crater contains rocky outcroppings that helped prove that Meridiani was once an ocean floor.

This crater should not be confused with the other, much larger Martian crater Eagle, which was officially named by IAU's Working Group for Planetary System Nomenclature in 1976.

Name

The name is a triple reference: in honor of the first crewed spacecraft to land on the Moon in 1969; in honor of the launching country, the United States, whose symbol is an eagle; and in reference to the golf term eagle, referring to sinking a ball two strokes under par. The third reference extended the golf metaphor begun with a description of landing in the crater as "a hole in one".

Discoveries in the crater

Mission scientists were intrigued by the abundance of rock outcrops dispersed throughout the crater, as well as the crater's soil, which appeared to be a mixture of coarse gray grains and fine reddish grains. Upon closer, in-situ examination of the outcrops, whose layers are no thicker than a finger, it was confirmed that Meridiani Planum was once the location of an ancient, somewhat acidic and salty sea, though much more information on the history of this area would start being collected more than three months later, when Opportunity visited the much larger crater Endurance to the east.

The hematite observed from orbit, whose presence decided the landing site in the first place, was found to be encased in millions of tiny hematite spherules, nicknamed "blueberries", by mission scientists, due to their shape, although they are actually much smaller than real blueberries. These concretions were found soon to be covering not just the outcrops in Eagle crater, but covered the plains beyond as well. The origin of the blueberries was quickly discovered. They appeared to be being eroded out of the outcrops by wind. Images from the rover's microscope discovered blueberries at several stages of this process, with most completely separated, but some still attached by a thin "stalk".

Rocks and outcrops in the crater

A number of rocks and outcrops were investigated with Opportunity's Instrument Deployment Device (IDD). They were given informal names by mission scientists. These include:
 * Berry Bowl, an outcrop rich in Martian spherules
 * Carousel, a layered outcrop most likely to have been formed in a wet environment
 * Cookies 'N' Cream, a dark soil target near Carousel
 * El Capitan, another layered outcrop
 * Last Chance, another layered outcrop

The locations of these rocks and outcrops can be seen in the panorama below:

title: Eagle (crater)


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Raghubir Yadav

Raghubir Yadav is an Indian actor, music composer, singer and set designer who works in Hindi films. He made his film debut with Massey Sahib (1985), in which he played the title role. He has won two International Awards as Best Actor for Massey Sahib, FIPRESCI Critic's Award, Venice Film Festival, 1986 and the IFFI Best Actor Award (Male): Silver Peacock Award at the 11th International Film Festival of India, 1987. The film also featured writer and social activist in National School of Drama, New Delhi until 1977.

Theatre
Yadav has performed as an actor and singer in over 70 plays and about 2500 shows, travelling in caravans, living in tents and performing on makeshift stages in villages, towns and cities of India with the Parsi Theatre Company (1967–1973). He was with the Rangoli Puppet Theatre, Lucknow (1973–1974), performing with glove puppets. At the National School of Drama Repertory (1977–1986), he acted in about 40 plays in over 2000 shows. He has also contributed to music, sets, costumes and masks.

Film
He was seen in many milestone films in the following decades. Three films that he has acted in have received Academy Award nominations for Best Foreign Language Film (Salaam Bombay! ,Water and Lagaan). Raghubir Yadav is one of the few Indian actor to have received the Silver Peacock Best Actor Award, at the International Film Festival of India. His most acclaimed role was as the drug addicted "Chillum" in Salaam Bombay! (1988). He has acted in Firaaq. In 2011, he played the lead role in the film Dear Friend Hitler, which takes its name from two letters Mahatma Gandhi wrote Adolf Hitler, in 1939 immediately before World War II and Christmas Eve 1940 after the war had started, to prevent and to stop the war.

Television
Yadav started his television career with the television program Mungerilal Ke Haseen Sapne (1988), playing the lead character "Mungerilal". Amaravathi ki Kathayein (1994-'95).

Later he played the roles of Haji Nasruddin in the television program Mullah Nasruddin (also spelled as Mulla Nasiruddin) and the lead in Chacha Chaudhary. He also played the lead role for BI T.V. in Arjun Pandit.

Music

 * He composed and sang in films that include Maya Memsaab, Massey Sahib, Rudaali, Aasmaan Se Gira, O Darling Yeh Hai India, Samar, Sunday, Darna Mana hai, Ramaji London Waale, Billu  and Dilli 6. He sang the title song of Chacha Chaudhary. He sang a song in Amir Khan's Peepli Live called "Mehngai Dayain" with bhadwai village mandli in which he was later praised by many of Indian film fraternity and public at large.
 * He provided singing and voice for ads: Pepsi, Parle, Vim, Kotak Mahindra, Icy Cool Mint, Coke, Midday, Bagh Bakari Chai, Crack cream, Maggie Mania, Britannia etc.
 * He also sang and composed the famous MP tourism ad -'MP ajab hai, sabse gajab hai'
 * He composed the music for Ghasiram Kotwal, Chotte Sayeed Bade Sayeed, Chaupra Kamaal Naukar Jamal and Chacha Chaudhary, ballet for song and drama division. Composed and sang "Maggie Mania", conceived, written and composed by Ramlila for Dilli 6.
 * He recently collaborated with Hitesh Sonik to sing 'Lamh Tera' in the second episode of Coke Studio @ MTV, Season 2. The show was aired on MTV India on 14 July and this song was the fifth and last to be shown on the show. The song is a folk song from Madhya Pradesh. In ancient times, the journey from one place to another would take days. People while travelling would then usually sing to ensure everyone is safe. This style of singing was called 'lum tera'. A member/group at the front of the caravan would sing loudly (lambi ter) and the members/groups at the end would sing back as a response, thereby ensuring connectivity.
 * He has sung a song, "Bhagan ke Rekhan ki bahangiya" in the movie Issaq. Raghubir has shown his talent again.

Awards

 * Silver Peacock for the Best Actor Award (Male): Massey Sahib at the 11th International Film Festival of India (1987).
 * FIPRESCI Critic's Award, Venice for Best Actor: Massey Sahib (1986).
 * Best Supporting Actor (Male) (Comedy Series) at 2020 Filmfare OTT Awards for Panchayat.

title: Raghubir Yadav


text:
Jeff Stelling

Robert Jeffrey Stelling (born 18 March 1955) is an English television presenter. He presented Gillette Soccer Saturday for Sky Sports from 1994 until 2023 and hosted coverage of the Champions League between 2011 and 2015.

He also presented the Channel 4 quiz show Countdown (2009–2011) and ITV game show Alphabetical (2016–2017).

On 30 October 2021, Stelling announced his intention to leave Soccer Saturday at the end of the 2021–22 season. However, on 28 March 2022, Sky Sports announced that Stelling would be staying until at least the end of the 2022–23 season.

Early life
Stelling was brought up in a council house in Hartlepool. He attended Rift House Primary School and West Hartlepool Grammar School. After leaving school his first job was as a journalist at the Hartlepool Mail where he remained for four years.

Career
His first broadcasting position was as a reporter on Middlesbrough F.C. on Radio Tees in the late 1970s. He was a sports presenter on London's LBC Radio Sportswatch programme in the early 1980s before moving to BBC Radio 2's weekend sports programme Sport on 2, covering the Los Angeles and Seoul Olympic games.

He later spent time as a sports newsreader at TV-am, Channel 4, Eurosport and British Satellite Broadcasting before moving to Sky in 1992 to present coverage of horse racing, greyhound racing, snooker and darts. In 2003, he won a sports presenter special edition of The Weakest Link. In 2004, Stelling was offered but rejected an offer from the BBC to front Score—their new Saturday results service. The job was given to Ray Stubbs.

In May 2013, Stelling joined twentyfour7 Football Magazine and wrote columns for the magazine's Dream Team. He has also been featured in the in-game presentation work for EA Sports' FIFA 14 and FIFA 15.

Sports/Soccer Saturday
In 1994, Stelling became presenter of Sports Saturday, which became Gillette Soccer Saturday in 1998, hosting a programme lasting up to six hours of football discussion and live reports on the afternoon's games with a panel of pundits including Frank McLintock, Chris Kamara, Rodney Marsh and George Best. Much of the programme's popularity was put down to Stelling, with The Guardian praising him for "exceptional professionalism and élan". In October 2021, he announced that he would be leaving the show at the end of the football season. However, in March 2022, it was announced Stelling would be staying until at least the end of the 2022–23 season.

