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WASP @-@ 44 , its recently discovered planet , the planets orbiting WASP @-@ 45 and WASP @-@ 46 , and a discussion exploring the validity of the common assumption amongst scientists that closely orbiting Hot Jupiter planets have highly circular orbits unless proven otherwise , were reported in a single discovery paper that was published on May 17 , 2011 by the Royal Astronomical Society . The paper was submitted to the Monthly Notices of the Royal Astronomical Society on May 16 , 2011 .
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= = Characteristics = =
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WASP @-@ 44 is a G @-@ type star ( the same class of star as the Sun ) that is located in the Cetus constellation . WASP @-@ 44 has a mass that is 0 @.@ 951 times that of the Sun . In terms of size , WASP @-@ 44 has a radius that is 0 @.@ 927 times that of the Sun . WASP @-@ 44 has an effective temperature of 5410 K , cooler than the Sun . However , the star is metal @-@ rich with relation to the Sun . Its measured metallicity is [ Fe / H ] = 0 @.@ 06 , or 1 @.@ 148 times that the amount of iron found in the Sun . WASP @-@ 44 's chromosphere ( outermost layer ) is not active . The star also does not rotate at a high velocity .
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The star has an apparent magnitude of 12 @.@ 9 . It cannot be seen from Earth with the naked eye .
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= = Planetary system = =
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There is one known planet in the orbit of WASP @-@ 44 : WASP @-@ 44b . The planet is a Hot Jupiter with a mass of 0 @.@ 889 Jupiters . Its radius is 1 @.@ 14 times that of Jupiter . WASP @-@ 44b orbits its host star every 2 @.@ 4238039 days at a distance 0 @.@ 03473 AU , approximately 3 @.@ 47 % the mean distance between the Earth and Sun . With an orbital inclination of 86.02º , WASP @-@ 44b has an orbit that exists almost edge @-@ on to its host star with respect to Earth . WASPA @-@ 44b 's orbital eccentricity is fit to 0 @.@ 036 , indicating a mostly circular orbit .
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= Elephanta Caves =
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Elephanta caves are a network of sculpted caves located on Elephanta Island , or Gharapuri ( literally " the city of caves " ) in Mumbai Harbour , 10 kilometres ( 6 @.@ 2 mi ) to the east of the city of Mumbai in the Indian state of Maharashtra . The island , located on an arm of the Arabian Sea , consists of two groups of caves — the first is a large group of five Hindu caves , the second , a smaller group of two Buddhist caves . The Hindu caves contain rock cut stone sculptures , representing the Shaiva Hindu sect , dedicated to the Lord Shiva .
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The rock cut architecture of the caves has been dated to between the 5th and 8th centuries , although the identity of the original builders is still a subject of debate . The caves are hewn from solid basalt rock . All the caves were also originally painted in the past , but now only traces remain .
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The main cave ( Cave 1 , or the Great Cave ) was a Hindu place of worship until Portuguese rule began in 1534 , after which the caves suffered severe damage . This cave was renovated in the 1970s after years of neglect , and was designated a UNESCO World Heritage Site in 1987 to preserve the artwork . It is currently maintained by the Archaeological Survey of India ( ASI ) .
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= = Geography = =
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Elephanta Island , or Gharapuri , is about 11 km ( 6 @.@ 8 mi ) east of the Apollo Bunder ( Bunder in Marathi means a " pier for embarkation and disembarkation of passengers and goods " ) on the Mumbai Harbour and 10 km ( 6 @.@ 2 mi ) south of Pir Pal in Trombay . The island covers about 10 km2 ( 3 @.@ 9 sq mi ) at high tide and about 16 km2 ( 6 @.@ 2 sq mi ) at low tide . Gharapuri is small village on the south side of the island . The Elephanta Caves can be reached by a ferry from the Gateway of India , Mumbai , which has the nearest airport and train station . The cave is closed on Monday .
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The island is 2 @.@ 4 km ( 1 @.@ 5 mi ) in length with two hills that rise to a height of about 150 m ( 490 ft ) . A deep ravine cuts through the heart of the island from north to south . On the west , the hill rises gently from the sea and stretches east across the ravine and rises gradually to the extreme east to a height of 173 m ( 568 ft ) . This hill is known as the Stupa hill . Forest growth with clusters of mango , tamarind , and karanj trees cover the hills with scattered palm trees . Rice fields are seen in the valley . The fore shore is made up of sand and mud with mangrove bushes on the fringe . Landing quays sit near three small hamlets known as Set Bunder in the north @-@ west , Mora Bunder in the northeast , and Gharapuri or Raj Bunder in the south .
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The two hills of the island , the western and the eastern , have five rock @-@ cut caves in the western part and a brick stupa on the eastern hill on its top composed of two caves with a few rock @-@ cut cisterns . One of the caves on the eastern hill is unfinished . It is a protected island with a buffer zone according to a Notification issued in 1985 , which also includes " a prohibited area " that stretches 1 kilometre ( 0 @.@ 62 mi ) from the shoreline .
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= = History = =
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Since no inscriptions on any of the island have been discovered , the ancient history of the island is conjectural , at best . Pandavas , the heroes of the Hindu epic Mahabharata , and Banasura , the demon devotee of Shiva , are both credited with building temples or cut caves to live . Local tradition holds that the caves are not man @-@ made .
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The Elephanta caves are " of unknown date and attribution " . Art historians have dated the caves in the range of late 5th to late 8th century AD . Archaeological excavations have unearthed a few Kshatrapa coins dated to 4th century AD . The known history is traced only to the defeat of Mauryan rulers of Konkan by the Badami Chalukyas emperor Pulakesi II ( 609 – 642 ) in a naval battle , in 635 AD . Elephanta was then called Puri or Purika , and served as the capital of the Konkan Mauryas . Some historians attribute the caves to the Konkan Mauryas , dating them to the mid @-@ 6th century , though others refute this claim saying a relatively small kingdom like the Konkan Mauryas could not undertake " an almost superhuman excavation effort , " which was needed to carve the rock temples from solid rock and could not have the skilled labor to produce such " high quality " sculpture .
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Some other historians attribute the construction to the Kalachuris ( late 5th to 6th century ) , who may have had a feudal relationship with the Konkan Mauryas . In an era where polytheism was prevalent , the Elephanta main cave dedicates the monotheism of the Pashupata Shaivism sect , a sect to which Kalachuris as well as Konkan Mauryas belonged .
