Las nubes de su memoria le sonreían durante aquellos días novicios, recien abandonados los predios urbanos y una vez establecido de nuevo en territorios de bosque, montaña y cielos abiertos hasta el horizonte.
El colono aturdido se asentó en aquel frondoso enclave de vegetación riparia y densa junto a su anciano e insurrecto padre, en un intento de salvaguardar un bosquejo de paz en una larga relación tormentosa que se elongó varias décadas; y lo paradójico fue que, tras tamaño argumento de conflicto duradero, aquel longevo patriarca se esfumó de esos parajes apenas meses después de lograr conciliación plena con su vástago, su propia vida, su talante y sus recuerdos; se difuminó liviano en un abrir y cerrar de sus párpados, deslizándose desde su cuerpo yerto hasta ocupar el trono etéreo desde el cual acechar vigilante la heredad de su retoño.
En apenas dos o tres jornadas de aparente ausencia callada se le intuyó devenir aclimatado al encumbrado palco donde el aire es consistente y consciente de su destino, su pasado y su linaje.
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Variaciones sobre el clip ‘Natura al Nordeste; vídeo de Nature Press TV realizado por encargo de la web Segovia Nature. Textos de Nube de Oort. Pulsar la opción HD para visionar en Full HD (1920p x 1080p)
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OPULENTAS EN EXCESO
En ocasiones parecía aparecérsele en el aire la presencia de su enardecido ascendiente desperdigada entre nubes angustiosamente ostentosas, opulentas en exceso… que se erigían sospechosamente al margen de su jardín desatendido; elevándose como muralla firme circunvalando la vista, la atención y la consciencia de aquel concreto huésped que las miraba con recelo desde el suelo; un terreno que igualmente se percibía entre observado, vigilado o protegido; un vergel descuidado un tanto tímido que… también debía sentirse semihuérfano de dueño.
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Nubes como dulces de algodón de azúcar, replicados.
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CUSTODIOS DE UNA HUMANIDAD CAUTIVA
Esas son las nubes que cuidan y a la vez acechan; cúmulos densos de formación gaseosa que miran en torno a sus siluetas mutantes y vigilan la morada y el discurrir de los erguidos bípedos, la humanidad cautiva; juguetes muchas veces de su aliento, de sus aires y sus iras. Nubes que incitan a navegarlas o a hundirse entre sus brumas abdicando de la idea de su más airada conquista.
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Nubes que incitan a navegarlas desde ermitas templarias de Sotillo
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DE ACUERDO A UNA NUEVA INTUICIÓN
De acuerdo a una intuición que iba cobrando solidez con el paso del tiempo… aquel hombre vetusto y dañado que otrora fuera su padre se había fundido con gases y atmósferas, nubes, clima, polvo y cielo; y en una concreta tarde de estío casi otoñal parecía posar imponente vigilando el deambular abatido de su hijo en el jardín.
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Patriarcas extintos fundidos entre gases y atmósferas vigías.
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BURBUJAS DE AMPOLLAS ESFÉRICAS
Trastabillando con su cámara en mano, patidifuso y atento al destino de ese amasijo de agua en fermentación blanquecina, aquel vigía sorprendido solo ansiaba enfocar bien con sus lentes esa espléndida burbuja prolífica en pliegues, pompas y ampollas esféricas; glóbulos de polvo albino retorciéndose entre un azul fulgurante que sirve de estático fondo para atisbar el contraste entre quietud y movimiento; entre la forma y el fondo; entre el límite y lo vacuo.
Y a la vez de todo aquéllo se desataba el enredo acerca de la disparidad entre destino y azar; entre ilusión y lo cierto; lo irreal o lo soñado. Lo feliz y lo fatídico o lo concreto y lo abstracto.
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-[ Continuará con prestancia, paciencia y parsimonia… o quizás no. ]-
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Sotillo templar. Otro enclave castellano entre imaginado y recóndito dotado de su correspondiente ermita templaria salpicada de inscripciones pétreas crípticas y enigmáticas… de las que incoan espeluznos.
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-[ Artículo ‘Cielos de Castilla… -y acuarelas de nubes – II’ publicado por encargo de la web: SegoviaNature.com para la serie ‘Cielos de Castilla y acuarelas de nubes’ – Una secuencia de ficción fotográfico-literaria que se inició hace ya años en la gaceta de los de ‘Segovia Nature’; quienes cuentan con escritos eventuales de la firma Nube de Oort inspirados en imágenes de un sinfín de fotógrafos y usuarios de aquel reino. Fotógrafos que dicen…. ‘estar al tanto… de lo que por allí acontece’.