At the start of the 2005–06 Premiership football season, Stelling replaced Ian Payne as the host of Sky Sports' Monday Night Football programme. However, Stelling's appointment coincided with a new, shorter format of the programme, with Stelling presenting the show live from the ground of that evening's game. Previously, the show had been presented from a studio, and had featured some coverage of the prior weekend's games. Moreover, in previous years on Monday nights without a live game, a Monday Night Football Special would be broadcast, which included only the analysis from the weekend's games. This appears to have been dropped from the 2005–06 season, indicating that Stelling's appointment is to a smaller role than that held by his predecessors.

In 2011, Stelling replaced the departed Richard Keys as the main presenter of Sky's live Champions League coverage and hosted between 2011 and 2015.

Stelling left Soccer Saturday at the end of the 2022–23 season after 25 years as host.

Game shows
On 21 November 2008, it was reported that Stelling had been confirmed as the new host of the Channel 4 game show Countdown following the departure of Des O'Connor. He had reportedly also been approached for the role following the death of long-time host Richard Whiteley, but the role was given to former fellow sports presenter Des Lynam instead. Stelling began recording Countdown in December 2008, with the show's new assistant Rachel Riley, and started broadcasting in January 2009. However, it was announced on 25 May 2011 that Stelling would be stepping down as presenter of Countdown at the end of the year, after three years at the helm, to concentrate on football, including his new Champions League role. He was replaced by Nick Hewer. Stelling returned to Countdown as a guest in Dictionary Corner in August 2023 and, at the invitation of the host Colin Murray, swapped places to present the final part of the week.

In August 2016, Stelling presented a new 10-part daytime game show for ITV called Alphabetical. The show returned for a second series of 20 episodes in October 2017.

TV series cameos
Stelling appears as himself in a number of episodes of the football comedy TV series Ted Lasso. He has also appeared as himself in The IT Crowd, Dream Team and Mike Bassett: Manager. He appeared in an advert for Sky Broadband in 2013 which spoofed a previous Sky Broadband advert which starred Bruce Willis.

Radio work
From 4 December 2023, he started presenting Talksport's breakfast show every Monday and Tuesday (6am to 10am) alongside Ally McCoist.

Honours and recognition
On 23 November 2007, he was awarded an honorary Doctor of Professional Studies by the University of Teesside.

Stelling was named Sports Broadcaster of the Year for four successive years by the Sports Journalists' Association, based on a poll of its members.

On 12 March 2010, he was granted the title of honorary freeman of his home town of Hartlepool, along with the town's former MP Lord Mandelson.

Stelling was appointed Member of the Order of the British Empire (MBE) in the 2024 New Year Honours for services to sport, broadcasting and charity.

Personal life
Stelling lives in Bishop's Waltham, Hampshire, with his wife Liz and two sons Robbie (born August 1998) and Matthew (born November 1999) and a daughter Olivia (born June 2003). They were married in November 1998 in Richmond upon Thames. His son Robbie is also a journalist and currently works for the Hartlepool Mail. Jeff has completed the London Marathon on eight occasions and his best time is 3 hours and 28 minutes. In June 2013, Stelling, Colin Cooper, Craig Hignett and 12 others climbed Mount Kilimanjaro raising money for the children's charity The Finlay Cooper Fund. The climb raised £100,000.

In 2015, Stelling was appointed president of Hartlepool United after accepting a request from the club's owners.

In 2016, Stelling walked 262 miles from Hartlepool United to Wembley Stadium over 10 days raising over £420,000 for Prostate Cancer UK. He walked with his friend Russ Green, who was the Chief Executive of Hartlepool United at the time, and was joined by over 400 walkers including his friends from Sky Sports and the football world such as Chris Kamara, Matt Le Tissier, Charlie Nicholas and Paul Merson. On Day 3, Sir Ian Botham arrived to lend his support and walked with Stelling to Glanford Park, the home of Scunthorpe United, one of Botham's former clubs from his football career.

In 2017, Stelling again pledged to walk to raise money for Prostate Cancer UK.

In his book, "I've Got Mail" published on 17 September 2020, Stelling revealed he had been subject to a blackmail attempt via two letters sent to his home. The letters demanded a £50,000 payment in return for bogus accusations of sex assaults to be kept quiet. In a radio interview on BBC Radio 5 Live on 2 December 2020, Stelling recounted sharing the letters with his wife and together, through a family friend's contact at Scotland Yard, they learnt others had also been targeted by the same scammers.

title: Jeff Stelling


text:
User:Ak86

Hi! Me's a 19-year old guy in India. Am doing my engineering studies right now from IIT Bombay.

title: User:Ak86


text:
James Loomis Madden

James Loomis Madden (1892 – 1972) was acting chancellor of New York University from 1951 to 1952.

title: James Loomis Madden


text:
Old Queen's Head

The Old Queen's Head is a pub at 14 Pond Hill, Sheffield, South Yorkshire, England. It is a 15th-century timber framed building and the oldest surviving domestic building in Sheffield. It is now Grade II* listed.

History
The Old Queens Head was built c. 1475. However, the earliest known written record of the building is in a 1582 inventory of the estate of George Talbot, 6th Earl of Shrewsbury that included the furnishings of this building, which was then called "The hawle at the Poandes" or "Hall i' th' Ponds".

As a part of the Earl's estate, the building may have been a banqueting hall for parties hunting wildfowl in the nearby ponds. These ponds, which formed in the area where the Porter Brook meets the River Sheaf, are now gone, but gave rise to the local names Pond Street, Pond Hill (formerly Pond Well Hill), and Ponds Forge.

By the beginning of the 19th century the building was being used as a house. In 1840 a pub called the Old Queen's Head was opened in the building next door. Sometime after 1862 the pub expanded into the former Hall i' th' Ponds. Late in the 19th century, alterations and additions were made to the rear of the building.

The Queen in the pub's current name is likely to refer to Mary, Queen of Scots, who was imprisoned in Sheffield from 1570 to 1584.

The building has been Grade II* listed since 1952. It was refurbished in 1993 when it was controlled by the Tom Cobleigh pub company. It is now controlled by Thwaites Brewery.

title: Old Queen's Head


text:
Hindu temple

A Hindu temple, also known as Mandir, Devasthanam, Pura, or Koil, is a sacred place where Hindus worship and show their devotion to deities through worship, sacrifice, and prayers. It is considered the house of the god to whom it is dedicated. Hindu temple architecture, which makes extensive use of squares and circles, has its roots in Vedic traditions, which also influence the temples' construction and symbolism. Through astronomical numbers and particular alignments connected to the temple's location and the relationship between the deity and the worshipper, the temple's design also illustrates the idea of recursion and the equivalency of the macrocosm and the microcosm. A temple incorporates all elements of the Hindu cosmos—presenting the good, the evil and the human, as well as the elements of the Hindu sense of cyclic time and the essence of life—symbolically presenting dharma, artha, kama, moksha, and karma.

The spiritual principles symbolically represented in Hindu temples are given in the ancient Sanskrit texts of India (for example, the Vedas and Upanishads), while their structural rules are described in various ancient Sanskrit treatises on architecture (Bṛhat Saṃhitā, Vāstu Śāstras). The layout, the motifs, the plan and the building process recite ancient rituals, geometric symbolisms, and reflect beliefs and values innate within various schools of Hinduism. A Hindu temple is a spiritual destination for many Hindus, as well as landmarks around which ancient arts, community celebrations and the economy have flourished.

Hindu temples come in many styles, are situated in diverse locations, deploy different construction methods and are adapted to different deities and regional beliefs, yet almost all of them share certain core ideas, symbolism and themes. They are found in South Asia, particularly India and Nepal, Bangladesh, Pakistan, Sri Lanka, in Southeast Asian countries such as Cambodia, Vietnam, Malaysia, and Indonesia, and countries such as Canada, Fiji, France, Guyana, Kenya, Mauritius, the Netherlands, South Africa, Suriname, Tanzania, Trinidad and Tobago, Uganda, the United Kingdom, the United States, Australia, New Zealand, and other countries with a significant Hindu population. The current state and outer appearance of Hindu temples reflect arts, materials and designs as they evolved over two millennia; they also reflect the effect of conflicts between Hinduism and Islam since the 12th century. The Swaminarayanan Akshardham in Robbinsville, New Jersey, between the New York and Philadelphia metropolitan areas, was inaugurated in 2014 as one of the world's largest Hindu temples.