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The Chalukyas , who defeated the Kalachuris as well as the Konkan Mauryas , are also believed by some to be creators of the main cave , in the mid @-@ 7th century . The Rashtrakutas are the last claimants to the creation of the main cave , approximated to the early 7th to late 8th century . The Elephanta Shiva cave resembles in some aspects the 8th @-@ century Rashtrakuta rock @-@ temple Kailash at Ellora . The Trimurti of Elephanta showing the three faces of Shiva is akin to the Trimurti of Brahma , Vishnu and Mahesh ( Shiva ) , which was the royal insignia of the Rashtrakutas . The Nataraja and Ardhanarishvara sculptures are also attributed to the Rashtrakutas .
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Later , Elephanta was ruled by another Chalukyan dynasty , and then by Gujarat Sultanate , who surrendered it to the Portuguese in 1534 . By then , Elephanta was called Gharapuri , which denotes a hill settlement . The name is still used in the local Marathi language . The Portuguese named the island " Elephanta Island " in honour of a huge rock @-@ cut black stone statue of an elephant that was then installed on a mound , a short distance east of Gharapuri village . The elephant now sits in the Jijamata Udyaan zoo in Mumbai .
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Portuguese rule saw a decline in the Hindu population on the island and the abandonment of the Shiva cave ( main cave ) as a regular Hindu place of worship , though worship on Mahashivratri , the festival of Shiva , continued and still does . The Portuguese did considerable damage to the sanctuaries . Portuguese soldiers used the reliefs of Shiva in the main cave for target practice , sparing only the Trimurti sculpture . They also removed an inscription related to the creation of the caves . While some historians solely blame the Portuguese for the destruction of the caves , others also cite water @-@ logging and dripping rainwater as additional damaging factors . The Portuguese left in 1661 as per the marriage treaty of Charles II of England and Catherine of Braganza , daughter of King John IV of Portugal . This marriage shifted possession of the islands to the British Empire , as part of Catherine 's dowry to Charles .
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Though the main cave was restored in the 1970s , other caves , including three consisting of important sculptures , are still badly damaged . The caves were designated a UNESCO World Heritage Site in 1987 as per the cultural criteria of UNESCO : the caves " represent a masterpiece of human creative genius " and " bear a unique or at least exceptional testimony to a cultural tradition or to a civilisation which is living or which has disappeared " .
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= = Overview = =
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The island has two groups of caves in the rock @-@ cut architectural style . The caves are hewn from solid basalt rock . All caves were painted in the past , but only traces remain . The larger group of caves , which consists of five caves on the western hill of the island , is well known for its Hindu sculptures . The primary cave , numbered as Cave 1 , is about 1 @.@ 5 km ( 0 @.@ 93 mi ) up a hillside , facing the ocean . It is a rock @-@ cut temple complex that covers an area of 5 @,@ 600 m2 ( 60 @,@ 000 sq ft ) , and consists of a main chamber , two lateral chambers , courtyards , and subsidiary shrines . It is 39 metres ( 128 ft ) deep from the front entrance to the back . The temple complex is the abode of Shiva , depicted in widely celebrated carvings which reveal his several forms and acts .
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On the eastern part of the island , on the Stupa Hill , there is a small group of caves that house Buddhist monuments . This hill is named after the religious Stupa monument that they display . One of the two caves is incomplete , while the other contains a Stupa made in brick .
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= = Main cave = =
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The main cave , also called the Shiva cave , Cave 1 , or the Great Cave , is 27 metres ( 89 ft ) square in plan with a hall ( mandapa ) . At the entrance are four doors , with three open porticoes and an aisle at the back . Pillars , six in each row , divide the hall into a series of smaller chambers . The roof of the hall has concealed beams supported by stone columns joined together by capitals . The cave entrance is aligned with the north – south axis , unusual for a Shiva shrine ( normally east – west ) . The northern entrance to the cave , which has 1 @,@ 000 steep steps , is flanked by two panels of Shiva dated to the Gupta period . The left panel depicts Yogishvara ( The Lord of Yoga ) and the right shows Nataraja ( Shiva as the Lord of Dance ) . The central Shiva shrine ( see 16 in plan below ) is a free @-@ standing square cell with four entrances , located in the right section of the main hall . Smaller shrines are located at the east and west ends of the caves . The eastern sanctuary serves as a ceremonial entrance .
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Each wall has large carvings of Shiva , each more than 5 metres ( 16 ft ) in height . The central Shiva relief Trimurti is located on the south wall and is flanked by Ardhanarisvara ( a half @-@ man , half @-@ woman representation of Shiva ) on its left and Gangadhara to its right , which denotes the River Ganges ' descent from Shiva 's matted locks . Other carvings related to the legend of Shiva are also seen in the main hall at strategic locations in exclusive cubicles ; these include Kalyanasundaramurti , depicting Shiva 's marriage to the goddess Parvati , Andhakasuravadamurti or Andhakasuramardana , the slaying of the demon Andhaka by Shiva , Shiva @-@ Parvati on Mount Kailash ( the abode of Shiva ) , and Ravananugraha , depicting the demon @-@ king Ravana shaking Kailash .
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The main cave blends Chalukyan architectural features such as massive figures of the divinities , guardians , and square pillars with custom capitals with Gupta artistic characteristics , like the depiction of mountains and clouds and female hairstyles .
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Layout :
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= = = Shiva @-@ Parvati on Kailash and Ravana lifting Kailash = = =
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The carving on the south wall to the east of the portico depicts Shiva and Parvati seated on their abode Mount Kailash . The four @-@ armed Shiva is seen with a crown and a disc behind it ( all damaged ) , the sacred thread across his chest , and a dressing gown covering up to the knee . Parvati , dressed in her finery with her hair falling to the front , looks away . Behind her at the right is a woman attendant holding the child , identified with her son Kartikeya , the war @-@ god . Many male and female attendants are seen behind the main figures . Shiva 's attendant , the skeleton @-@ like Bhringi , is seated at his feet . Other figures , not distinct , depict , among others , a royal @-@ looking tall person , ascetics , a fat figure , a dwarf , a bull ( the mount of Shiva ) , features of a Garuda , and two monkeys . The scenic beauty of the mountain is sculpted with the sky background amidst heavenly beings showering flowers on Shiva @-@ Parvati . This scene is interpreted as a gambling scene , where Parvati is angry as Shiva cheats in a game of dice .
