davidanugraha/M4-RAG huggingface dataset:
Diana y una ninfa sorprendidas por un sátiro

Diana y una ninfa sorprendidas por un sátiro es una obra de Anton van Dyck pintada al óleo sobre lienzo con unas dimensiones de 144 x 163 cm. Datada entre los años 1622 y 1627, actualmente se conserva en el Museo del Prado de Madrid.
Perteneciente a las colecciones reales su primera ubicación conocida fue en el nuevo Palacio Real de Madrid, junto al Guardajoyas, donde estuvo hasta el año 1747 que pasó al Palacio del Buen Retiro, al cuarto del infante don Luis. En 1772 el cuadro se trasladó al Casón del Buen Retiro y allí permaneció hasta 1794 que pasó a formar parte de las colecciones del Prado.
En un principio, esta obra estuvo erróneamente catalogada y era conocida como Diana y Endimión sorprendidos por un sátiro. No fue hasta el año 2002 en que definitivamente quedó aclarado que el personaje representado junto a Diana era una ninfa, ya que se trata de una inequívoca figura femenina, nada que ver con el claro aspecto masculino con el que se identifica a Endimión. El motivo de esta equivocación fue un error que se produjo en el inventario del Museo del Prado en el año 1857 en el que la obra fue mal catalogada, ya que en referencias anteriores a este año, la obra se nombra con el correcto episodio mitológico.​
En la obra, representados de cuerpo entero, aparecen una ninfa y Diana cazadora que duermen tras una jornada de caza. Las piezas cobradas en la cacería yacen en el lado derecho del lienzo mientras que en la izquierda se puede ver un perro y el arco y las flechas símbolos de la diosa cazadora. En la escena irrumpe un sátiro con la lengua fuera y los ojos fijos en Diana con expresión lujuriosa. Su dedo índice señala lo que posiblemente sea el motivo de sus deseos. Van Dyck hace de ese dedo el centro de la composición obligando al espectador a dirigir la mirada al cuerpo desnudo de la mujer. Así, el observador, al sentirse partícipe de la escena, percibe con claridad tanto la lujuria del sátiro como la indefensión de las mujeres.
Para realizar la obra, Van Dyck se apoyó en referencias italianas, especialmente de la Escuela veneciana y posiblemente se fijó en el trabajo de maestros tales como Tiziano o Tintoretto.​
Eros y Psique (Gérard)

Eros y Psique, también conocida como Psique recibiendo el primer beso de Cupido, es una pintura al óleo realizada por François Gérard en 1798. Se expone en el Museo del Louvre de París con número de inventario 4739.​
La joven princesa Psique es sorprendida por el primer beso de Cupido, o el Amor, que es invisible para ella. El mito antiguo que aquí se cuenta es una historia de amor pero también una alegoría metafísica: Psique es la personificación del alma humana. La obra pintada por Gérard, que había sido alumno de Jacques-Louis David,​ atestigua la evolución del neoclasicismo hacia la expresión de la sensualidad y hacia una cierta abstracción formal.
La relación entre Cupido y Psique se inspira en su presentación en Las metamorfosis de Apuleyo,​ y fue un tema que apreciaron los artistas neoclásicos, pintores, escultores y literatos. Los gestos de Eros, dios del Amor, son medidos, carentes de pasión y entrega. Las líneas del cuerpo reflejan la atención que se concede a la anatomía. La expresión de Psique denota una relajación serena pero distante, como esforzándose en ocultar sus sentimientos. La capacidad del artista se aprecia en la transparencia del vaporoso paño que cubre las piernas de la joven.
El visitante inesperado (Iliá Repin)

El visitante inesperado o No lo esperaban (en ruso «Не ждали») es un lienzo del pintor ruso Iliá Repin, actualmente en la Galería Tretiakov de Moscú.​
El lienzo representa el inesperado retorno a su hogar de un miembro de un movimiento revolucionario —tal vez la Narodnaya Volya— exiliado a una remota región de Rusia. El hombre entra en una habitación, donde los miembros de su familia se muestran sorprendidos ante su llegada.
La escena tiene lugar en una estancia llena de luz, cuyo mobiliario, piano y cuadros en las paredes son propios de la clase intelectual de la época. Al fondo, una criada, vestida con un delantal, abre una puerta que comunica con otra habitación, al fondo de la cual se ve a otra sirviente. El hombre ha traspasado la puerta, y está de pie en la parte más iluminada de la estancia, donde convergen la luz procedente de la entrada y la de la puerta acristalada del lado izquierdo. Está vestido con un abrigo campesino gastado, lleva zapatos viejos, y porta un sombrero en la mano izquierda. Su cabello está corto y su rostro refleja una cierta alegría, teñida del escepticismo propio de un hombre roto por la vida.​
En primer plano, Repin representa a la madre del exiliado, de mediana edad, vestida de luto y con una toca en la cabeza. Al ver a su hijo se levantó, empujando la silla a un lado. La composición gira en torno al exiliado y su madre, cuya figura —encorvada y sorprendida— conecta a su hijo con el interior de la estancia y con los otros personajes. El centro del cuadro está ocupado por su mano y la de su nuera, que está sentada al piano, al fondo de la composición, con una expresión de alegría contenida. Los dos niños, sentados a la mesa en la parte derecha del cuadro, dan vida, consistencia, calidez y encanto a la composición. El niño descubre a su padre con alegría, y la niña —con sus piernas curiosamente curvadas— lo mira con una expresión de asombro.​
Previa a la presente pintura, Repin había realizado una versión de menor tamaño y con menos personajes, donde en lugar del hombre exiliado aparece una joven estudiante.
Se puede ver que el presente cuadro fue pintado una y otra vez, cambiando el aspecto de los personajes, su ubicación e iluminación. Repin también cambió la expresión facial y la inclinación de la cabeza del exiliado. Inicialmente, planeó retratarlo como un hombre fuerte y decidido, pero finalmente de dio una expresión incierta, donde también hay heroísmo y sufrimiento.​
Pintura china

