This aerial photo of Hiroshima was taken on August 9, 1945. (Use the magnifying glass tool in the left of the tool bar to enlarge the photo.) The legend in the upper right provides the key for the graphic colors -- buildings in the area in red were totally collapsed and burned, those in the pink area were totally collapsed, those in the yellow area were half collapsed and burned / irreparably damaged. The area of irreparable damage extended out as far as 4 kilometers and beyond. Between the blast damage and the ensuing fires, the devastation of Hiroshima was essentially total.
This is a haniwa, an earthenware clay object associated with the burial mounds of the Kansai region. The form of the roof, soaring up and out at the ends, is typical of many haniwa representations of dwellings of the period. -- Important as an artifact, in and of itself, the sweep of the contour of the roof in this example also calls to mind the shape of the cenotaph at Hiroshima. The cenotaph probably was created in this form to create an association with haniwa and with the ideas of home and shelter.
Trapped in a fallen house, this mother and child were surrounded by fire and calling for help. August 6, around 9:00 am, Tanaka-machi, about 1,000 meters from the hypocenter.
The heat of the fire partially melted these tiles and fused them like a lump of lava. Tiles melt at 1,200 to 1,300 degrees C. Thus, these fused roof tiles reveal how extremely hot the fire was.
Photograph taken near the Yokogawa Station in October, 1945, showing the makeshift huts in which survivors were living.
Information provided by the museum label states, "The religion of Jainism has existed since the fifth century B.C. Like other faiths in India, it teaches that an ultimate goal in life is to seek release from continual rebirth; it also, however, stresses individual responsibility in this process. Jainism honors a large pantheon of deities and supportive beings, many of which are borrowed from Hinduism and Buddhism. "The image of Sarasvati, a goddess respected by both Hindus and Jains, once stood in a Jain temple in India. She sits displaying vara mudra (the gesture of charity) with her left hand. In her right hand she carries a book; in her upper-left and right hands she holds a festooned noose and an elephant goad, attributes normally associated with the elephant-headed god Ganesha. He and Saravati are usually invoked together before beginning literary enterprises." -- India, Karnataka -- Gray chloritic schist -- Coll. Art Institute of Chicago (James W. and Marilynn Alsdorf Collection, 224.1997)
View across the interior of the main hall at Ryoanji. With the fusuma sliding panels open, one can see the integration of interior and exterior spaces that typifies traditional Japanese architecture and also sense how they may be opened and closed within the interior space to define that space in different ways. This current building was moved here from another site to replace the original hall, which burned in 1789. The round wooden object in the forground is a mokugyo, a wooden â€œbellâ€ or â€œgongâ€ that is sounded by being struck with a mallet.
At the top of the monument, which is nine-meters high, is this bronze statue of a young girl, perhaps a reference to Sadako Sasaki. In her hands, she lifts a golden crane above her head. The crane carries dreams for a peaceful future. -- On the sides of monument are bronze figures of a young boy and another young girl.
Exterior of Ginkakuji, viewed across the garden pond. Note the framing of the pavilion by the shape of the pine tree and note also the size and shape of the bushes in the foreground -- compare these elements to image I.D. No. ecasia000944, photographed a quarter of a century later.
The Ajanta Caves were carved out of the rocky hillside surrounding a bend in the Waghora River. During the dry season, the riverbed becomes a footpath but in the rainy season, people wade through the stream over slippery rocks.
Over-view of the monument erected on the edge of the Peace Park in 1970, by a group of Koreans. It is dedicated to the many Koreans who died or were injured in Hiroshima by the A-bomb explosion.
Path through lower garden at Ginkakuji, with slab of rock that forms bridge across part of the garden pond.
Bodhisattva figures adorn the outer walls of the caves. These bodhisattva figures represent the ideal of leaving one's family, wealth, and social standing to take up the life of a wandering Buddhist mendicant seeking enlightenment
Woman gardener in traditional garb works in the moss garden at Ginkakuji, Kyoto, sweeping leaves off from the carpet of moss. Note: slide taken in 1972.
These two metal baskets used for the child weighing ritual are connected by a thick rope positioned over the strong limb of a tree in the courtyard of the dargah. [For description of the ritual, see cbind0043.]
Seated in a throne-like setting, the Buddha is depicted with his hands in the teaching pose. His feet rest on a lotus, symbol of enlightenment, and supernatural beings are carved around him, ostensibly also attending to his teachings. The throne was constructed in the shape of a stupa within the cave, with ample room around it for monks and pilgrims to circumambulate the image.
Around the entranceways to the caves are figures of amorous couples symbolizing the good fortune of fertility and happiness. Sitting comfortably with the bodies touching, the woman leans against her partner's knee, while he reaches to stroke her face. Lotuses frame the scene.
The last in a series of painted buddhas and bodhisattvas framing the doorway above one of the caves, the royal Maitreya, buddha of a future age, is seated in a lotus position. His right hand may be held in the varada mudra, the gesture of compassion.
View of east end of the garden at Ryoanji, wall on south side of the garden, and weeping cherry tree in blossom on other side of wall. Petals of fallen blossoms gather on roof of wall and in garden on south side. May, 1998.
Image of moss garden on west side of Hojo at Ryoanji, taken in 1972, summer. Wall of rock garden, at that time, extended along west and north sides of moss garden; subsequently wall removed from moss garden. Compare with image ecasia000903. Date of original moss garden?
The speakers visible in this photo are used to announce the call to prayer.
Stone torii gate at the entrance to the main shrine at Miyajima.
A view into one of the sanctuaries/worship areas at the main shrine at Miyajima. Only priests or shrine maidens would be allowed inside.
Sign in English and Hindi for the Tomb of the last Mughal Emperor, Aurangzeb. Behind this sign is a small sign explaining that anyone who vandalizes this monument will be subject to imprisonment of up to three months, a fine of up to 5000 rupees [more than $100], or both.
Passages from the Qur'an are used as decorations and as reminders of the presence of God in homes and in public places, as well as in mosques.