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The carved panel facing this one is a two @-@ level depiction of Ravana lifting Kailash . The upper scene is Mount Kailash , where Shiva and Parvati are seated . The eight @-@ armed , three @-@ eyed Shiva wears headgear with a crescent and disc behind it . Most of his arms are broken , two of them resting on attendants ' heads . The Parvati figure , seated facing Shiva , remains only as a trunk . The panel is flanked by door keepers . Attendants of Shiva are also seen in the relief but mostly in a damaged state . Bhringi is seated near Shiva 's feet and to his left is the elephant @-@ headed son of Shiva , Ganesha . In this ensemble , the ten @-@ headed demon @-@ king Ravana is seen , with only one head left unscathed , and out of his twenty arms , only a few are discernible . Around Ravana are several demons . Numerous figures are seen above Shiva : the god Vishnu , riding his mount Garuda , to his left ; a skeleton @-@ figure ; and in a recess , Parvati 's mount , a tiger is depicted .
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A legend relates to both these panels . Once , Parvati was annoyed with Shiva . At this moment , Ravana , who was passing by Mount Kailash , found it as an obstruction to his movement . Upset , Ravana shook it vigorously and as a result , Parvati got scared and hugged Shiva . Enraged by Ravana 's arrogance , Shiva stamped down on Ravana , who sang praises of Shiva to free him of his misery and turned into an ardent devotee of Shiva . Another version states that Shiva was pleased with Ravana for restoring Parvati 's composure and blessed him .
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= = = Trimurti , Gangadhara and Ardhanarishvara = = =
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Described as a " masterpiece of Gupta @-@ Chalukyan art " , the most important sculpture in the caves is the Trimurti , carved in relief at the back of the cave facing the entrance , on the north @-@ south axis . It is also known as Trimurti Sadashiva and Maheshmurti . The image , 6 m ( 20 ft ) in height , depicts a three @-@ headed Shiva , representing Panchamukha Shiva . The three heads are said to represent three essential aspects of Shiva : creation , protection , and destruction . The right half @-@ face ( west face ) shows him as a young person with sensuous lips , embodying life and its vitality . In his hand he holds an object resembling a rosebud , depicting the promise of life and creativity . This face is closest to that of Brahma , the creator or Uma or Vamadeva , the feminine side of Shiva and creator of joy and beauty . The left half @-@ face ( east face ) is that of a moustached young man , displaying anger . This is Shiva as the terrifying Aghora or Bhairava , the one whose anger can engulf the entire world in flames , leaving only ashes behind . This is also known as Rudra @-@ Shiva , the Destroyer . The central face , benign and meditative , resembles the preserver Vishnu . This is Tatpurusha , " master of positive and negative principles of existence and preserver of their harmony " or Shiva as the yogi Yogeshwar in deep meditation praying for the preservation of humanity . The aspects Sadyojata and Ishana ( not carved ) faces are considered to be at the back and top of the sculpture . The Trimurti sculpture , with the Gateway of India in the background , has been adopted as the logo of the Maharashtra Tourism Department ( MTDC ) .
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The Gangadhara image to the right of the Trimurti is an ensemble of divinities assembled around the central figures of Shiva and Parvati , the former bearing the River Ganges as she descends from heaven . The carving is 4 m ( 13 ft ) wide and 5 @.@ 207 m ( 17 @.@ 08 ft ) high . The image is highly damaged , particularly the lower half of Shiva seen seated with Parvati , who is shown with four arms , two of which are broken . From the crown , a cup with a triple @-@ headed female figure ( with broken arms ) , representing the three sacred rivers Ganges , Yamuna , and Sarasvati , is depicted . Shiva is sculpted and bedecked with ornaments . The arms hold a coiling serpent whose hood is seen above his left shoulder . Another hand ( partly broken ) gives the semblance of Shiva hugging Parvati , with a head of matted hair . There is a small snake on the right hand and a tortoise close to the neck , with a bundle tied to the back . An ornamented drapery covers his lower torso , below the waist . Parvati is carved to the left of Shiva with a coiffured hair dress , fully bedecked with ornaments and jewellery , also fully draped , with her right hand touching the head of a female attendant who carries Parvati 's dress case . The gods Brahma and Indra , with their mystic regalia and mounts , are shown to the right of Shiva ; Vishnu , riding his mount Garuda , is shown to the left of Parvati . Many other details are defaced but a kneeling figure in the front is inferred to be the king who ordered the image to be carved . There are many divinities and attendant females at the back . The whole setting is under the sky and cloud scenes , with men and women , all dressed , shown showering flowers on the deities .
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In the chamber to the east of the Trimurti is the four @-@ armed Ardhanarishvara carving . This image , which is 5 @.@ 11 m ( 16 @.@ 8 ft ) in height , has a headdress ( double @-@ folded ) with two pleats draped towards the female head ( Parvati ) and the right side ( Shiva ) depicting curled hair and a crescent . The female figure has all the ornamentation ( broad armlets and long bracelets , a large ring in the ear , jewelled rings on the fingers ) but the right male figure has drooping hair , armlets and wristlets . One of his hands rests on Nandi ’ s left horn , Shiva 's mount , which is fairly well preserved . The pair of hands at the back is also bejewelled ; the right hand of the male holds a serpent , while the left hand of the female holds a mirror . The front left hand is broken but conjectured as holding the robe of the goddess . The central figure is surrounded by divinities .
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= = = Shiva slaying Andhaka and Wedding of Shiva = = =
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The engraved panel in the north end of the aisle is considered to be a unique sculpture , and shows Bhairava , or Virabhadra , a frightful form of Shiva . In the carved panel Shiva 's consort is seen sitting next to him , looking terrified . A female attendant is next to her . The central figure , which is much ruined below the waist , is 3 @.@ 5 m ( 11 ft ) high and posed as if running . His headgear has a ruff on the back , a skull and cobra over the forehead , and the crescent high on the right . His facial expression is of intense anger discerned from his furrowed brow , swollen eyes , and tusks . The legs and five of the eight arms are broken , attributed to Portuguese vandalism . The smaller broken image Andhaka is seen below Bhairava 's image . It is interpreted that Shiva is spearing him with the front right hand , as conjectured by the spear seen hanging without any hold . Also seen is the back hand lifted up and holding an elephant 's skin as a cover ; the elephant 's head , carved tusk , and trunk are seen hanging from the left hand . The second left hand depicts a snake coiled round it . The hand holds a bowl to collect the blood dripping from the slain Andhaka . Furthermore , pieces of a male and two female forms , figures of two ascetics , a small figure in front , a female figure , and two dwarfs are also seen in the carved panel . An unusual sculpture seen above the head of the main figure of Shiva is of a " very wide bottle with a curved groove in the middle of it " , which can interpreted variously as : the aum or the linga or a Shiva shrine .