Así es tal cual se aprecia a Anattā… desde el más imperturbable vacío.
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[ Anattā se desdobla en dos siluetas: Dualidad de su paralaje efímero bosquejando un trasiego algodonado entre nubes y atmósferas de alivio.
Su esencia, desprovista de contornos; sus retinas diestras, observadoras… presencian sin fronteras, sin adornos meteoros: Lluvia, tormentas y auroras.
Anattā se duplica en su carisma en proeza de elegancia sin orgullo. Sus ojos afinan… y se ensimisma con todo lo que acaece en torno suyo.
Prosapia y linaje de biblioteca dirime entre lo cierto y lo dudoso descifrando el dilema milagroso, -desenlace de su intuición tolteca-.
Anattā se distingue con su ciencia describiendo sapiencias de otros mundos: La sátira de ilusoria existencia que inspira nuestros yoes errabundos. ]
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-Y así es tal cual se aprecia el rol de Anattā...
desde el más imperturbable vacío-.
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Anattā addendum:
[ Anattā, Anātman, -adalid de Ananda. Nirvana, Tao, Satori, luz y Dharma-. Vedanta advaita; Tantra, Yoga, Karma: Recuerdos de las aulas de Nalanda (*).
Upanishads, Gita y Mahabharata. Paraninfos, templos y monasterios allá donde se destacaba Anattā resolviendo ecuaciones de misterios.
Y el lector que rememora pasmado su noción y su juicio; su sentencia disfruta de Anattā y su inteligencia, silente, atónito y ensimismado.
Y un pupilo la analiza lejana nutriéndose de su juicio y sapiencia asombrado de su linda excelencia ensoñando el reencuentro con su hermana. ]
‘Anattā’ es el perfecto apelativo para el ser que se sabe vacío al tiempo de pleno y pletórico de un insondable Infinito licuado singularmente en un corpúsculo firme a la vez de efímero, autoconsciente y capaz de esgrimir su poder inapelable enarbolando constructos de significados ciertos, verosímiles y auténticos; afinados, refinados, ocultistas y elegantes.
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Saberes de ciencia desde el rol de Anattā
El blog de ‘Anattā’ implica saberes de ciencia y sabores de gnosis profundas; nociones enraizadas en principios y rudimentos que se postularon antes, antaño; cuando los vestigios prístinos de aquel haz de luz primero fue gestado un día en Lira,Vega o cualquier otra estrella, galaxia o constelación remota de la que surgieron razas y especies con organismos frágiles basados en biologías de carbono, oxígeno y agua; y quién sabe si huyendo de las huestes de Draco se asentaron en las tierras y lunas de Via Láctea,Pléyades,Sirio y Orión;Andrómeda y Magallanes o en cualquier otro enclave estelar-planetario allende los confines de los cúmulos de Oort.
A no pocos complace la cognición del blog de ‘Anattā’ y el legado de sapiencia ‘nastika‘ que se respira en sus retablos mágicos de texto, música y gráficos en movimiento perpetuo y en continua mutación vibrante. Un compendio de valores y percepciones sutiles que dimanan del más preclaro vórtice de buen gusto, señorío, intelecto y distinción.
Sus escritos, referencias, reflexiones y propuestas… -a los comentarios toscos de “algunos” de sus adeptos- …no hacen sino evocar siempre esta impronta contundente de admiración sincera; de asombro, estupefacción, de aprecio, de encanto y respeto.
Depositándose seria en alguna biblioteca colmada de estanterías repletas de sabiduría selecta y bien surtida, sujetando aquel volumen de Peter Kingsley u hojeando a Parménides, con su mirada impasible detenida en idearios de espiritualidad regia, contenida, aséptica y ducha… ‘Anattā’… -puede que con sus gafitas- …configuraba el altar de un peregrino lejano que a sus ópticas sagaces rindiera un culto efusivo, universal, natural, veraz y franco.
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Hipatia – Anattā – Athenea… en los obscuros lugares del saber.