Significance and meaning of a temple
A Hindu temple reflects a synthesis of arts, the ideals of dharma, beliefs, values and the way of life cherished under Hinduism. It is a link between man, deities, and the Universal Puruṣa in a sacred space. It represents the triple-knowledge (trayi-vidya) of the Vedic vision by mapping the relationships between the cosmos (brahmaṇḍa) and the cell (pinda) by a unique plan based on astronomical numbers. Subhash Kak sees the temple form and its iconography to be a natural expansion of Vedic ideology related to recursion, change and equivalence.

In ancient Indian texts, a temple is a place of pilgrimage, known in India as a Tirtha. It is a sacred site whose ambience and design attempts to symbolically condense the ideal tenets of the Hindu way of life. In a Hindu temple, all the cosmic components that produce and maintain life are there, from fire to water, from depictions of the natural world to gods, from genders that are feminine or masculine to those that are everlasting and universal.

Susan Lewandowski states that the underlying principle in a Hindu temple is the belief that all things are one, that everything is connected. The pilgrim is welcomed through 64-grid or 81-grid mathematically structured spaces, a network of art, pillars with carvings and statues that display and celebrate the four important and necessary principles of human life—the pursuit of artha (prosperity, wealth), of kama (pleasure, sex), of dharma (virtues, ethical life) and of moksha (release, self-knowledge). At the centre of the temple, typically below and sometimes above or next to the deity, is mere hollow space with no decoration, symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form, which is omnipresent, connects everything, and is the essence of everyone. A Hindu temple is meant to encourage reflection, facilitate purification of one's mind, and trigger the process of inner realization within the devotee. The specific process is left to the devotee's school of belief. The primary deity of different Hindu temples varies to reflect this spiritual spectrum.

In Hindu tradition, there is no dividing line between the secular and the lonely sacred. In the same spirit, Hindu temples are not just sacred spaces; they are also secular spaces. Their meaning and purpose have extended beyond spiritual life to social rituals and daily life, offering thus a social meaning. Some temples have served as a venue to mark festivals, to celebrate arts through dance and music, to get married or commemorate marriages, the birth of a child, other significant life events or the death of a loved one. In political and economic life, Hindu temples have served as a venue for succession within dynasties and landmarks around which economic activity thrived.

Forms and designs of Hindu temples

Almost all Hindu temples take two forms: a house or a palace. A house-themed temple is a simple shelter that serves as a deity's home. The temple is a place where the devotee visits, just like he or she would visit a friend or relative. The use of moveable and immoveable images is mentioned by Pāṇini. In the Bhakti school of Hinduism, temples are venues for puja, which is a hospitality ritual, where the deity is honored, and where devotee calls upon, attends to and connects with the deity. In other schools of Hinduism, the person may simply perform japa, or meditation, or yoga, or introspection in his or her temple. Palace-themed temples often incorporate more elaborate and monumental architecture.

Site
The appropriate site for a temple, suggests ancient Sanskrit texts, is near water and gardens, where lotus and flowers bloom, where swans, ducks and other birds are heard, and where animals rest without fear of injury or harm. These harmonious places were recommended in these texts with the explanation that such are the places where gods play, and thus the best site for Hindu temples.

"The gods always play where lakes are, where the sun's rays are warded off by umbrellas of lotus leaf clusters, and where clear waterpaths are made by swans whose breasts toss the white lotus hither and thither, where swans, ducks, curleys and paddy birds are heard, and animals rest nearby in the shade of Nicula trees on the river banks.

The gods always play where rivers have for their braclets the sound of curleys and the voice of swans for their speech, water as their garment, carps for their zone, the flowering trees on their banks as earrings, the confluence of rivers as their hips, raised sand banks as breasts and plumage of swans their mantle.

The gods always play where groves are near, rivers, mountains and springs, and in towns with pleasure gardens."

While major Hindu temples are recommended at sangams (confluence of rivers), river banks, lakes and seashore, Brhat Samhita and Puranas suggest temples may also be built where a natural source of water is not present. Here too, they recommend that a pond be built preferably in front or to the left of the temple with water gardens. If water is neither present naturally nor by design, water is symbolically present at the consecration of the temple or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93, inside caves and carved stones, on hill tops affording peaceful views, on mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at the head of a town street.

Manuals
Ancient builders of Hindu temples created manuals of architecture, called Vastu-Sastra (literally "science" of dwelling; vas-tu is a composite Sanskrit word; vas means "reside", tu means "you"); these contain Vastu-Vidya (literally, knowledge of dwelling) and Sastra meaning system or knowledge in Sanskrit. There exist many Vastu-Sastras on the art of building temples, such as one by Thakkura Pheru, describing where and how temples should be built. Sanskrit manuals have been found in India since the 6th century CE. Vastu-Sastra manuals included chapters on home construction, town planning, and how efficient villages, towns and kingdoms integrated temples, water bodies and gardens within them to achieve harmony with nature. While it is unclear, states Barnett, as to whether these temple and town planning texts were theoretical studies and if or when they were properly implemented in practice, the manuals suggest that town planning and Hindu temples were conceived as ideals of art and integral part of Hindu social and spiritual life.

The Silpa Prakasa of Odisha, authored by Ramacandra Bhattaraka Kaulacara in the 9th or 10th centuries CE, is another Sanskrit treatise on Temple Architecture. Silpa Prakasa describes the geometric principles in every aspect of the temple and symbolism such as 16 emotions of human beings carved as 16 types of female figures. These styles were perfected in Hindu temples prevalent in the eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added their own interpretations. For example, in the Saurastra tradition of temple building found in western states of India, the feminine form, expressions and emotions are depicted in 32 types of Nataka-stri compared to 16 types described in Silpa Prakasa. Silpa Prakasa provides a brief introduction to 12 types of Hindu temples. Other texts, such as Pancaratra Prasada Prasadhana compiled by Daniel Smith and Silpa Ratnakara compiled by Narmada Sankara provide a more extensive list of Hindu temple types.

Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in northwestern region of India, include Sutradhara Mandana's Prasadamandana (literally, manual for planning and building a temple). Manasara, a text of South Indian origin, estimated to be in circulation by the 7th century CE, is a guidebook on South Indian temple design and construction. Isanasivagurudeva paddhati is another Sanskrit text from the 9th century describing the art of temple building in India in south and central India. In north India, Brihat-samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing the design and construction of Nagara style of Hindu temples.

Plan
A Hindu temple design follows a geometrical design called vastu-purusha-mandala. The name is a composite Sanskrit word with three of the most important components of the plan. Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure. The Vastu-purusha-mandala is a yantra, a design laying out a Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles.

The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space available. The circle of the mandala circumscribes the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while the 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 (or in some cases 81) sub-squares called padas. Each pada is conceptually assigned to a symbolic element, sometimes in the form of a deity. The central square(s) of the 64- or 81-grid is dedicated to Brahman (not to be confused with brahmin, the scholarly and priestly class in India), and are called Brahma padas.

The 49-grid design is called Sthandila and is of great importance in creative expressions of Hindu temples in South India, particularly in Prakaras. The symmetric Vastu-purusa-mandala grids are sometimes combined to form a temple superstructure with two or more attached squares. The temples face sunrise, and the entrance for the devotee is typically this east side. The mandala pada facing sunrise is dedicated to Surya, the sun-god. The Surya pada is flanked by the padas of Satya, the deity of Truth, on one side and Indra, the king of the demigods, on other. The east and north faces of most temples feature a mix of gods and demigods; while the west and south feature demons and demigods related to the underworld. This vastu-purusha-mandala plan and symbolism is systematically seen in ancient Hindu temples on the Indian subcontinent as well as those in southeast Asia, with regional creativity and variations.

Beneath the mandala's central square(s) is the space for the all-pervasive, all-connecting Universal Spirit, the highest reality, the purusha. This space is sometimes known as the garbha-griya (literally, "womb house")—a small, perfect square, windowless, enclosed space without ornamentation that represents universal essence. In or near this space is typically a cult image—which, though many Indians may refer to casually as an idol, is more formally known as a murti, or the main worshippable deity, who varies with each temple. Often this murti gives the temple a local name, such as a Vishnu temple, Krishna temple, Rama temple, Narayana temple, Shiva temple, Lakshmi temple, Ganesha temple, Durga temple, Hanuman temple, Surya temple, etc. It is this garbha-griya which devotees seek for darsana (literally, a sight of knowledge, or vision ).