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The niche image carved on the south wall is an ensemble of divinities assembled around the central figures of Shiva and Parvati shown getting married ( Kalyanasundara icon ) . Parvati is seen standing to Shiva 's right , the ordained place for a Hindu bride at the wedding . The carvings are substantially damaged ; only one of Shiva 's four hands is fully seen and the right leg is missing . Shiva has a headdress with a shining disc attached to it . His garments are well @-@ draped , and well @-@ tied at the waist . The sacred thread is seen across his chest . Parvati is carved as a perfect figure with coiffured hair dress , well adorned with jewellery and is draped tightly to display depressions below the waist only . She is seen with a coy expression and is led by her father who has his right hand on her shoulder . Even though both her hands are damaged , it is inferred that her left hand clasped Shiva 's right hand as a mark of holy alliance . Brahma is sitting as the officiating priest for the marriage . Vishnu is witness to the marriage . Mena , the mother of Parvati , is seen standing next to Vishnu . The moon @-@ god Chandra , seen with a wig and a crescent , is standing behind Parvati holding a circular pot with nectar for the marriage ceremony . Just above the main images , a galaxy of divinities , bearded sages , apsaras ( nymphs ) , Vidyadharas , Yakshis , Gandharvas , Bhringi , and other male and female attendants are seen as witness to the marriage ceremony showering flowers on the divine couple .
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= = = Yogishvara and Nataraja = = =
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The panel to the east of the north portico is Shiva in a Yogic position called Yogisvara , Mahayogi , Dharmaraja and Lakulish . Resembling a Buddha , Shiva is in a dilapidated condition with only two broken arms . Shiva is seated in padmasana yogic posture ( cross legged ) on a lotus carried by two Nāgas . His crown is carved with details adorned by a crescent , a round frill at the back , and hair curls dropping on either side of the shoulders . His face is calm in mediation , his eyes half @-@ closed . This represents Shiva in penance sitting amidst the Himalayan mountains after the death of his first wife Sati , who was later reborn as Parvati . He is surrounded by divinities in the sky and attendants below . Also seen is a plantain with three leaves already open and one opening , as well as a sunflower blossom . These are flanked by two attendants . Other figures discerned from a study of the broken images are : Vishnu riding Garuda on a plantain leaf ; the Sun @-@ god Surya riding a fully saddled horse ( head missing ) ; a saint with a rosary ; two female figures in the sky draped up to their thighs ; a faceless figure of the moon with a water container ; three identical figures of a male flanked by two females ; the skeleton of a sage ; Brahma ( without one arm ) riding a swan ; and Indra without his mount ( elephant missing ) .
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The panel carving in the west niche opposite Yogishvara depicts Shiva as Nataraja performing the Tandava ( cosmic dance ) . The niche is 4 m ( 13 ft ) wide and 3 @.@ 4 m ( 11 ft ) high and set low on the wall . He wears well @-@ decorated headgear . The Shiva image displays a dance pose and had ten arms , but the first right and third left hands are missing . The remaining first right arm is held across the breast and touches the left side , the second right hand that is seen damaged with an out @-@ flaying pose is broken at the elbow . The third arm is damaged at the elbow , and the fourth is also broken but inferred to have held a Khatvanga ( skull @-@ club ) . The left arms , seen hanging , are damaged near the wrists . The third hand is bent ( but broken ) towards Parvati standing on the side and the fourth hand is raised up . The right thigh ( broken ) is lifted up , and the left leg is not seen at all , the elaborate armlets are well @-@ preserved and a skirt round the waist is tied by a ribbon . A tall figurine of Parvati stands to the left of Shiva , which is also seen partly broken but well bejewelled . An airborne female figure is seen behind Parvati . Other figures seen in the relief are : Vishnu riding a Garuda ; Indra riding his elephant ; the elephant @-@ headed Ganesha ; Kartikeya ; Bhrngi ; sages and attendants .
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= = = Main cave shrine = = =
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The central shrine is a free @-@ standing square cell , with entrances on each of its sides . Each door is flanked by two dvarapalas ( gate keepers ) . The Linga , the symbol of Shiva in union with the Yoni , and the symbol of Parvati together symbolise the supreme unity that is deified by the shrine . The Linga is set on a raised platform above the floor of the shrine by 1 @.@ 8 m ( 5 ft 11 in ) . Six steps lead to this level from the floor level . The height of the eight dvarapalas varies from 4 @.@ 521 – 4 @.@ 623 m ( 14 @.@ 83 – 15 @.@ 17 ft ) . All are in a damaged condition except those at the southern door to the shrine . The southern gate statue has many unusual features – unusual headgear ; a large skull above the forehead ; lips parted with protruding teeth ; statues adorned with a single bead necklace , earrings , plain twisted armlets and thick wristlets ; a stooped right shoulder ; a globe held at navel level ; the robe is held at the right thigh by the left hand , and the legs are shapeless .
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= = = East wing = = =
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Several courtyards to the east and west of the main cave are blocked , though there is a 17 m ( 56 ft ) -wide courtyard that is accessible by entering the eastern part and climbing nine steps . A temple on the southern wall of the court depicts a well @-@ preserved fresco . The circular pedestal seen in the courtyard in front of the Shiva 's shrine near the east end , in the open area , is said to be the seat of Nandi , Shiva 's mount .
|
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| 1,463 |
On each side of the steps leading to the temple @-@ cave portico is a winged lion , or leogriff , each seated with a raised forepaw . The portico has chambers at each end and a Linga @-@ shrine at the back . Five low steps and a threshold lead into the central Linga @-@ shrine which is 4 @.@ 2 m ( 14 ft ) wide and 5 m ( 16 ft ) deep and has a circumambulatory path ( Pradakshina @-@ path ) around it . At the back of the portico , near the east end , is a gigantic statue of a four @-@ armed doorkeeper with two attendant demons . At the north end is a standing figure holding a trident . His left hand rests on a defaced demon @-@ figure . The west wall depicts the Ashta @-@ Matrikas ( eight mother goddesses ) , flanked by Kartikeya and Ganesha , the sons of Shiva . Some of Matrikas are depicted with children , but all of them are shown by their respective mounts ( bull , swan , peacock , a Garuda , etc . ) which identify them . At the east end of the portico is another chapel with a plain interior and sunken floor . Water drips in this chapel .