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Referente celeste
El rol de ‘Anattā’ es un referente celeste en las glosas de un escriba que inició sus andaduras sospechando desde siempre que el vacío era el núcleo omnipresente en toda acción venidera, presente, viva o postrera; y en su surcar… se asombró del conversar con una ilustrada ‘Anattā’ impenetrable, elegida, destacada y favorita; una paciente anfitriona de recinto alejandrino; una Hipatia en su Serapeum con la que abordar finos tópicos metafísicos, alquímicos o herméticos, sin reparo o cortapisas; sin perjuicios ni censuras ni recelo a incurrir en anatema mordaz alguno; en buena lid, de buena fe y de tú a tú.
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Anattā – La insustancialidad del ser y el alma
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Anattā o Anātman… -según se refiera en pali o en sánscrito readaptado respectivamente- …viene a significar la idea de la ausencia de substancia perdurable tanto en el yo como en el alma; lo que comporta la aceptación de su no existencia inherente. La asunción de este principio es lo que distingue al budismo del resto de filosofías o religiones orientales y de Occidente.
Al propio Siddhartha Gautama se le tildó como maestro de la ‘insubstancialidad’, refiriéndose a él con la expresión ‘Anattā-vadi‘.
La negación del concepto de ‘atman‘ (referido al alma, el ser, el ‘sí-mismo’ en su naturaleza esencial última) se expresa añadiendo la raíz ‘an-‘; de tal forma ‘anatman‘ implica ‘no-alma’, ‘no-yo’. De tal manera tanto el ser dividido en el ámbito de lo múltiple como antes de ello, en su estadio de ‘Singularidad Fuente’ de todo lo visible… -y antes de cualquier escisión ulterior- …no contienen esencia permanente ni tangible. Vendría a comportar el enfoque esencial del pensamiento no teísta en las escuelas de la India y el resto del Oriente.
Este modelo de metafísica se denomina ‘nastika‘, frente al contrario, el ‘astika‘ que sí reconoce la permanencia de substancia en ambos estadios del ser.
Se presume que dentro del canon pali, en el famoso Sutra del corazón, el bodhisattva de la compasión Avalokiteśvara (en sánscrito: अवलोकितेश्वर; literalmente; ‘Señor que mira hacia abajo’) …o de acuerdo a otras fuentes, el propio Siddhartha Gautama dejó explícitamente plasmada esta noción alegando que detrás de toda forma solo se hallaba el vacío y viceversa:
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[ …/… Avalokitesvara, el Sagrado Señor y Bodhisattva, se internó en el profundo curso de la Sabiduría que todo lo trasciende.
Mirando hacia abajo, desde lo alto, sólo contempló cinco agregados, y vio que, en sí mismos, estaban vacíos.
Aquí, ¡Oh! Sariputra, la forma es vacío y el vacío mismo es forma; el vacío no se diferencia de la forma, la forma no se diferencia del vacío; todo lo que es forma, es vacío; todo lo que es vacío, es forma; lo mismo es aplicable a los sentimientos, a las percepciones, a los impulsos y a la consciencia. …./… ]
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– Extracto del Sutra del corazón –
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Nótese que se afirma al final del parágrafo que, asimismo, se aplicaba dicha regla a la consciencia.
Al igual que alegaba Heráclito poco más o menos en jornadas coetáneas, para Siddhartha Gautama era evidente el hecho del cambio en los fenómenos y en la naturaleza de la realidad misma; por lo tanto la vida devenía en un continuo fluir, sinónimo de transitoriedad; de tal modo era imposible pensar en una entidad permanente en cualquiera de las modalidades del ser; y justamente de ahí surgió el concepto de ‘an-atman‘.
Al asumir esta tesis… -y de acuerdo a los versículos del anterior sutra- …la noción del yo conforma una percepción falsa o al menos ilusoria; el sentir individual de cada ser deviene a partir de una secuencia incesante de fenómenos interdependientes relacionados en cadena que transmutan de unos a otros en un continuo fluir tornadizo.
De cualquiera de los estadios intermedios de esta inagotable cadencia de sucesos surge la consciencia individual de cada cual; una percepción temporal que impulsa a tenernos como entidades provistas de individualidad perenne.
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La percepción de Anattā desde el canon Mādhyamaka de Nāgārjuna
Nāgārjuna siglos más tarde recalcó esta evidencia en su canon de sabiduría Mādhyamaka; a partir de este modelo de pensamiento… -igualmente de origen mahāyāna– …todos los sucesos están vacíos de naturaleza propia e intrínseca; carecen de realidad inherente e independiente más allá de la sucesión de relaciones de causa y efecto a partir de las que surgen.