Above the vastu-purusha-mandala is a superstructure with a dome called Shikhara in north India, and Vimana in south India, that stretches towards the sky. Sometimes, in makeshift temples, the dome may be replaced with symbolic bamboo with few leaves at the top. The vertical dimension's cupola or dome is designed as a pyramid, a cone or other mountain-like shape, once again using the principle of concentric circles and squares. Scholars suggest that this shape is inspired by the cosmic mountain of Meru or Himalayan Kailasa, the abode of the gods, according to Vedic mythology.

In larger temples, the central space typically is surrounded by an ambulatory for the devotee to walk around and ritually circumambulate the Purusa, the universal essence. Often this space is visually decorated with carvings, paintings or images meant to inspire the devotee. In some temples, these images may be stories from Hindu Epics; in others, they may be Vedic tales about right and wrong or virtues and vice; in yet others, they may be murtis of locally worshipped deities. The pillars, walls and ceilings typically also have highly ornate carvings or images of the four just and necessary pursuits of life—kama, artha, dharma and moksa. This walk around is called pradakshina.

Large temples also have pillared halls, called mandapa—one of which, on the east side, serves as the waiting room for pilgrims and devotees. The mandapa may be a separate structure in older temples, but in newer temples this space is integrated into the temple superstructure. Mega-temple sites have a main temple surrounded by smaller temples and shrines, but these are still arranged by principles of symmetry, grids and mathematical precision. An important principle found in the layout of Hindu temples is mirroring and repeating fractal-like design structure, each unique yet also repeating the central common principle, one which Susan Lewandowski refers to as "an organism of repeating cells".

The ancient texts on Hindu temple design, the Vāstu-puruṣa-mandala and Vastu Śāstras, do not limit themselves to the design of a Hindu temple. They describe the temple as a holistic part of its community, and lay out various principles and a diversity of alternate designs for home, village and city layout along with the temple, gardens, water bodies and nature.

A predominant number of Hindu temples exhibit the perfect-square grid principle. However, there are some exceptions. For example, the Telika Mandir in Gwalior, built in the 8th century CE, is not a square but a rectangle in 2:3 proportion. Further, the temple explores a number of structures and shrines in 1:1, 1:2, 1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting that the architect intended to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an arbitrary approximation. Other examples of non-square harmonic ratios are found at the Naresar temple site of Madhya Pradesh and at the Nakti-Mata temple near Jaipur, Rajasthan. Michael Meister suggests that these exceptions mean that the ancient Sanskrit manuals for temple building were guidelines, and Hinduism permitted its artisans flexibility in expression and aesthetic independence.
 * Exceptions to the square grid principle

Symbolism

A Hindu temple is a symbolic reconstruction of the universe and the universal principles that enable everything in it to function. The temples reflect Hindu philosophy and its diverse views on the cosmos and on truth.

Hinduism has no traditional ecclesiastical order, no centralized religious authorities, no governing body, no prophet nor any binding holy book save the Vedas; Hindus can choose to be polytheistic, pantheistic, monistic, or atheistic. Within this diffuse and open structure, spirituality in Hindu philosophy is an individual experience, and referred to as kṣaitrajña (क्षैत्रज्ञ) ). It defines spiritual practice as one's journey towards moksha, awareness of self, the discovery of higher truths, true nature of reality, and a consciousness that is liberated and content. A Hindu temple reflects these core beliefs. The central core of almost all Hindu temples is not a large communal space; the temple is designed for the individual, a couple or a family—a small, private space to allow visitors to experience darsana.

Darsana is itself a symbolic word. In ancient Hindu scripts, darsana is the name of six methods or alternate viewpoints of understanding truth. These are Nyaya, Vaisesika, Sankhya, Yoga, Mimamsa and Vedanta—which flowered into individual schools of Hinduism, each of which is considered a valid, alternate path to understanding truth and achieving self-realization in the Hindu way of life.

From names to forms, from images to stories carved into the walls of a temple, symbolism is everywhere in a Hindu temple. Life principles such as the pursuit of joy, connection and emotional pleasure (kama) are fused into mystical, erotic and architectural forms in Hindu temples. These motifs and principles of human life are part of the sacred texts of the Hindus, such as its Upanishads; the temples express these same principles in a different form, through art and spaces. For example, Brihadaranyaka Upanisad (4.3.21) recites: "In the embrace of the beloved, one forgets the whole world, everything both within and without; in the same way, one who embraces the Self knows neither within nor without."

The architecture of Hindu temples is also symbolic. The whole structure fuses the daily life and its surroundings with the divine concepts, through a structure that is open yet raised on a terrace, transitioning from the secular towards the sacred, inviting the visitor inwards and upwards towards the Brahma pada, the temple's central core, a symbolic space marked by its spire (shikhara, vimana). The ancient temples had grand, intricately carved entrances but no doors, and they lacked a boundary wall. In most cultures, suggests Edmund Leach, a boundary and gateway separates the secular and the sacred, and this gateway door is grand. In Hindu tradition, this is discarded in favor of an open and diffusive architecture, where the secular world was not separated from the sacred, but transitioned and flowed into the sacred. The Hindu temple has structural walls, which were patterned usually within the 64-grid, or other geometric layouts. Yet the layout was open on all sides, except for the core space with a single opening for darsana. The temple space is laid out in a series of courts (mandapas). The outermost regions may incorporate the negative and suffering side of life with the symbolism of evil, asuras and rakshashas; but in small temples this layer is dispensed with. When present, this outer region diffuse into the next inner layer that bridges as human space, followed by another inner Devika padas space and symbolic arts incorporating the positive and joyful side of life about the good and the gods. This divine space then concentrically diffuses inwards and lifts the guest to the core of the temple, where resides the main murti, as well as the space for the Purusa, and ideas held to be most sacred principles in Hindu tradition. The symbolism in the arts and temples of Hinduism, suggests Edmund Leach, is similar to those in Christianity and other major religions of the world.

Building teams
Indian texts call the craftsmen and builders of temples "Silpin" (शिल्पिन् ), derived from "Silpa". One of the earliest mentions of the Sanskrit word "Silpa" is in Atharvaveda, from about 1000 BCE; according to scholars, the word was used to denote any work of art. Some scholars suggest that the word "Silpa" has no direct or one-word translation in English, nor does the word "Silpin". "Silpa", explains Stella Kramrisch, is a multicolored word and incorporates art, skill, craft, ingenuity, imagination, form, expression and inventiveness of any art or craft. Similarly, "Shilpin", notes Kramrisch, is a complex Sanskrit word, describing any person who embodies art, science, culture, skill, and rhythm and employs creative principles to produce any divine form of expression. Silpins who built Hindu temples, as well as the artworks and sculptures within them, were considered by the ancient Sanskrit texts to deploy arts whose number are unlimited, Kala (techniques) that were 64 in number, and Vidya (science) that were of 32 types.

The Hindu manuals of temple construction describe the education, characteristics of good artists and architects. The general education of a Hindu Shilpin in ancient India included Lekha or Lipi (alphabet, reading and writing), Rupa (drawing and geometry), Ganana (arithmetic). These were imparted from age 5 to 12. The advanced students would continue in higher stages of Shilpa Sastra studies till the age of 25. Apart from specialist technical competence, the manuals suggest that best Silpins for building a Hindu temple are those who know the essence of Vedas and Agamas, consider themselves as students, keep well verse with principles of traditional sciences and mathematics, painting and geography. Further they are kind, free from jealousy, righteous, have their sense under control, of happy disposition, and ardent in everything they do.

According to Silparatna, a Hindu temple project would start with a Yajamana (patron), and include a Sthapaka (guru, spiritual guide and architect-priest), a Sthapati (architect) who would design the building, a Sutragrahin (surveyor), and many Vardhakins (workers, masons, painters, plasterers, overseers) and Taksakas (sculptors). While the temple is under construction, all those working on the temple were revered and considered sacerdotal by the patron as well as others witnessing the construction. Further, it was a tradition that all tools and materials used in temple building and all creative work had the sanction of a sacrament. For example, if a carpenter or sculptor needed to fell a tree or cut a rock from a hill, he would propitiate the tree or rock with prayers, seeking forgiveness for cutting it from its surroundings, and explaining his intent and purpose. The axe used to cut the tree would be anointed with butter to minimize the hurt to the tree. Even in modern times, in some parts of India such as Odisha, Visvakarma Puja is a ritual festival every year where the craftsmen and artists worship their arts, tools and materials.