|
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| 1,464 |
= = = West wing = = =
|
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| 1,466 |
The west wing , entered through the main cave , is in a semi @-@ ruined state . It has a small chapel and a cistern enclosed within the pillared cave , which is believed to be Buddhist . Another shrine to the west of the courtyard , with a portico , has carvings of Shiva in a yogic pose seated on a lotus carried by “ two fat , heavy , wigged figures ” . This carving also depicts a three @-@ faced bearded Bramha and several other figurines . Entering through the back door of the portico is a cave enshrined with a multifaceted Shiva Linga erected over roughly hewn salunkhs . At the door entrance on both flanks , statues of gatekeepers standing over demons and two fat , poised figures are seen . On the southern side of the door is an ensemble of a number of statues . Prominent among these is the Shiva carving , which is depicted with six arms and the third eye in the forehead . Though in a partly ruined state , the carving shows Shiva with an ornamented crown fixed with a crescent , seen carrying a cobra in the left hand , a club in another hand , and discerned to be in a dancing pose . Next to this image are a figure under a plantain tree and a Shiva image ( Yogishvara ) seated on a lotus . Also seen in the panel are a male figure riding a bull with a bell fastened to its neck , a female figure and another carving to left of Shiva , a female figure with a jewel on her forehead with neatly looped headdress , Indra riding an elephant , Vishnu with four arms , holding a discus in one of his left hands and riding on Garuda flanked by a small flying figure , and a male figure with crescent in his hair .
|
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| 1,468 |
= = Other notable caves = =
|
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| 1,470 |
To the south @-@ east of the Great Cave is the second excavation , which faces east @-@ northeast . It includes a chapel at the north end . The front of this cave is completely destroyed ; only fragments of some semi @-@ columns remain . The interior has suffered water damage . The portico is 26 m ( 85 ft ) long and 11 m ( 36 ft ) deep . The chapel is supported by eight eight @-@ cornered columns and two demi @-@ columns and is irregular in shape . At the back of the portico are three chambers ; the central one has an altar and a water channel ( pranalika ) , though the Linga is lost . The shrine door has some traces of sculpture ( a boy , a fat figure , alligators on the frieze , and broken animal figures at the head of a doorjamb ) . The door @-@ keepers of the shrine are now in fragments .
|
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| 1,472 |
A little to the south of the last cave is another cave in worse condition , with water damage . It is a portico in which each end probably had a chapel or room with pillars in front . Two of them have cells at the back . The central door at the back of the portico leads to a damaged shrine . The shrine door has door @-@ keepers at each side , leaning on dwarfs with flying figures over the head , with door @-@ keepers and demons on the jamb and architrave . The shrine is a plain room 6 m ( 20 ft ) deep by 5 @.@ 7 m ( 19 ft ) wide with a low altar , holding a Linga . South of this cave is a cavern that may be used as a cistern .
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| 1,473 |
Above these caves is a tiger sculpture , which was worshipped as the tiger goddess Vaghesheri . This sculpture may be a guardian of the north entrance of Cave 1 . A Linga is also found near a small pond at top of the hill . Sculptures depicting a stone with a sun and a moon and a mother suckling a child ( now moved ) were also found nearby .
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| 1,474 |
Across the top of the ravine from Cave 1 is large hall known as Sitabai 's Temple ( cave ) . The portico has four pillars and two pilasters . The hall has 3 chambers at the back , the central one a shrine and the rest for priests ( both are plain rooms ) . The door of the central shrine has pilasters and a frieze , with the threshold having lion figures at the end . The shrine has an altar , a water channel , and hole in the centre , in which a statue of Parvati may have been worshipped . A 17th @-@ century record states that " this cave [ has ] a beautiful gate with a porch of exquisitely wrought marble " and two idols , one of goddess Vetal Candi and a head being in a large square seat .
|
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| 1,475 |
Passing along the face of the eastern hill to the north of Sitabai 's cave is a small Hindu excavation with a veranda , which was probably to be three cells , but was abandoned following the discovery of a flaw in the rock . Towards the east of hill is a dry pond , with large artificial boulders and Buddhist cisterns along its banks . At the end of the north spur of the main hill is a mound that resembles a Buddhist stupa .
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| 1,476 |
= = Preservation = =
|
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| 1,478 |
The threats to Elephanta Caves have been identified as the following : developmental pressures ( mainly due to its location within the Mumbai harbour ) , anthropogenic pressure due to growth of population of the communities residing on the island , industrial growth of the port facilities close to the island , no risk preparedness plan to address natural calamities such as earthquake , cyclones and terrorist attacks , unsustainable tourism and tourist facilities on the island , and poor management of the heritage monument .
|
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| 1,480 |
Preservation of Elephanta Island as a whole with its monuments has been ensured both through legislation and by physical restoration of the caves and its sculptures . The basic legislations enacted are : The Ancient Monuments and Archaeological Sites and Remains Act of 1958 and Rules ( 1959 ) ; The Elephanta Island ( Protected Monument ) Rules of 1957 , which prohibits mining , quarrying , blasting , excavation and other operations near the monument ; the Antiquities and Art Treasures Act promulgated in 1972 with its Rules promulgated in 1973 ; a Notification issued in 1985 declaring the entire island and a 1 @-@ kilometre ( 0 @.@ 62 mi ) area from the shore as " a prohibited area " ; a series of Maharashtra State Government environmental acts protecting the site ; the 1966 Regional and Town Planning Act ; and the 1995 Heritage Regulations for Greater Bombay .
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| 1,481 |
The Archaeological Survey of India ( ASI ) , Aurangabad Circle , on the basis of the above legislation and rules , maintain and manage the monuments . The physical measures undertaken for conservation cover include stabilisation of the rock face , construction of supports to the cave structures where pillars have collapsed , and consolidation of cave floors and construction of a parapet wall surrounding the site . In addition , visitor facilities at the site have been upgraded ( such as toilet facilities , railing construction , pathways , and a flight of steps from the jetty to the caves ) . An on @-@ site museum has been established and a conservation plan has been put in place . Overall , conservation of the property is stated to be good . The site receives approximately 25 @,@ 000 visitors per month . Public information brochures are also available at the venue of the monuments . During the World Heritage Day on 18 April and World Heritage Week between 19 and 25 November there are special events held at the caves . Another popular event organised is an annual traditional dance festival that attracts many visitors .