En cuanto al concepto de ‘vacío’ viene a ser la traducción más aceptada para el término budista ‘sunyata‘ (o ‘shunyata‘). Esta acepción se refiere al hecho de que nada… -ni siquiera la existencia o la consciencia del hombre- …dispone de substancia verdadera originaria; nada ha de considerarse permanente toda vez que nada es independiente por completo del resto de las formas, los sucesos y fenómenos.
Por decirlo en otros términos, todo lo que acontece en este o cualquier otro mundo está interconectado y en proceso de flujo mutante continuo. De este modo, la correcta apreciación de esta idea nos libera del sufrimiento causado por nuestro ego, nuestro apego y nuestra resistencia al cambio y a la pérdida.
Erik Johansson, nació en 1985. Fotógrafo y artista digital de origen sueco afincado tanto en la República Checa como en Suecia, está altamente especializado en el arte del retoque fotográfico. Su trabajo viene a describir todo tipo de escenas surrealistas para lo que se vale de la superposición de varias imágenes al mismo tiempo. Al contrario de lo usual en el ámbito de la fotografía convencional, Johansson no se limita a capturar imágenes sino que a partir de ellas conforma ideas valiéndose además de su prodigiosa imaginación, la cual es proyectada al entorno de la postproducción a fin de terminar sintetizando una escena del todo imposible en la realidad ordinaria.
Ha venido realizando proyectos para clientes entre los que se encuentran Adobe, National Geographic Channel, Volvo, Google y Microsoft. Sigue un objetivo concreto que coincide con una de sus mayores obsesiones: Conseguir el mayor grado de realismo posible a cada una de sus composiciones, ya bien por medio de su cámara o mediante un uso ciertamente experto del software de Adobe, Photoshop.
Se graduó en ingeniería informática en la Universidad de Tecnología en Gothenburg (Suecia) y en el máster de Interaction Design en 2010, pero sus conocimientos en fotografía y retoque digital los adquirió de forma autodidacta. Hace dieciséis años llegó a sus manos su primera cámara digital y tras haber estado dibujando casi toda su vida, descubrió lo divertido que era modificar la realidad en sus fotografías y vio la cantidad de posibilidades que se le abrían ante él.
Con su imaginación el artista visual crea escenas increíbles en las que la realidad y ficción se entremezclan invitando al espectador a jugar con la imagen y a descifrarla. Si bien los elementos que se muestran en las fotografías podrían ser bastante cotidianos, las situaciones y los contextos en los que se encuentran son más bien imposibles. Por ello no es de extrañar que entre sus referentes se encuentre Salvador Dali, M.C. Escher o René Magritte.
Para mostrar cómo lleva a cabo sus imágenes imposibles, el fotógrafo ha creado un vídeo making of donde explica su proceso de trabajo. Johansson afirma que no utiliza bancos de imágenes y que todo lo que emplea son fotografías propias para lograr un estilo verdaderamente personal. Primero parte de una idea, de un boceto. Después de elegir localizaciones y elementos necesarios para su composición, los fotografía (proceso que, según afirma, puede llevarle meses e incluso años). En este proceso es donde define el aspecto que va a tener la pieza, escogiendo luces, reflejos, perspectivas… Tras capturar las imágenes que necesita, las une en una sola composición en el software de edición como si fuera un puzzle. Su intención es que la imagen final dé la sensación de que podría haber sido tomada como cualquier fotografía normal.
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Caterpillar house – Erik Johansson
Erik Johansson
Impact – Erik Johansson
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Work process
To Erik it’s always important with a high level of realism in his work. It’s important to make people feel like they are part of the scene, to relate to it. Although his work consists of a lot of work in post-production he always tries to capture as much as possible in camera. “No one can tell you that it doesn’t look realistic if you actually captured it for real.”
Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose.
Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea.
There are no computer generated-, illustrated- or stock photos in Erik’s personal work, just complex combinations of his own photographs. It’s a long process and he only creates 6-8 new images a year (excluding commissioned work). If you’d like to know more about the process of how the images come to life have a look at these Behind the Scenes Videos.