Social functions of Hindu temples
Hindu temples served as nuclei of important social, economic, artistic and intellectual functions in ancient and medieval India. Burton Stein states that South Indian temples managed regional development function, such as irrigation projects, land reclamation, post-disaster relief and recovery. These activities were paid for by the donations (melvarum) they collected from devotees. According to James Heitzman, these donations came from a wide spectrum of the Indian society, ranging from kings, queens, officials in the kingdom to merchants, priests and shepherds. Temples also managed lands endowed to it by its devotees upon their death. They would provide employment to the poorest. Some temples had large treasury, with gold and silver coins, and these temples served as banks.

Hindu temples over time became wealthy from grants and donations from royal patrons as well as private individuals. Major temples became employers and patrons of economic activity. They sponsored land reclamation and infrastructure improvements, states Michell, including building facilities such as water tanks, irrigation canals and new roads. A very detailed early record from 1101 lists over 600 employees (excluding the priests) of the Brihadisvara Temple, Thanjavur, still one of the largest temples in Tamil Nadu. Most worked part-time and received the use of temple farmland as reward. For those thus employed by the temple, according to Michell, "some gratuitous services were usually considered obligatory, such as dragging the temple chariots on festival occasions and helping when a large building project was undertaken". Temples also acted as refuge during times of political unrest and danger.

In contemporary times, the process of building a Hindu temple by emigrants and diasporas from South Asia has also served as a process of building a community, a social venue to network, reduce prejudice and seek civil rights together.

Library of manuscripts
John Guy and Jorrit Britschgi state Hindu temples served as centers where ancient manuscripts were routinely used for learning and where the texts were copied when they wore out. In South India, temples and associated mathas served custodial functions, and a large number of manuscripts on Hindu philosophy, poetry, grammar and other subjects were written, multiplied and preserved inside the temples. Archaeological and epigraphical evidence indicates existence of libraries called Sarasvati-bhandara, dated possibly to early 12th-century and employing librarians, attached to Hindu temples.

Palm-leaf manuscripts called lontar in dedicated stone libraries have been discovered by archaeologists at Hindu temples in Bali Indonesia and in 10th century Cambodian temples such as Angkor Wat and Banteay Srei.

Temple schools
Inscriptions from the 4th century CE suggest the existence of schools around Hindu temples, called Ghatikas or Mathas, where the Vedas were studied. In south India, 9th century Vedic schools attached to Hindu temples were called Calai or Salai, and these provided free boarding and lodging to students and scholars. The temples linked to Bhakti movement in the early 2nd millennium, were dominated by non-Brahmins. These assumed many educational functions, including the exposition, recitation and public discourses of Sanskrit and Vedic texts. Some temple schools offered wide range of studies, ranging from Hindu scriptures to Buddhist texts, grammar, philosophy, martial arts, music and painting. By the 8th century, Hindu temples also served as the social venue for tests, debates, team competition and Vedic recitals called Anyonyam.

Hospitals, community kitchen, monasteries
According to Kenneth G. Zysk—a professor specializing in Indology and ancient medicine, Hindu mathas and temples had by the 10th-century attached medical care along with their religious and educational roles. This is evidenced by various inscriptions found in Bengal, Andhra Pradesh and elsewhere. An inscription dated to about 930 CE states the provision of a physician to two matha to care for the sick and destitute. Another inscription dated to 1069 at a Vishnu temple in Tamil Nadu describes a hospital attached to the temple, listing the nurses, physicians, medicines and beds for patients. Similarly, a stone inscription in Andhra Pradesh dated to about 1262 mentions the provision of a prasutishala (maternity house), vaidya (physician), an arogyashala (health house) and a viprasattra (hospice, kitchen) with the religious center where people from all social backgrounds could be fed and cared for. According to Zysk, both Buddhist monasteries and Hindu religious centers provided facilities to care for the sick and needy in the 1st millennium, but with the destruction of Buddhist centers after the 12th century, the Hindu religious institutions assumed these social responsibilities. According to George Michell, Hindu temples in South India were active charity centers and they provided free meal for wayfarers, pilgrims and devotees, as well as boarding facilities for students and hospitals for the sick.

The 15th and 16th century Hindu temples at Hampi featured storage spaces (temple granary, kottara), water tanks and kitchens. Many major pilgrimage sites have featured dharmashalas since early times. These were attached to Hindu temples, particularly in South India, providing a bed and meal to pilgrims. They relied on any voluntary donation the visitor may leave and to land grants from local rulers. Some temples have operated their kitchens on a daily basis to serve the visitor and the needy, while others during major community gatherings or festivals. Examples include the major kitchens run by Hindu temples in Udupi (Karnataka), Puri (Odisha) and Tirupati (Andhra Pradesh). The tradition of sharing food in smaller temple is typically called prasada.

Styles
Hindu temples are found in diverse locations each incorporating different methods of construction and styles:
 * Mountain temples such as Masrur
 * Cave temples such as Chandrabhaga, Chalukya and Ellora
 * Stepwell temple compounds such as the Mata Bhavani, Ankol Mata and Huccimallugudi
 * Forest temples such as Kasaun and Kusama
 * River bank and sea shore temples such as Somnath

In arid western parts of India, such as Rajasthan and Gujarat, Hindu communities built large walk-in wells that served as the only source of water in dry months but also served as social meeting places and carried religious significance. These monuments went down into the earth towards subterranean water, up to seven storeys, and were part of a temple complex. These vav (literally, stepwells) had intricate art reliefs on the walls, with numerous murtis and images of Hindu deities, water spirits and erotic symbolism. The step wells were named after Hindu deities; for example, Mata Bhavani's Stepwell, Ankol Mata Vav, Sikotari Vav and others. The temple ranged from being small single pada (cell) structure to large nearby complexes. These stepwells and their temple compounds have been variously dated from late 1st millennium BCE through 11th century CE. Of these, Rani ki vav, with hundreds of art reliefs including many of Vishnu deity avatars, has been declared a UNESCO World Heritage site.
 * Step well temples

The Indian rock-cut architecture evolved in Maharashtran temple style in the 1st millennium CE. The temples are carved from a single piece of rock as a complete temple or carved in a cave to look like the interior of a temple. Ellora Temple is an example of the former, while The Elephanta Caves are representative of the latter style. The Elephanta Caves consist of two groups of caves—the first is a large group of five Hindu caves and the second is a smaller group of two Buddhist caves. The Hindu caves contain rock-cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the god Shiva.
 * Cave temples

Arts inside Hindu temples
A typical, ancient Hindu temple has a profusion of arts—from paintings to sculpture, from symbolic icons to engravings, from thoughtful layout of space to fusion of mathematical principles with Hindu sense of time and cardinality.

Ancient Sanskrit texts classify murtis and images in a number of ways. For example, one method of classification is the dimensionality of completion:

 * Chitra: images that are three-dimensional and completely formed
 * Chitrardha: images that are engraved in half relief
 * Chitrabhasa: images that are two-dimensional, such as paintings on walls and cloth

Another way of classification is by the expressive state of the image:

 * Raudra or Dugra: are images that were meant to terrify, induce fear. These typically have wide, circular eyes, carry weapons, have skulls and bones as adornment. These murtis were worshiped by soldiers before going to war, or by people in times of distress or terrors. Raudra deity temples were not set up inside villages or towns, but invariably outside and in remote areas of a kingdom.
 * Shanta and saumya: are images that were pacific, peaceful and expressive of love, compassion, kindness and other virtues in Hindu pantheon. These images would carry symbolic icons of peace, knowledge, music, wealth, flowers, sensuality among other things. In ancient India, these temples were predominant inside villages and towns.