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| 1,482 |
After declaring the caves a World Heritage Site , UNESCO granted $ 100 @,@ 000 to document the site 's history and draw up a site plan . A part of the grant was used for conservation of the caves . Based on assessments by UNESCO , management plans include : better communication and collaboration between the ASI , on @-@ site staff , and other responsible government departments ; improved public information and awareness programs ; monitoring environmental impact of tourists on the cave and island environment ; greater attention to the maintenance of the rocks to address water leakages into the caves ; and daily monitoring of both structural and chemical conservation measures .
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| 1,483 |
The Indian National Trust for Art and Cultural Heritage ( INTACH ) is also involved with the Archaeological Survey of India in improving the local conditions at the cave site . A book has been published jointly by UNESCO , INTACH and the Government of India which presents a comprehensive site plan for restoration and a brief history of each sculpture constructed inside the caves .
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| 1,484 |
= Devin Townsend =
|
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| 1,487 |
Devin Garret Townsend ( born May 5 , 1972 ) is a Canadian musician , songwriter and record producer . He was the founder , songwriter , vocalist , and guitarist in extreme metal band Strapping Young Lad from 1994 to 2007 and has an extensive career as a solo artist .
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After performing in a number of heavy metal bands in high school , Townsend was discovered by a record label in 1993 and was asked to perform lead vocals on Steve Vai 's album Sex & Religion . After recording and touring with Vai , Townsend was discouraged by what he found in the music industry , and vented his anger on the solo album Heavy as a Really Heavy Thing released under the pseudonym Strapping Young Lad . He soon assembled a band under the name , and released the critically acclaimed City in 1997 . Since then , he has released three more studio albums with Strapping Young Lad , along with solo material released under his own independent record label , HevyDevy Records .
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| 1,490 |
Townsend 's solo albums , a diverse mix of hard rock , progressive metal , ambient , and new @-@ age , have featured a varying lineup of supporting musicians . In 2002 he formed the Devin Townsend Band , a dedicated lineup which recorded and toured for two of his solo releases . In 2007 , he disbanded both Strapping Young Lad and the Devin Townsend Band , taking a break from touring to spend more time with his family . After a two @-@ year hiatus , he began recording again , and soon announced the formation of the Devin Townsend Project . The project began with a series of four albums , released from 2009 to 2011 , each written in a different style , and Townsend continues to record and tour under the new moniker .
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| 1,491 |
Across all his bands and projects , Townsend has released twenty @-@ three studio albums and three live albums . Townsend 's trademark production style , featuring a heavily multitracked wall of sound , has been compared to the styles of Phil Spector and Frank Zappa . His versatile vocal delivery ranges from screaming to an opera @-@ esque singing , and his songwriting is similarly diverse . Townsend 's musical style is rooted in metal , and his albums are written to express different aspects of his personality .
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| 1,492 |
= = Biography = =
|
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| 1,494 |
= = = Early musical career ( 1972 – 1994 ) = = =
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| 1,497 |
Devin Townsend was born in New Westminster , British Columbia , on May 5 , 1972 . Townsend picked up the banjo when he was five , and began playing guitar when he was 12 . As an early teenager he befriended Brian " Beav " Waddell , who would later play guitars as part of the Devin Townsend Band and bass on the Devin Townsend Project . He participated in several metal bands while he was in high school , and founded Grey Skies at the age of 19 . Around the same time he joined a popular local group called Caustic Thought , replacing Jed Simon on guitar and playing alongside bassist Byron Stroud , both of whom would later become members of Townsend 's flagship band , Strapping Young Lad . In 1993 , Townsend began writing material under the name Noisescapes , a project he later described as " just as violent as Strapping Young Lad " .
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| 1,499 |
Townsend recorded a Noisescapes demo and sent copies to various record labels . Relativity Records responded to Townsend with a record deal and Townsend began work on what was to be the first Noisescapes album , Promise . Shortly afterward , the label introduced him to musician Steve Vai . Impressed with Townsend 's vocal work , Vai offered him the role of the lead vocalist on his new album Sex and Religion . After recording Sex and Religion , Townsend accompanied Vai on a world tour in support of the album . Townsend soon landed a second touring gig , this time with the opening band of Vai 's tour , the Wildhearts . He played live with the band throughout half of 1994 in Europe , and appeared as a guest musician on their single Urge . Ginger , the band 's frontman , remained close friends with Townsend , later co @-@ writing several songs on Infinity and the Christeen + 4 Demos EP .
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While on tour with the Wildhearts , Townsend formed a short @-@ lived thrash metal project with Metallica 's then @-@ bassist Jason Newsted . The band , known as IR8 , featured Newsted on vocals and bass , Townsend on guitar , and Tom Hunting of Exodus on drums . The group recorded a few songs together , although Townsend says that they never intended to go further than that . " People heard about it and thought we wanted to put out a CD , which is absolutely not true , " he explains . " People took this project way too seriously . " A demo tape was put together , but the material was not released until 2002 , when Newsted published the IR8 vs. Sexoturica compilation .
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| 1,501 |
Though Townsend was proud of what he had accomplished so early in his career , he was discouraged by his experience with the music industry . " I was becoming a product of somebody else 's imagination , and it was mixing with my own personality , " he later reflected . " This combination was appalling . " He pushed to get his own projects off the ground . Despite getting notable touring gigs with other musicians , however , Townsend continued to face rejection of his own music . Relativity Records dropped Noisescapes from their label shortly after Townsend accepted Vai 's offer , seeing no commercial appeal in Townsend 's music . " I have a hunch they only offered me a deal to get me to sing with Steve , " he mused . While touring with the Wildhearts , Townsend received a phone call from an A & R representative for Roadrunner Records , expressing an interest in his demos and an intention to sign him . The offer was ultimately rescinded by the head of Roadrunner , who regarded Townsend 's recordings as " just noise " .