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Landfall – Erik Johansson
Expecting winter – Erik Johansson / Alltelleringet
Cut nd fold – Erik Johansson
Drifting away – Erik Johansson
Viewty picnic preview – Erik Johansson
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Commissioned projects
Erik is as much a photographer as a retoucher which enables him to create almost anything that you can imagine. Having an understanding of each step of the process gives total control of the whole work process from sketch to final image to ensure a high quality realistic result. Creating an image this way requires a lot work and preparation to get a realistic result. Erik is available for worldwide commissioned projects. If you have a project don’t hesitate to contact us and share your thoughts. Featured clients below.
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Behind the scenes – Impact
“This is an image I’ve been working on for the past months. I wanted to create an image where a lake is breaking up as a mirror. I wanted to make the effect look as realistic as possible so I decided to buy 17 square meters of mirrors last summer and brought out the mirrors, a boat and the model to a quarry.”
Music: Principles of Geometry.
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Behind the scenes – Full moon service
“Shot in late summer of 2016 a beautiful calm evening in the middle of Sweden. I brought out a bunch of rice lamps, light bulbs, an electric generator, a car and two models out in a field. In this 3 minute video you can see the process of making it come to life from sketch, shooting to final composition.”
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Behind the scenes – Drifting away
“This video shows the process of creating my photo ‘Drifting Away’ from sketch, shooting to final image.”
Music: Detektivbyrån.
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Behind the scenes – Endless stories
“An image I created for The Swedish Childhood Cancer Foundation (Barncancerfonden). By supporting cancer research more children can survive and fulfill their dreams, like for example reading all the books in the world.” The Swedish Childhood Cancer Foundation is a non-profit organisation dedicated to collecting money to prevent and combat cancer diseases in children.
Julia suffered from leukemia at age of two. Now the treatment is completed, and Julia is back with her friends at the kindergarten. When Julia was two years old she was diagnosed with leukemia. Her parents Adriana and Magnus and big brother, Gustav, had just moved to Alingsås, Sweden when life turned. There are no words to describe such a situation. But how inhumanely overwhelming things may seem, there is hope. Despite the difficult circumstances, she has been an incredible fighter. With your help increase the chance that their lives will be filled with many more wonderful experiences and memories!
The Swedish Childhood Cancer Foundation is a non-profit organisation dedicated to collecting money to prevent and combat cancer diseases in children. The Childhood Cancer Foundation operates exclusively on the basis of donations from individuals and the private sector, and receives no grants from the national government, the municipalities or the county councils. Everyone involved worked for free on this project. Find out more about The Swedish Childhood Cancer Foundation here: http://www.barncancerfonden.se
From October 2014 until the end of 2014 this photo was available to buy in my print shop on inprnt.com where all the money including the print cost would go to The Childhood Cancer Foundation. We sold a total of 39 prints and raised $ 3840 USD. Thank you all for the support!
Due to more people asking for the print it’s once more up in the shop and 50% of the sale price will be donated to the organization:”
“This is a behind the scenes video showing the process of creating my photo “Landfall” from sketch to final image.”
Music: Mr Oizo & Gaspard Agué.
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Behind the scenes – Cut and fold
“Behind the scenes video of my photo Cut & Fold, from shooting to final photo. The post production took about 15 hours, the clip contains a selection of that process played back at 80 times normal speed. Video was filmed and edited by me.”
Music: Justice.
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Behind the scenes – Closing out
“I wanted to create a world between outside and inside and somehow let them meet. For this piece I decided to have my sisters sheeps as models and I knew that I wanted to shoot the outdoor part of the photo in an real outdoor environment. I brought out some wood boards, old paint buckets.”
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Viewty picnic preview – Erik Johansson
Tales from the hidden attic – Erik Johansson
Laundry – EriK Johansson
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Erik Johansson – References and official web sites
Monuments in Mahabalipuram, Tamil Nadu, India; in 4K.
A subject that opens the door to the immense delight promoted by the sequence of images of these archaeological remains, digitized by an expert of the trade; a trophy hunter with the best of pulses, concentration and dexterity.
Warning: Very recommended viewing in full screen.
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-Video imported from ‘Amazing Places on Our Planet‘ YouTube channel. More information about this film and his author at the end of the subsequent analysis.-
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Unbeaten monarch Pallava
Legend tells that, along with the other twelve great monarchs of the Indian race at the time, Narasimhavarman I was never defeated on any battlefield. As king of the Pallava dynasty, he directed the destiny of much of the South of the Indian territory from 630 to 668 AD.