A Hindu temple may or may not include a murti or images, but larger temples usually do. Personal Hindu temples at home or a hermitage may have a pada for yoga or meditation, but be devoid of anthropomorphic representations of god. Nature or others arts may surround him or her. To a Hindu yogin, states Gopinath Rao, one who has realised the Self and the Universal Principle within himself, there is no need for any temple or divine image for worship. However, for those who have yet to reach this height of realization, various symbolic manifestations through images, murtis and icons as well as mental modes of worship are offered as one of the spiritual paths in the Hindu way of life. Some ancient Hindu scriptures like the Jabaladarshana Upanishad appear to endorse this idea

"शिवमात्मनि पश्यन्ति प्रतिमासु न योगिनः । अज्ञानं भावनार्थाय प्रतिमाः परिकल्पिताः ॥५९॥ - जाबालदर्शनोपनिषत् A yogin perceives god (Siva) within himself; images are for those who have not reached this knowledge."

However, devotees aspiring to a personal relationship with the Supreme Lord, whom they worship variously as Krishna or Shiva, for example, tend to reverse such hierarchical views of self-realization, holding that the personal form of the deity, as the source of the Brahma-jyoti, or the light into which impersonalists, according to their ideals, propose to merge themselves and their individual identities, will benevolently accept worship through an arca vigraha, an authorized form constructed not according to imagination but in pursuit of scriptural directives.

Historical development and destruction
A number of ancient Indian texts suggest the prevalence of murtis, temples and shrines in Indian subcontinent for thousands of years. For example, the temples of the Koshala kingdom are mentioned in the Valmiki Ramayana (various recent scholars' estimates for the earliest stage of the text range from the 7th to 4th centuries BCE, with later stages extending up to the 3rd century CE) The 5th century BCE text, Astadhyayi, mentions male deity arcas or murtis of Agni, Indra, Varuna, Rudra, Mrda, Pusa, Surya, and Soma being worshipped, as well as the worship of arcas of female goddesses such as Indrani, Varunani, Usa, Bhavani, Prthivi and Vrsakapayi. The 2nd century BCE "Mahabhasya" of Patanjali extensively describes temples of Dhanapati (deity of wealth and finance, Kubera), as well as temples of Rama and Kesava, wherein the worship included dance, music and extensive rituals. The Mahabhasya also describes the rituals for Krsna, Visnu and Siva. An image recovered from Mathura in north India has been dated to the 2nd century BCE. Kautilya's Arthashastra from 4th century BCE describes a city of temples, each enshrining various Vedic and Puranic deities. All three of these sources have common names, describe common rituals, symbolism and significance possibly suggesting that the idea of murtis, temples and shrines passed from one generation to next, in ancient India, at least from the 4th century BCE. The oldest temples, suggest scholars, were built of brick and wood. Stone became the preferred material of construction later.

Early Jain and Buddhist literature, along with Kautilya's Arthashastra, describe structures, embellishments and designs of these temples—all with motifs and deities currently prevalent in Hinduism. Bas-reliefs and murtis have been found from 2nd to 3rd century, but none of the temple structures have survived. Scholars theorize that those ancient temples of India, later referred to as Hindu temples, were modeled after domestic structure—a house or a palace. Beyond shrines, nature was revered, in forms such as trees, rivers, and stupas, before the time of Buddha and Vardhamana Mahavira. As Jainism and Buddhism branched off from the religious tradition later to be called Hinduism, the ideas, designs and plans of ancient Vedic and Upanishad era shrines were adopted and evolved, likely from the competitive development of temples and arts in Jainism and Buddhism. Ancient reliefs found so far, states Michael Meister, suggest five basic shrine designs and combinations thereof in 1st millennium BCE:
 * 1) A raised platform with or without a symbol
 * 2) A raised platform under an umbrella
 * 3) A raised platform under a tree
 * 4) A raised platform enclosed with a railing
 * 5) A raised platform inside a pillared pavilion

Many of these ancient shrines were roofless, some had toranas and roof.

From the 1st century BCE through 3rd century CE, the evidence and details about ancient temples increases. The ancient literature refers to these temples as Pasada (or Prasada), stana, mahasthana, devalaya, devagrha, devakula, devakulika, ayatana and harmya. The entrance of the temple is referred to as dvarakosthaka in these ancient texts notes Meister, the temple hall is described as sabha or ayagasabha, pillars were called kumbhaka, while vedika referred to the structures at the boundary of a temple.

Customs and etiquette
In Hinduism, temples are considered sacred spaces where the divine is believed to manifest, and devotees visit these places to experience the presence and blessings of the deity. The customs and etiquette for visiting temples varies across India. Devotees in major temples may bring in symbolic offerings for the puja. This includes fruits, flowers, sweets and other symbols of the bounty of the natural world. Temples in India are usually surrounded with small shops selling these offerings.

When inside the temple, devotees keep both hands folded (namaste mudra). The inner sanctuary, where the murtis reside, is known as the garbhagriha. It symbolizes the birthplace of the universe, the meeting place of the gods and humankind, and the threshold between the transcendental and the phenomenal worlds. It is in this inner shrine that devotees seek darśana (seeing and being seen by the auspicious sight of the divine) and offer prayers. Devotees may or may not be able to personally present their offerings at the feet of the deity. In most large Indian temples, only the pujaris (priest) are allowed to enter the main sanctum.

Temple management staff typically announce the hours of operation, including timings for special pujas. These timings and nature of special puja vary from temple to temple. Additionally, there may be specially allotted times for devotees to perform pradakshina (circumambulations) around the temple.

Visitors and worshipers to large Hindu temples may be required to deposit their shoes and other footwear before entering. Where this is expected, the temples provide an area and help staff to store footwear. Dress codes vary. It is customary in temples in Kerala, for men to remove shirts and to cover pants and shorts with a traditional cloth known as a Mundu. In Java and Bali (Indonesia), before one enters the most sacred parts of a Hindu temple, shirts are required as well as a sarong around one's waist. At many other locations, this formality is unnecessary.

Nagara Architecture of North Indian temples
North Indian temples are referred to as Nagara style of temple architecture. They have sanctum sanctorum where the deity is present, open on one side from where the devotee obtains darśana. There may or may not be many more surrounding corridors, halls, etc. However, there will be space for devotees to go around the temple in clockwise fashion circumambulation. In North Indian temples, the tallest towers are built over the sanctum sanctorum in which the deity is installed.

The north India Nagara style of temple designs often deploy fractal-theme, where smaller parts of the temple are themselves images or geometric re-arrangement of the large temple, a concept that later inspired French and Russian architecture such as the matryoshka principle. One difference is the scope and cardinality, where Hindu temple structures deploy this principle in every dimension with garbhgriya as the primary locus, and each pada as well as zones serving as additional centers of loci. This makes a Nagara Hindu temple architecture symbolically a perennial expression of movement and time, of centrifugal growth fused with the idea of unity in everything.

Temples in West Bengal
In West Bengal, the Bengali terra cotta temple architecture is found. Due to lack of suitable stone in the alluvial soil locally available, the temple makers had to resort to other materials instead of stone. This gave rise to using terracotta as a medium for temple construction. Terracotta exteriors with rich carvings are a unique feature of Bengali temples. The town of Bishnupur in West Bengal is renowned for this type of architecture. There is also a popular style of building known as Naba-ratna (nine-towered) or Pancha-ratna (five-towered). An example of Navaratna style is the Dakshineswar Kali Temple.

Temples in Odisha
Odisha temple architecture is known as Kalinga architecture, classifies the spire into three parts, the Bāḍa (lower limb), the Ganḍi (body) and the Cuḷa/Mastaka (head). Each part is decorated in a different manner. Kalinga architecture is a style which flourished in Kalinga, the name for kingdom that included ancient Odisha. It includes three styles: Rekha Deula, Pidha Deula and Khakhara Deula. The former two are associated with Vishnu, Surya and Shiva temples while the third is mainly associated with Chamunda and Durga temples. The Rekha Deula and Khakhara Deula houses the sanctum sanctorum while the Pidha Deula style includes space for outer dancing and offering halls.

Temples of Goa and Konkani
The temple architecture of Goa is quite unique. As Portuguese colonial hegemony increased, Goan Hindu temples became the rallying point to local resistance. Many these temples are not more than 500 years old, and are a unique blend of original Goan temple architecture, Dravidian, Nagar and Hemadpanthi temple styles with some British and Portuguese architectural influences. Goan temples were built using sedimentary rocks, wood, limestone and clay tiles, and copper sheets were used for the roofs. These temples were decorated with mural art called as Kavi kala or ocher art. The interiors have murals and wood carvings depicting scenes from the Hindu mythology.

