Lepakshi is a small village in the Anantapur District in Andhra Pradesh, India. It is about 9 miles (15 km) east of Hindupur and about 75 miles (120 km) north of Bangalore.
This village is historically and archaeologically significant. It has three shrines dedicated to the Hindu gods Shiva, Vishnu and Veerabhadra built during the period of Vijayanagara Kings (1336–1646).
The famous 16th-century Veerabhadra stone temple constructed in Vijayanagar style has about 70 pillars, but only one of these pillars is best known as the Aakaasa Sthambha (Hanging Column). It is a tribute to the engineering genius of the temple builders of medieval India. The pillar does not rest on the ground fully.
A cloth can slide smoothly underneath this Hanging pillar.
During the British era, a British engineer tried to move it to uncover the secret of its support. His attempt was unsuccessful and the pillar got slightly dislodged from its original position.
There are so many wonderful stories and legends associated with the churches we photograph in France, but none is more pleasing than that of Saint Menulphe and his friend, the Simpleton of Mailly-sur-Rose, a town in the Allier.
Menulphe was the son of an Irish king and very devout. He traveled to England, Brittany and France and was recognized for his sanctity. When the Pope heard of this and asked him to come to Rome, Menulphe walked the route in poverty, a mendicant with no possessions. On his return, he stopped in Mailly-sur-Rose, exhausted with his journey. During that time, Menulphe took pity on an innocent named Blaise who was the scapegoat for local children. One day he intervened as the young urchins threw stones at Blaise. He chided the boys and took the young man under his protection. Blaise was described as a simpleton, one who could barely speak, and never left Menulphe’s side. He couldn’t pronounce his protector’s name and “Menulfe” became “Menoux”.
When Menoux died, Blaise thought that the holy man was asleep. He spent his days and nights at the grave, conversing with his friend. One day visitors to the cemetery saw that the coffin had been dug up and that there was a hole in the side. They discovered Blaise laying on his stomach, with his head in the hole, talking to someone. The local people were scandalized but the curé said, “Poor Blaise, he is a better and more faithful friend than we are. Perhaps he is the least crazy of all.”
The Curé placed Menoux’s remains in a sandstone sarcophagus and had an opening cut into one side. Blaise spent the rest of his life conversing with his friend, and miraculously, the troubles of his mind faded to the point that he was able to serve mass. At the time of his death, Blaise had the reputation of being a simple, faithful man, as sensible as anyone.
Thereafter, in memory of the miraculous healing of Blaise, parents led the bredins, the simple-minded, before the tomb of Menoux and placed their heads carefully into the sarcophagus – the débredinoire – hoping for the same healing that Blaise experienced. Eventually the site received such a number of pilgrims that the Benedictines built an abbey on the site under the direction of the Abbess Adalgasie and placed the sarcophagus with Menoux’s relics in the choir. They also changed the name of the village from Mailly-sur-Rose to Saint Menoux. The fairs held by the abbesses attracted vendors and buyers which led to the expansion of the village.
The church gives an idea of the importance of this abbey and the monastics who resided there. It was built in the classic Cluny style in the early part of the twelfth century. The nave has three tall, narrow bays with ogive arches covered with groin vaults.
The side aisles are, as usual, visually stunning. We see the long, uninterrupted flow to the ambulatory in the distance.
The north side aisle, however, has a unique feature. Just to the west of the transept arch is a rather clumsily executed structure that contains a stairway leading to a defensive tower on the exterior. Poking up through the roof, that tower looks almost like a minaret.
The raised apse is perhaps the finest element of the church. The choir has two elegant high bays topped with clerestory windows while the chancel features a seven bay hemicycle with an arcade of windows leading to the oven vault.
The débredinoire of Saint Menoux is found centered behind the altar in the chancel. These reliquaries have been placed between the pillars of the central hemicycle arch and the tomb can be seen just behind.
The oldest part of the church, built in the eleventh century, is the narthex on the west end of the church. This antechamber has beautiful arcades supporting a short barrel vault. Some of the pillars are topped with capitals, but it is clear that the restoration was not complete. Fragments of some of the original statuary are rather casually displayed in the arcades.
Today, the abbey is gone – only the church remains after the destruction of the French Revolution. The town of Saint Menoux is quiet and peaceful for its 1,009 residents. The church is not well tended; there are rat droppings and cobwebs throughout. Dust cakes the benches and the chairs, but pilgrims still frequent the Église Saint Menoux in order to use the débredinoire for relief from feeble-mindedness or headaches.
Lest we think that credulous in the Middle Ages were alone in these workings, look at this passage in “The Invisible Architecture” by George Prat (2000).
“For more than forty years I made fun of the débredinoire which I considered an example of public credulity … My surprise was great to see that the débredinoire works and is not a gimmick. Thedébredinoire is placed at the geometric center of the apse …. and is located at the junction point of thetelluric current and four streams of water. … When one realizes that this is a machine from another age and can be activated by an ‘acupuncture point’ located nearby, we are amazed at the electrical energy released … The débredinoire is actually an instrument of care-giving; when used correctly, the equivalent a high intensity shock is given to the user. This is certainly very effective in the case of some nervous breakdowns.” People will always find a reason to believe if the need is great enough.
Our daughter Sarah suffers from debilitating migraines and PJ placed her own head in the sarcophagus in hopes of helping. I guess it doesn’t hurt to try! But you must be careful not to touch the tomb while inserting your head. You run the risk of absorbing the feeble-mindedness and headaches of all who preceded you!