Heir to his father, Mahendravarman I, he cultivated a deep respect for art and beauty in itself; in this way, he was responsible for completing the building works of temples in the exotic lands of Mamallapuram, on the shores of the Indian Ocean, facing Sri Lanka; a port town also known as Mahabalipuram or Mamallapattana, located in the current state of Tamil Nadu.
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Mamallapuram – Kanchipuram district – Tamil Nadu state – India
Ancient Tamilakam ports – Sangam period
Tamil Nadu state – India
-Location of Mahabalipupram / Mamallapuram.KanchipuramDistrict (in red).Tamil Nadu State, India – Ancient ports and kingdoms of theTamilakamregion during theSangam era – Tamil Nadu State, Southeast India.-
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In the era of Bodhidharma, Adi Shankara and Hiuen Tsang.
It is assumed that, during his tenure, the temples carved into the rock of Panch Pandav Rath Temple were erected among others; another one of those architectural feats that neither modern archeology nor the most avant-garde technology is even able to dare to explain or imagine. Also in contemporary periods it is estimated that the site was visited by the famous traveler Hiuen Tsang, from his native China, who in his day attested to the good coexistence between the different sectarian groups of the population run by the Pallava monarchs: Followers of the Jainism, Shaivism and Vaishnavism.
Xuánzàng became famous for his dense work of translating Indian Buddhist annals into Chinese. He is also responsible for the introduction into the Chinese Empire of the Yogācāra school (yoga practitioners), during the 7th century… -to which he gave the name of Faxiang– …which conforms one of the two main thought branches of Mahāyāna Buddhism.
Xuanzang statue. Great Wild Goose Pagoda. Xi’an. China.
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A Bodhidharma and a Shankara in their Pallava version
In references of Graeme Lyall it is argued that Bodhidharma… -founder of the Zen Buddhist school in China of those days- …would have been a prince of the Pallava dynasty.
At the same time it is estimated that also the great philosopher and theologian, Adi Shankara… -forerunner of the Vedanta Advaita wisdom- …was contemporary of the last period of dominance of this distinguished Hindu lineage, before that emporium ended up being bent by one of its stubborn adversaries, the Cholas, around 895 AD.
The theses of the historians S. Krishnaswami Aiyangar and K. A. Nilakanta Sastri suggest that the Pallavas would have been one of the vassals of the famous Satavahanas, once they resided during the Iron Age in the Southeast segment of their empire; perhaps because, according to the writings in Puranás… -and some mentions in currencies found in those lands- …they were considered somewhat ‘alien to those Tamil kingdoms‘ and quite different from the lineages of Cheras, Pandyas and Cholas. According with this argument, the possibility was inferred that, after the decline of the influence of Satavahana, the Pallavas would have managed to become independent, until reaching the lands of Kanchi, a place branded as sacred in all ambits of understanding of history in India.
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Cheras, Chozhas, Pandyas, Pallavas
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Descendants of Aśvatthāma
Together with the other versions of the origin of this dynasty… -and according to the unusual architectural legacy that they left behind- … we bet at the same time on the hypothesis of the also historians R. Sathianathaier and D.C. Sircar (the latter equally epigraphist, folklorist and numismatic); these scholars were also endorsed by the indologist H. Kulke, and researchers D. Rothermund and B. Stein.
Sircar argued that the legends of the Pallavas lineages related connections with an ancestor of the same name (Pallava) descended from the legendary Aśvatthāma after their union with a nagini whose name was Menaka; for some, an entire naga princess from the lineage of serpent deities so often minted in the arcane Hindu texts; although in other versions it is alleged that such a great celestial creature came from the Apsarás ancestry; a sort of aquatic nereids of the vast Hindu pantheon.
In any case and in line with this proposal, the Pallava dynasty would carry naga blood in its entrails and arteries, which could lead to astonishing exegesis regarding their war tactics and its artistic and architectural techniques.
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Ashwatthama using narayanastra weapon
Narada and Vyasa stopping brahmashirsha astra used by Ashvatthama and Arjuna
Throughout the history and geography of the world there are indications of archaic flying artifacts that are difficult to explain – a priori; very particularly in the Indian Continent, in which the description of war conflagrations with armaments and equipment totally improbable appears both in its literary myths and engraved in the rocks of its archaeological remains.