South Indian and Sri Lankan temples
South Indian temples have a large gopuram, a monumental tower, usually ornate, at the entrance of the temple. This forms a prominent feature of Koils, Hindu temples of the Dravidian style. They are topped by the kalasam, a bulbous stone finial. They function as gateways through the walls that surround the temple complex. The gopuram's origins can be traced back to early structures of the Tamil kings Pallavas; and by the twelfth century, under the Pandya rulers, these gateways became a dominant feature of a temple's outer appearance, eventually overshadowing the inner sanctuary which became obscured from view by the gopuram's colossal size. It also dominated the inner sanctum in amount of ornamentation. Often a shrine has more than one gopuram. They also appear in architecture outside India, especially Khmer architecture, as at Angkor Wat. A koil may have multiple gopurams, typically constructed into multiple walls in tiers around the main shrine. The temple's walls are typically square with the outer most wall having gopuras. The sanctum sanctorum and its towering roof (the central deity's shrine) are also called the vimanam. The inner sanctum has restricted access with only priests allowed beyond a certain point.

Temples in Kerala
Temples in Kerala have a different architectural style (keeping the same essence of Vastu), especially due to climatic differences Kerala have with other parts of India with larger rainfall. The temple roof is mostly tiled and is sloped and the walls are often square, the innermost shrine being entirely enclosed in another four walls to which only the pujari (priest) enters. The walls are decorated with either mural paintings or rock sculptures which many times are emphasised on Dwarapalakas.

Temples in Tamil Nadu
The Srirangam Ranganathaswamy temple is the worlds largest functioning Hindu temple. The temple is present in Tamil Nadu, the temple was first built by the Chola ruler, Dharmavarma. The Kaveri river flood destroyed the temple and vimanam submerged in the island, and later, the early Cholas King Killivalavan rebuilt the temple complex as is present today. Beyond the ancient textual history, archaeological evidence such as inscriptions refer to this temple, and these stone inscriptions are from late 100 BCE to 100 CE. Hence, making it one of the Oldest surviving active temple complexes in South India. Later, the temple constructions reached its peak during rule of is construction reached its peak during rule of Pallavas. They built various temples around Kancheepuram, and Narasimhavarman II built the Thirukadalmallai and Shore Temple in Mamallapuram, a UNESCO World Heritage Site. The Pandyas rule created temples such as the Koodal Azhagar temple and Meenakshi Amman Temple at Madurai and Srivilliputhur Andal Temple at Srivilliputhur. The Cholas were prolific temple builders right from the times of the first medieval king Vijayalaya Chola. The Chola temples include Sri Ranganathaswamy Temple at Srirangam, the Brihadeeshwarar temple at Tanjore, Brihadeeshwarar temple at Gangaikonda Cholapuram and the Airavatesvarar Temple of Darasuram which are among the UNESCO World Heritage Sites. The Nayaks of Madurai reconstructed some of the well-known temples in Tamil Nadu such as the Meenakshi Temple. One of the southernmost famous temples in South India, the Ramanathaswamy Temple was built in the 17th century on the island of Rameshwaram in Tamil Nadu.

Temples in Nepal
The Pashupatinath temple in Kathmandu, Nepal is an important temple in Hinduism. It is built in a pagoda style and is surrounded by hundreds of temples and buildings built by kings. The temples top is made from pure gold.

Khmer Temples
Angkor Wat was built as a Hindu temple by King Suryavarman II in the early 12th century in Yasodharapura (Khmer, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. The Spire in Khmer Hindu temple is called Giri (mountain) and symbolizes the residence of gods just like Meru does in Bali Hindu mythology and Ku (Guha) does in Burmese Hindu mythology.

Angkor Wat is just one of numerous Hindu temples in Cambodia, most of them in ruins. Hundreds of Hindu temples are scattered from Siem Reap to Sambor Prei Kuk in central Cambodian region.

Temples in Indonesia

Ancient Hindu temples in Indonesia are called Candi (read: chandi). Prior to the rise of Islam, between the 5th to 15th century Dharmic faiths (Hinduism and Buddhism) were the majority in Indonesian archipelago, especially in Java and Sumatra. As the result numerous Hindu temples, locally known as candi, constructed and dominated the landscape of Java. According to local beliefs, Java valley had thousands of Hindu temples which co-existed with Buddhist temples, most of which were buried in massive eruption of Mount Merapi in 1006 CE. Between 1,100 and 1,500 additional Hindu temples were built, but abandoned by Hindus and Buddhists as Islam spread in Java circa 15th to 16th century. In last 200 years, some of these have been rediscovered mostly by farmers while preparing their lands for crops. Most of these ancient temples were rediscovered and reconstructed between 19th to 20th century, and treated as the important archaeological findings and also as tourist attraction, but not as the house of worship. Hindu temples of ancient Java bear resemblances with temples of South Indian style. The largest of these is the 9th century Javanese Hindu temple, Prambanan in Yogyakarta, now a UNESCO world heritage site. It was designed as three concentric squares and has 224 temples. The inner square contains 16 temples dedicated to major Hindu deities, of which Shiva temple is the largest. The temple has extensive wall reliefs and carvings illustrating the stories from the Hindu epic Ramayana.

In Bali, the Hindu temple is known as "Pura", which is designed as an open-air worship place in a walled compound. The compound walls have a series of intricately decorated gates without doors for the devotee to enter. The design, plan and layout of the holy pura follows a square layout.

The majority of Hindu temples in Java were dedicated to Shiva, who Javanese Hindus considered as the God who commands the energy to destroy, recombine and recreate the cycle of life. Small temples were often dedicated to Shiva and his family (wife Durga, son Ganesha). Larger temple complexes include temples for Vishnu and Brahma, but the most majestic, sophisticated and central temple was dedicated to Shiva. The 732 CE Canggal inscription found in Southern Central Java, written in Indonesian Sanskrit script, eulogizes Shiva, calling him God par-excellence.

Temples in Vietnam
There are a number of Hindu temple clusters built by the Champa Kingdoms along the coast of Vietnam, with some on UNESCO world heritage site list. Examples include Mỹ Sơn—a cluster of 70 temples with earliest dated to be from the 4th century CE and dedicated to Siva, while others are dedicated to Hindu deities Krishna, Vishnu and others. These temples, internally and with respect to each other, are also built on the Hindu perfect square grid concept. Other sites in Vietnam with Hindu temples include Phan Rang with the Cham temple Po Klong Garai.

Temples in Thailand
Thailand has many notable Hindu temples including: the Sri Mariammam temple in Bangkok, the Devasathan, the Erawan Shrine, Prasat Muang Tam, Sdok Kok Thom and Phanom Rung. Most of the newer Hindu temples are of South Indian origin and were built by Tamil migrant communities. However, Thailand has many historic indigenous Hindu temples such as Phanom Rung. Although most indigenous Hindu temples are ruins, a few such as Devasathan in Bangkok are actively used.

Temples outside Asia
Many members of the diaspora from the Indian subcontinent have established Hindu temples outside India as a means of preserving and celebrating cultural and spiritual heritage abroad. Describing the hundreds of temples that can be found throughout the United States, scholar Gail M. Harley observes, "The temples serve as central locations where Hindus can come together to worship during holy festivals and socialize with other Hindus. Temples in America reflect the colorful kaleidoscopic aspects contained in Hinduism while unifying people who are disbursed throughout the American landscape." Numerous temples in North America and Europe have gained particular prominence and acclaim, many of which were built by the Bochasanwasi Akshar Purushottam Swaminarayan Sanstha. The Ganesh temple of Hindu Temple Society of North America, in Flushing, Queens, New York City, is the oldest Hindu temple in the Western Hemisphere, and its canteen feeds 4,000 people a week, with as many as 10,000 during the Diwali (Deepavali) festival.

Temple management
The Archaeological Survey of India has control of most ancient temples of archaeological importance in India. In India, day-to-day activities of a temple is managed by a temple board committee that administers its finances, management, and events. Since independence, the autonomy of individual Hindu religious denominations to manage their own affairs with respect to temples of their own denomination has been severely eroded and the state governments have taken control of major Hindu temples in some countries; however, in others, such as the United States, private temple management autonomy has been preserved.