If you are interested in seeing some other churches in this region, follow this link.
For the foolishness of God is wiser than human wisdom, and the weakness of God is stronger than human strength. (1 Corinthians 1:25)
Would you like to live in a topsy-turvy house like the above one? This house can be found in the tiny village of Szymbark in the municipality of Stężyca, in northern Poland. It is a center for winter sports.
As on December 31, 2011, the village of Szymbark had a total of 627 residents, with 544 people living in the main part of the village. The above upside-down house was built in 2007 by Daniel Czapiewski, a Polish businessman, builder and philanthropist.
Normally, it takes hardly three weeks for Czapiewski’s company to build a house. However, this extra-ordinary creative project took 114 days because of its structural design; moreover, the workers were a bit confused by the topsy-turvy architecture.
In 2010, in a poll conducted by “Official Baltic,” voted the Kashubian entrepreneur as “The Man of the Year 2010” for his ingenuity of design that has become a tourist attraction in Szymbark.
In the first place, what prompted Daniel Czapiewski to design the house to stand upside down? Well, the eccentric person that he is, Daniel Czapiewski opines that it represents his view on the current state of the world – the time of uncertainty after the end of the communist era in Poland.
By the way, this house in the village of Szymbark, Poland is not the first upside down house to be built. Wonderworks Upside Down Building in Florida opened in 1998. There are also upside down houses in Austria, Germany, Russia, Spain, Turkey, South Korea, a café in Japan and so on.
The above image is a unique statue and not a church. American sculptor Dennis Oppenheim designed this imposing 22 x 18 x 9 feet sculpture composed of galvanized structural steel, anodized perforated aluminum, transparent red Venetian glass, and concrete foundations, as an upside down church, with its steeple buried in the ground.
The piece, initially called “Church,” was proposed to the Public Art Fund in the city of New York to be built on Church Street. It was commissioned by the President’s Panel on Art. However, the president of Stanford University turned down the sculpture since he considered it as “not appropriate” for the campus. The director thought it was too provocative and might infuriate the Church and the religious folks in that area. To evade this situation Dennis Oppenheim then changed the title to “Device to Root out Evil”.
Though the “Device to Root Out Evil” was too hot for New York City, too hot for Stanford University, it finally found a public home in Vancouver. It was first installed in a public park in Vancouver, Canada. As expected, people again considered it too hot for Vancouver as well. The public had a mixed reaction towards the work and the Vancouver public parks committee voted to remove the sculpture. The Glenbow Museum in Calgary, Canada seized the opportunity to display the sculpture. After removing it from Vancouver, the museum placed it in Ramsay, Calgary’s most creative neighbourhood where it is now being celebrated.
I thank hovercraftdoggy.com for introducing me to the paper bird sculptures of the 24-year-old Colombian artist Diana Beltran Herrera.
Diana has created a series of vibrantly colored feathered friends. Trained in industrial design, she has created an ever growing collection of imaginary and actual species of birds. Now this hobby has become a full-time project for her.
Diana says: “I have chosen to study birds in many places: simple pieces of paper transform into real birds with bright colors. The study moves between two addresses: the movement and surprise. Birds are often built in places and environments, which highlights the symbolic from the idea of movement. It is at that moment capture the wonder of the things that are made and moments, thus stimulating thought processes in the viewer. The use of paper as a material for the construction of these sculptures perfectly adapted to the chosen themes, convey to the viewer the impression of freedom and lightness. The role that loaded itself the concepts of temporality and fragility. Then, the process that allows me general these visual documents of facts, has a life and a transformation process, the same process that has issues that I talk in my work.
I’m worried about the lack of interest that humans have lately regarding the nature, and with my work, I hope to help in thinking about these things that will disappear soon.”
Here are some pages you can click on to see the fantastic creations of this talented artist:
In recent times many Indian artists have turned to sculpting images on sand. Sand sculpturist Sudarsan Pattnaik, 35, hails from Puri, nearly 60 km from Bhubaneswar, the capital city of the State of Orissa, India. At the recently concluded Solo International Sand Art Contest in Marbella, Spain held from July 9-17, 2012 he won two Gold medals for his sculpture of Ganesh, the Hindu god of wisdom and good health.
The theme of the competition was “Secrets of the Sea.” Pattnaik`s 3.5-metre sand sculpture (see above photo) bearing the message – “SAVE THE SEA LIFE” – won medals in “People’s Choice” and “Best Positive” categories.
He learned this form of art by himself without any guidance – by persevering practice. He started sculpting images on sand since the age of seven. Till now he has designed hundreds of sand sculpture.
He has won many national and international awards for his creative designs. His name is recorded in the World records for sculpting the tallest Santa Claus. Using 1,000 tones of sand, Sudarsan Pattnaik and his team carved a moving image of Santa Claus at Orissa’s Puri beach, measuring 100 feet, 30 feet wide and 15 feet high-which sets the record for the Tallest sand sculpture of Santa Claus.
Sudarsan Pattnaik has also won the accolade for most Santa Claus images sculpted on sand. He won the People’s Choice Prize at the first Moscow International Sand Sculpture Championship.
Sudarsan Pattnaik beat stiff competition from nine participants to win an international sand sculpture championship in Denmark in end May this year, making India proud at the first such event in Copenhagen. His 2.5 metres high sand sculpture of a mermaid pleading for human effort to save the oceans was declared the winner of the championship.
Below are a few photographs.of his sand sculptures.