There are data on the interaction of the men and women of those times with sublime creatures that appeared in the transit of past civilizations alongside which the human race starred in an amalgam of unexplained events in the course of excellent epics; sumptuous chronicles that ended up immortalized, both in canons and/or palm leaves manuscripts, as in graphic, pictorial or stone pictograms.
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Sangama Age in India
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That myth of flying temples
The list of armaments given in the Rāmāyaṇa and Mahābhārata would occupy the narrative of hundreds of pages added to this article. The most famous of them, the so-called ‘Vimanas‘ respond in many cases to the descriptions of the shape and geometries of the magnificent temples that are found throughout Hindu territories.
Perhaps, hence it follows that many of those basilicas erected in India are also called ‘Vimanam’ or Vímanas, (this time accentuating the letter ‘i’).
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Brihadisvara temple. Tanjore.
Vímana Templo de la Orilla. Mahabalipuram.
Vímana Airavatesvara temple. Darasuram.
-‘Vímana temples’ of Brihadesvara, Thanjavur District, Tanjore, Tamil Nadu. – Vímana ‘Temple of the Shore’. Mahabalipuram. – Airavatesvara, Darasuram, Thanjavur District, Tamil Nadu. –
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Legends about the interaction with “deities”
These palaeographic, artistic or archaeological remains describe the human interaction with these “divine” entities; Only a thorough scholar analysis -applied without prejudice- would allow an expert in our timeline to reproduce in detail what really happened at those eras in order to unravel a reliable past that gave form, destiny and substance to our current becoming; a necessary work in order to optimize the course and evolution of an amnesic humanity towards the most dignified future in the scope of this unusual hologram of consciousness.
Seen what has been seen so far script size … -a priori “fanciful” – … should be understood only in terms of mythological absurdities; However, the dilemma looms unbeatable when trying to explain in one way or another the origin and methodology applied in the construction of these brutal sanctuaries of Mahabalipuran, as in the cases of many other chilling temples and palaces located in the Indian territory.
Beyond their exegesis in the purely mythologicalm these temples are offered to the visitor as apparent hulks without obvious utilitarian sense; when it becomes impossible to understand how they were unusually dug in the soil or in the rock or excavated in colossal stony masses; so many times without joints, masonry, rubble works rests or isolated structures that had to be jointed together; compiled in, and from a single stone mass. And no leftover remains scattered around surrounding areas.
Any current building barely stands for a couple of centuries or even a few decades in the case of not striving enough in keeping them solid by means of a strict maintainment procedures.
Today’s human narrates his epic on paper while those characters seemed to have no problem in thoroughly carving their footprints at their will, by molding mountains and soil, rock and stone; digging temples in boulders of cyclopean magnitudes, coffering them after with reliefs and figures of unusual detail… even for the most expert Thracian, Visigoth, Gothic or Renaissance goldsmith.
Mysterious compendiums of tools and unthinkable techniques
Ancient constructions hide knowledges and sciences that we cannot understand applying the present rules. No one has to ignore the undoubted fact that this progeny of artists, rulers and warriors used a mysterious compendium of tools, gadgets and utensils capable of proceeding with unthinkable techniques; suspiciously magical or alchemical technologies; totally unknown to the naive science cast of our present times, and never referred in our current treaties, glossaries and encyclopedias.
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Mahabalipuram. Tamil Nadu. India-(by Milosh Kitchovitch)-09s
Mahabalipuram. Tamil Nadu. India-(by Milosh Kitchovitch)-10s
Mahabalipuram. Tamil Nadu. India-(by Milosh Kitchovitch)-11s
When Narasimhavarman II came to power, he exchanged ambassadors with China and offered assistance to the rulers in their war against the Arabs to defend the Arya Dharma tradition. Although after his period, the Pallavas entered in a period of serious decline against the lethal assaults propitiated again by the Pandyas, Cholas and Chalukyas.
Popularly known as Rajasimha Pallava, his reign was marked by a certain peace statement; during that time it was when he ordered to build more beautiful temples in their regions.
End of the Pallava dynasty. Start of the Khmer empire.
Under the reign of Aparajitha, the Pallava dynasty came to an end; an outcome that culminated when Aditya I, -King Chola- broke the yoke of the lords of Pallava. Despite this, the Pallavas had been exalted by the adversary monarch, Rajendra Chola. Later, the Khmer empire … -which descended from the Pallavas- … became the vassal people of Rajendra Chola.