Etymology and nomenclature
In Sanskrit, the liturgical language of Hinduism, the word mandira means "house" (मन्दिर). Ancient Sanskrit texts use many words for temple, such as matha, vayuna, kirti, kesapaksha, devavasatha, vihara, suravasa, surakula, devatayatana, amaragara, devakula, devagrha, devabhavana, devakulika, and niketana. Regionally, they are also known as prasada, vimana, kshetra, gudi, ambalam, punyakshetram, deval, deula, devasthanam, kovil, candi, pura, and wat.

The following are the other names by which a Hindu temple is referred to in India:

 * Devasthana (ದೇವಸ್ಥಾನ) in Kannada
 * Deul/Doul/Dewaaloy in Assamese and in Bengali
 * Deval/Raul/Mandir (मंदिर) in Marathi
 * Devro/Mindar in Rajasthani
 * Devala, Devalaya, Math, Devaghar or Mandira in Bhojpuri. Thakurbari and sivala are specially use of Krishna temple and Shiva temple respectively.
 * Deula (ଦେଉଳ) or Mandira(ମନ୍ଦିର) in Odia and Gudi in Kosali Odia
 * Gudi (గుడి), Devalayam (దేవాలయం), Devasthanam (దేవస్థానము), Kovela (కోవెల), Kshetralayam (క్షేత్రాలయం), Punyakshetram (పుణ్యక్షేత్రం), or Punyakshetralayam (పుణ్యక్షేత్రాలయం), Mandiramu (మందిరము) in Telugu
 * Kovil or kō-vill (கோவில்) and occasionally Aalayam (ஆலயம்) in Tamil; the Tamil word Kovil means "residence of God"
 * Kshetram (ക്ഷേത്രം), Ambalam (അമ്പലം), Kovil (കോവിൽ), Devasthanam (ദേവസ്ഥാനം) or Devalayam (ദേവാലയം) in Malayalam
 * Mandir (मंदिर) in Hindi, Nepali, Kashmiri, Marathi, Punjabi (ਮੰਦਰ), Gujarati (મંદિર), and Urdu (مندر)
 * Mondir (মন্দির) in Bengali

In Southeast Asia temples known as:
 * Candi in Indonesia, especially in Javanese, Malay and Indonesian, used both for Hindu or Buddhist temples.
 * Pura in Hindu majority island of Bali, Indonesia.
 * Wat in Cambodia and Thailand, also applied to both Hindu and Buddhist temples.

Some lands, including Varanasi, Puri, Kanchipuram, Dwarka, Amarnath, Kedarnath, Somnath, Mathura and Rameswara, are considered holy in Hinduism. They are called kṣétra (क्षेत्र ). A kṣétra has many temples, including one or more major ones. These temples and its location attracts pilgrimage called tirtha (or tirthayatra).
 * Temple sites

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List of settlements in the Chania regional unit

This is a list of settlements in the Chania regional unit, Greece.

 * Afrata
 * Agia Marina
 * Agia Roumeli
 * Agia
 * Agia Eirini
 * Agios Ioannis
 * Alikampos
 * Alikianos
 * Amygdalokefali
 * Anopoli
 * Anoskeli
 * Aptera
 * Armenoi
 * Aroni
 * Asfendos
 * Asi Gonia
 * Askyfou
 * Chairethiana
 * Chania
 * Chora Sfakion
 * Chordaki
 * Chrysavgi
 * Daratsos
 * Deliana
 * Drakona
 * Drakona
 * Drapanias
 * Elos
 * Emprosneros
 * Epanochori
 * Episkopi
 * Faleliana
 * Fournes
 * Fres
 * Fylaki
 * Galatas
 * Gavalochori
 * Georgioupoli
 * Gerani
 * Glossa
 * Gramvousa
 * Impros
 * Kaina
 * Kakodiki
 * Kakopetros
 * Kalamitsi
 * Kalamitsi
 * Kalathenes
 * Kallergiana
 * Kaloudiana
 * Kalydonia
 * Kalyves
 * Kamisiana
 * Kampanos
 * Kampoi
 * Kampos
 * Kandanos
 * Karanos
 * Kares, Apokoronas
 * Kares, Platanias
 * Kastellos
 * Kefalas
 * Kefali
 * Kissamos
 * Kokkino Chorio
 * Kolymvari
 * Kontomari
 * Kontopoula
 * Koufos
 * Koukounara
 * Koulkouthiana
 * Kounoupidiana
 * Kournas
 * Kyparissos
 * Lakkoi
 * Lousakies
 * Machairoi
 * Malathyros
 * Malaxa
 * Maleme
 * Manoliopoulo
 * Maza
 * Melidoni
 * Meskla
 * Modi
 * Mournies
 * Mouzouras
 * Neo Chorio, Apokoronas
 * Neo Chorio, Platanias
 * Neriana
 * Nerokouros
 * Nipos
 * Nochia
 * Ntere
 * Omalos
 * Orthouni
 * Paidochori
 * Palaia Roumata
 * Palaiochora
 * Panethimos
 * Pappadiana
 * Patsianos
 * Pemonia
 * Perivolia, Kissamos
 * Perivolia, Theriso
 * Pervolakia
 * Plaka
 * Platanias
 * Platanos
 * Platyvola
 * Plemeniana
 * Polemarchi
 * Polyrrinia
 * Potamida
 * Prases
 * Psathogiannos
 * Ramni
 * Ravdoucha
 * Rodopos
 * Rodovani
 * Rokka
 * Sarakina
 * Sasalos
 * Sellia
 * Sempronas
 * Sfakopigadi
 * Sirikari
 * Sirili
 * Skafi
 * Skaloti
 * Skines
 * Sklavopoula
 * Souda
 * Sougia
 * Spilia
 * Stalos
 * Sternes
 * Strovles
 * Stylos
 * Tavronitis
 * Temenia
 * Theriso
 * Topolia
 * Tsikalaria
 * Tzitzifes
 * Vafes
 * Vamos
 * Vamvakopoulo
 * Varypetro
 * Vasilopoulo
 * Vathi
 * Vatolakkos
 * Vlacheronitissa
 * Vlatos
 * Vothiana
 * Voukolies
 * Voulgaro
 * Voutas
 * Vouves
 * Vryses
 * Vryses
 * Xamoudochori
 * Xirosterni
 * Zounaki
 * Zympragou

By municipality
Gavdos


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Talk page material moved to Talk: Air Farce Live Steelbeard1 15:31, 23 October 2007 (UTC)

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Palnadu

Palnadu is a region located in Palnadu district and covering a portion of Prakasam district in Andhra Pradesh, India. It is spread over the revenue divisions of Gurazala in Palnadu district and Markapur in Prakasam district.

History
The region is most notable for the Battle of Palnadu that was fought under the leadership of Brahma Nayadu and Nagamma and their warriors.

In January 2020, the Government of Andhra Pradesh approved making the region a district. Narasaraopet and Gurazala were purported to be the choices for the district headquarters.

Geography
The region comprises hills and mostly stony areas which has minerals such as limestone and granite. Narasaraopet in Guntur district is considered as 'Gateway of Palnadu'.

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Flüela Pass

The Flüela Pass (Flüelapass, Pass dal Flüela, elevation 2384 m) is a high mountain pass of the Swiss Alps in Graubünden. Traditionally considered the boundary between the Albula and Silvretta Alps, the pass crosses the watershed / drainage divide between the basins of the rivers Rhine and Danube. The pass is overlooked by the Flüela Schwarzhorn (Albula Alps) and the Flüela Wisshorn (Silvretta Alps). The summit of the pass lies between the lakes Lai da la Scotta and Lai Nair.

The Flüela Pass is one of the three paved road passes connecting the Engadin with the northern Grisons, the two other being the Julier Pass and the Albula Pass.

The Flüela Pass is traversed by a paved road. The latter road connects Davos (central Graubünden) with Susch (Engadin). On the summit of the pass is the Flüela Hospice. Since 1999, the range can be traversed by rail as well, although at a drastically lower elevation, through the Vereina Tunnel. The line, operated by the Rhaetian Railway, connects Klosters with Susch and Lavin and runs about 5-7 kilometres northeast of the Flüela road, parallel to it. Car shuttle trains are also operated on the line. As a result, the pass road is no longer guaranteed to be open all year.

An NGO, Pro Flüela Verein, was established in 1990 to extend the opening outside the summer months. It raises money from membership fees, and grants from the cantonal government and local communes.

title: Flüela Pass