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| 1,502 |
= = = Heavy as a Really Heavy Thing through Infinity ( 1994 – 1998 ) = = =
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| 1,504 |
In 1994 , Century Media Records offered Townsend a contract to make " some extreme albums " . He agreed to a five @-@ album deal with the record label , and also provided much of the guitar work on the 1994 album Millennium and the 1995 album Hard Wired by Vancouver industrial band Front Line Assembly . Townsend began to record material under the pseudonym Strapping Young Lad . He avoided using his real name at this point in career , looking for a fresh start after his high @-@ profile Vai gig . " At the beginning , I wanted to avoid at all cost to use my name because I was known as the singer for Steve Vai and it wasn 't the best publicity to have , " he later explained . " I was playing somebody else 's music and I was judged in respect to that music . " Townsend produced and performed nearly all the instruments on the debut studio album , Heavy as a Really Heavy Thing , which was released in April 1995 .
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| 1,506 |
Following the release of the record , Townsend and several other musician friends he knew in Vancouver recorded his first solo album in 1996 entitled Punky Brüster – Cooked on Phonics . Written and recorded in under a month , the album was produced as a parody of punk rock bands and documents the act of selling out for mainstream success . Townsend founded his own independent record label , HevyDevy Records , to release the album . Townsend assembled a permanent lineup of Strapping Young Lad to record City , including prolific metal drummer Gene Hoglan , along with Townsend 's former bandmates Jed Simon on guitar and Byron Stroud on bass . The industrial @-@ influenced album was released in 1997 . To this day , the album is widely considered Strapping Young Lad 's best work , with Metal Maniacs calling it " groundbreaking " and Revolver naming it " one of the greatest metal albums of all time " . Townsend himself considers it the band 's " ultimate " album . Later that year , Townsend released his second solo album , Ocean Machine : Biomech . The album featured a mix of hard rock , ambient , and progressive rock .
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| 1,507 |
After the completion of City and Ocean Machine : Biomech , Townsend began to approach a mental breakdown . " I started to see human beings as little lonesome , water based , pink meat , " he explained , " life forms pushing air through themselves and making noises that the other little pieces of meat seemed to understand . " In 1997 , he checked himself into a mental @-@ health hospital , where he was diagnosed with bipolar disorder . The diagnosis helped him understand where the two sides of his music were coming from ; he felt his disorder " gave birth to the two extremes that are Strapping 's City record and Ocean Machine : Biomech . " After being discharged from the hospital , Townsend found that " everything just clicked " and he was able to write his third solo album , Infinity , which he described as " the parent project " of City and Ocean Machine : Biomech , with music influenced by Broadway . Townsend returned to the studio , accompanied by Hoglan , to work on the album , on which Townsend played most of the instruments . Infinity was released in October 1998 . Later in his career , Townsend has cited Infinity as his favorite solo record .
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| 1,508 |
With Infinity , Townsend began to label all albums outside of Strapping Young Lad under his own name , dropping the Ocean Machine moniker , to reduce confusion . He wanted to show that despite the highly varied nature of his projects , they are all simply aspects of his identity . The album Biomech was relabeled and redistributed as Ocean Machine : Biomech , under Townsend 's name , to reflect the new arrangement . Townsend 's bandmates began to play two sets at their shows , one as Strapping Young Lad , and one as the Devin Townsend Band , playing songs from Townsend 's solo albums .
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| 1,509 |
= = = Physicist and Terria ( 1999 – 2001 ) = = =
|
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Townsend 's next project took several years to come to fruition . After the creation of the IR8 demo tape , Townsend and Jason Newsted had begun work on a new project called Fizzicist , which they described as " heavier than Strapping Young Lad " . When the IR8 tape was leaked , Newsted 's Metallica bandmates James Hetfield and Lars Ulrich learned of the project . Hetfield was " fucking pissed " that Newsted was playing outside the band , and Newsted was prevented by his bandmates from working on any more side projects . With the project stalled , Townsend instead wrote the album himself , entitling it Physicist . Townsend assembled his Strapping Young Lad bandmates to record it , the only time this lineup was featured on a Devin Townsend album . The thrash @-@ influenced Physicist was released in June 2000 , and is generally considered a low point in Townsend 's career . Hoglan and the rest of the band were dissatisfied with the way the sound was mixed , and Townsend considers it his worst album to date .
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| 1,513 |
Feeling he had " ostracized a bunch of fans " with Physicist , Townsend felt he had the chance to make a more personal and honest record . Townsend was inspired one morning while driving across Canada with his band , and looked to write an " introspective " album dedicated to his homeland . He produced and recorded Terria , a " highly illustrated stream @-@ of @-@ consciousness " album , with Gene Hoglan on drums , Craig McFarland on bass and Jamie Meyer on keyboards . Townsend cited Ween 's White Pepper as an inspiration for the album . Terria was released in November 2001 .
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| 1,514 |
= = = Strapping Young Lad through Synchestra ( 2003 – 2006 ) = = =
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| 1,516 |
Townsend 's solo run lasted until 2002 . After a five @-@ year break from recording , Strapping Young Lad reunited to record a new album . Townsend credits the album , Strapping Young Lad , as an emotional response to the attacks of September 11 , 2001 , in the United States . " If the world 's about to blow up , " said Townsend , " let 's write the soundtrack for it . " The album 's lyrics were based more around fear and insecurity than the " hostile " lyrics of City . Musically , Strapping Young Lad was less industrial than City , and more reminiscent of death metal , with a " larger @-@ than @-@ life " rock production style . Townsend cited Front Line Assembly , Grotus , and Samael 's Passage as influences . The self @-@ titled album was released in February 2003 . It received lukewarm reviews , with critics finding it inferior to City , but it was the band 's first charting album , entering at 97th place on Billboard 's Top Heatseekers chart .
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| 1,518 |
While Strapping Young Lad was being reunited , Townsend formed a new , permanent band " on par with Strapping " to record and tour for his solo releases . The Devin Townsend Band consisted of Brian " Beav " Waddell on guitar , Mike Young on bass , Ryan Van Poederooyen on drums , and Dave Young on keyboards . Townsend performed guitar , vocals , and production , as he did in Strapping Young Lad . Townsend worked on the band 's first album , Accelerated Evolution , at the same time he was working on Strapping Young Lad , spending half the week on one and half on the other . Accelerated Evolution , named for the pace of putting a new band together in under a year , was released a month after Strapping Young Lad . Mike G. of Metal Maniacs called it " the album of the year " , praising it for " the hard @-@ to @-@ accomplish trick of being extreme yet accessible , simultaneously heavy ' n ' rockin ' yet majestic and beautiful . " Prior to the formation of the Devin Townsend Band , Townsend had represented his solo releases live with the Strapping Young Lad lineup ; the band would play one set of Strapping Young Lad songs and one set of Devin Townsend songs . After the release of Accelerated Evolution , Townsend 's two bands toured separately for their separate albums .