In any case, the ages of the dominance of the Pallava kingdom led to a boom in spirituality in India; especially as Buddhism declined and bhakti movements and Jainism emerged.
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Damas jainistas – Jainist women
Jain Narayana temple. Pattadakal. Karnataka. Tamil Nadu.
It should be emphasized that much of the monumental complex of Mahabalipuram was carved into the kernel of huge rocks with completely unknown procedures so far.
…and its magnificent and large outdoor reliefs, such as the impressive example of the so-called ‘Descent of the Ganges‘ (also known as ‘Penance of Arjuna‘)…
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Mahabalipuram. Tamil Nadu. India-(by Milosh Kitchovitch)-21s
…or the Temple of the Shore (Shore temple) in which you can literally appreciate thousands of sculptures dedicated to extol the glory of Shiva.
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-Twilight over the Bank of Mahabalipuram temple; stunned by the transit of birds.-
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‘Amazing places on our planet’: The excellence captured with stealth.
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The sequence of captures achieved by Milosh Kitchovitch around the Mahabalipuram temple complex implies a majestic insight even to the eyes most accustomed to witnessing filming and documentaries focused on the area of archaeology, history and travel reports. Only the retinas of a shrewd magician of the lenses can come to summarize with such mastery the atmosphere of that magical enclave, and doing it with the level of detail that, in addition, are added by the landscape, its visitors, natives and protagonists, fauna and flora, sky and earth.
The result for those who view his films becomes an experience of astonishment that exceeds what was originally planned; a task in which he is aided by the magnificent resolution of color and sharpness offered by the CMOSExmor R sensor chip (with backlit type 1.0) which digitizes life through the ZEISSVario-Sonnar lenses; the capture device implemented by the new Sony FDR AX100 and AX700 cameras since more than a couple of years.
We understand that the ‘size-quality’ relationship that this Sony technology entails makes these cameras to be among Milosh’s favorites.
Monuments in Mahabalipuram, Tamil Nadu, India; in 4K (UHD) -[ ‘Amazing Places on our Planet’ YouTube channel. ]-
Because the main objective of this article goes beyond showing the unique and spectacular architecture and sculptural art of the heritage of an ancestral India … -misunderstood as incomprehensible- … but at the same time … -or rather: In the first place- … we tried to make a special emphasis on the elegant, serene and balanced tone and pulse of this specialist; ‘aikidō master’ in the art of catching and immortalizing the beauty of the World … – without altering it in the least.
His editions of intelligently intertwined sequences and the calmed might of the slow displacements impel the viewer to feel located in the same whereabouts as the real protagonists of the scenarios, as if a kind of wormhole suddenly led us through to make appearance on the stages packed by Milosh.
In this way, being able to count on with the author’s express authorization to insert his recordings in this modest blog not only fills his administrators with satisfaction but also, they will feel especially honored for it.
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-Video imported from the spectacular YouTube channel ‘Amazing Places on Our Planet‘-Watch better in FULL SCREEN–
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[ The town of Mahabalipuram (Mamallapuram) is one of the major attractions around Chennai, Tamil Nadu. The monuments at Mahabalipuram were carved out of rock in 7th and 8th centuries, they are inscribed as UNESCO World Heritage Site.
Locations in the video: Mahishamardini Cave (0:05), Old and new light houses (0:22), Krishna’s Butterball (2:08), Descent of the Ganges (Bagiratha’s Penance) (2:41), Pancha Rathas (Five Rathas, Five Chariots) (3:50), Shore Temple (4:35), Mahabalipuram beach (5:00).
Recorded February 2016 in 4K (Ultra HD) with Sony AX100. Edited with Adobe Premiere Pro CC.
Music: Hans Christian – Hidden Treasures – 08 – Incessant heat:
Immense stones of Mahabalipuram, in unusual balance. Video frame from ‘Monuments at Mahabalipuram, Tamil Nadu, India in 4K (Ultra HD)’. Imported from ‘Amazing Places on Our Planet‘ YouTube channel. February 2016.
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About ‘Amazing places on our planet’
[ There are many reasons people are obsessed with travel. For me it is only one: witness the most amazing, scenic, beautiful, sacred, energy filling places on our planet. And share this experience with others. I do this mostly through my videos. Hopefully one day I will find enough time to share my experiences in a Blog, but for now – it is just ‘The Beauty of Our World Without Words’
Nube de Oort 