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| 1,519 |
Strapping Young Lad began working on their next album , Alien , in March 2004 . Feeling that the band 's previous album did not live up to expectations , Townsend decided to take his music to a new extreme . To prepare for the new album , Townsend stopped taking the medication prescribed to treat his bipolar disorder . " I think that as an artist , in order for me to get to the next plateau , I kind of feel the need to explore things and sometimes that exploration leads you to places that are a little crazy , " he explains . " And Alien was no exception with that . " Although Townsend considered the album an " impenetrable mass of technicality " , it was well received on its release , selling 3 @,@ 697 copies in its first week and appearing on several Billboard charts . Around this time , Townsend also contributed to the soundtrack of the video game Fallout : Brotherhood of Steel .
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| 1,520 |
Shortly thereafter Townsend began putting together the next Devin Townsend Band record , with the working title Human . Townsend intended the album as the more " pleasant " counterpart to Alien . " It 's basically a record about coming back down to earth after being in space with Alien for a while . " The album ended up being renamed Synchestra and was released in January 2006 . Townsend showcased a wide variety of musical styles in Synchestra , blending his trademark " pop metal " with influences from folk , polka , and Middle Eastern music . The final Strapping Young Lad album , The New Black , was released later in 2006 .
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| 1,521 |
= = = Ziltoid the Omniscient and hiatus ( 2006 – 2008 ) = = =
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Townsend withdrew from touring to spend time with his family . From home , Townsend completed his second solo ambient album , The Hummer , releasing it exclusively on his website in November 2006 .
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| 1,525 |
In May 2007 , Townsend released Ziltoid the Omniscient , a tongue @-@ in @-@ cheek rock opera about the eponymous fictional alien . This was truly a solo album ; he programmed the drums using Drumkit from Hell , a software drum machine that uses samples recorded by Tomas Haake of Meshuggah and played all other instruments himself . Shortly after the album 's release , Townsend announced that he no longer planned to tour or make albums with Strapping Young Lad or the Devin Townsend Band . He explained that he was " burnt out on travelling , touring , and self promotion " and wished to do production work , write albums , and spend time with his family without the stress of interviews or touring .
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b3783732a8223d8e0165fcf17311f920
| 1,526 |
In 2008 , Townsend lent his voice to characters in several episodes of the Adult Swim cartoon Metalocalypse ( see Musician cameos in Metalocalypse for more ) . The original character design for Pickles the Drummer , one of the series ' main characters , bore a striking resemblance to Townsend . The series ' co @-@ creator Brendon Small acknowledged the similarity , and altered the design before the series began . " We made sure he didn 't look like Devin Townsend . We gave him the goatee and the dreadover so he wouldn 't look like that . "
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| 1,527 |
= = = Devin Townsend Project ( 2008 – 2012 ) = = =
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| 1,529 |
After removing himself from the music industry , Townsend cut his trademark hair off and gave up drinking and smoking . Townsend found it " disconcerting " that he had difficulty writing music without drugs , and that he had trouble identifying his purpose as a musician . He spent a year producing albums in absence of writing , but found it unrewarding and decided to " pick up the guitar and just write " . This began a period of " self discovery " where he learned " how to create without drugs " .
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| 1,531 |
Over two years , Townsend wrote over 60 songs , and found that they fit into " four distinct styles " . In March 2009 , Townsend announced his plans for a four @-@ album series called Devin Townsend Project , with the goal of clarifying his musical identity and being " accountable " for the persona he projects to the public . The project 's concept includes a different " theme " and a different group of musicians on each album .
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Ki , the first album of the Devin Townsend Project tetralogy was written to " set the stage " for the subsequent albums . Townsend channelled his new @-@ found control and sobriety into Ki , a " tense , quiet " album , which contrasts with much of the music he had been known for . Additional female vocals were provided by Ché Aimee Dorval ( Casualties of Cool ) . Ki was released in May 2009 .
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The second entry , a " commercial , yet heavy " album called Addicted , was released in November 2009 and features lead vocals from Townsend and Dutch singer Anneke van Giersbergen . Brian " Beav " Waddell was recruited from the Devin Townsend Band to play bass .
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Townsend returned to the stage in January 2010 , touring North America with headliner Between the Buried and Me as well as Cynic and Scale the Summit . This was followed by a headlining tour in Australia and a series of high @-@ profile shows in Europe ( for example co @-@ headlining the Brutal Assault festival in Czech Republic ) . He headlined a North American tour with UK label mates TesseracT supporting , which began in October 2010 , and toured in Europe with support from Aeon Zen and Anneke van Giersbergen .
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The third and fourth albums in the Devin Townsend Project series , Deconstruction and Ghost , were released simultaneously on June 21 , 2011 . In December 2011 all four Devin Townsend Project albums with additional material were released as the Contain Us box set . Townsend performed all four of Devin Townsend Project albums in London and recorded them for a DVD box set called By a Thread : Live in London 2011 that was released on June 18 , 2012 . The first three shows were held at the University of London Union , November 10 – 12 , 2011 . Ki , Addicted , and Deconstruction were each performed on one night , respectively . The show for Ghost was held at the Union Chapel , Islington on November 13 , 2011 . These four shows were each entitled " An Evening with the Devin Townsend Project " .
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Despite the Devin Townsend Project being originally a four @-@ album series , Townsend decided to continue working under the moniker and released the fifth album , Epicloud on September 18 , 2012 . Again featuring Anneke van Giersbergen on vocals , Epicloud appeared on several European charts , peaking at number 8 in Finland . On October 27 , 2012 , Devin Townsend performed a one @-@ off show covering his musical career called The Retinal Circus at Roundhouse in London . The 3 @-@ hour performance was recorded in high definition and released on DVD and Blu @-@ ray on September 30 , 2013 . Also in 2012 , Townsend played bass on the debut Bent Sea album Noistalgia . He also produced the record .
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Another project Townsend has mentioned several times between 2009 and 2012 is Obviouser , an album featuring " creepy , bass driven apocalyptic music " created with an " Ampeg rig " and an " Icelandic choir " . Working with many projects simultaneously at that time , Townsend stated in 2012 the Obviouser project is vying for pole position until " he wakes up and says ' he wants to do it ' " .
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