La pintura china clásica se denomina, en chino: 中國畫 zhōngguó huà, pintura china, o 國畫 guó huà, pintura del país, en oposición a la pintura china de inspiración occidental aparecida en el siglo XIX. Se puede considerar como una rama autónoma de la caligrafía china de la que partió, fundada sobre los cuatro tesoros de la escritura: (pinceles, tinta, tintero y papel), pinceles chinos, barrita para la tinta, piedra de tinta (para moler la piedra de tinta y mezclarla con agua) y el papel de arroz.
Tiene diferencias con otros géneros de pintura china, por ejemplo, la pintura de frescos budistas de las cuevas de Dunhuang.
La pintura china clásica está constituida por un conjunto de estilos típicos del Extremo Oriente que tienen su origen en las técnicas pictóricas que se pueden encontrar en la pintura de Corea y Japón.
La pintura china clásica aparece en torno al siglo III a. C., pero no sería hasta el siglo I a. C. cuando la técnica se plasmara sobre papel, a partir del desarrollo de la caligrafía china y el papel de arroz.
La pintura de paisajes constituye el género más “noble” de la pintura china clásica, a través de ella se transmiten las concepciones micro- y macro-cósmicas chinas del universo. No es un arte figurativo que se haya modelado después, sino el resultado del sentimiento experimentado por el pintor que, tras la contemplación del paisaje, lo plasma en la pintura.
En el caso de la pintura de paisajes “montaña y agua”, la armonía de los elementos yin - yang, el juego de las condiciones atmosféricas, de los estratos geológicos, de las texturas informes en blanco y negro tienen, como fundamento, una apropiación expresionista de la naturaleza muy alejada de la mimesis o imitación exacta, como sucede con la estética occidental.
La concepción confucionista del mundo se refleja, asimismo, en la pintura de paisajes en los que las figuras o las construcciones humanas aparecen de forma muy reducida, situadas en un marco cosmológico completo.
Únicamente en las pinturas cuyo objeto central son los vegetales, los animales, o los seres humanos se introduce el color en la pintura: el tema de los letrados meditando o reunidos (por ejemplo los Siete sabios en un bosque de bambú), o de santos, son los temas particulares de estas pinturas. Algunos pintores se especializaron en un tema concreto: caballos, (徐悲鴻 Xu Beihong), bambús, incluso gambas.
Fue mucho más tarde cuando los poemas o epitafios se añadieron directamente sobre las pinturas, especialmente en los paisajes. Las obras más célebres se caracterizan, asimismo, por el número de sellos en tinta roja que designa la lista de los emperadores que se encontraba en la colección imperial, la mayor parte de ellos están, actualmente, en el Museo Nacional de Taipéi (Taiwán), tras el exilio del partido Kuomintang.
La representación del espacio en la pintura china,, que rechaza la perspectiva del punto de fuga, ha adoptado, en algunas ocasiones, y en los últimos siglos, las representaciones del espacio trigonométrico, especialmente cuando se trata de pintar pueblos o ciudades.
Portrait of My Father

Portrait of My Father is an oil on canvas painting by Salvador Dalí, created in 1925, depicting his father, Salvador Rafael Aniceto Dalí Cusí. It is now in the National Art Museum of Catalonia, in Barcelona.
Dalí held his first exhibition at the Galeries Dalmau in Barcelona in 1925, before making his first trip to Paris and moving towards Surrealism. This portrait is considered one of the best from his early period, even by Dalí himself, coinciding with his return to Figueres after his final expulsion from the Academy. Dalí focused on the severe expression of his face and especially in the piercing eyes. The portrait demonstrates the forceful character of his father, who was a notary in Figueres, and with whom he had a difficult relationship. The technical mastery the young painter had already achieved at this time can be noticed in the cleanly drawn outlines, the treatment of light and shade and the expressive power of the sombre tone.
The technical mastery of the young painter is demonstrated in the sharply drawn profile, the treatment of light and shadows, and in the expressive power of the sober tones. Dalí's work shows a man with character, imposing and majestic, depicted from a three-quarter perspective. His gaze is directed at the viewer sharply, as if he didn't wanted to lose sight of his bright and rebellious son.
The posture adopted by the father in this painting resembles the artist's Portrait of Father and Sister (1925); but in this case, he appears dressed with more informal clothing and holding a pipe.
Dali & Cocky Prince

Dali & Cocky Prince (Korean: 달리와 감자탕) is a 2021 South Korean television series starring Kim Min-jae, Park Gyu-young, Kwon Yul, Hwang Hee, and Yeonwoo. It is about the romance between a parvenu who lacks education, and the daughter of a prestigious family who tries to save a collapsed art museum. It aired on KBS2 from September 22 to November 11, 2021.
Visiting researcher Kim Dali meets restaurateur Jin Moo-hak in a case of mistaken identity in the Netherlands. When her father dies, Dali returns home to take over management of her family's struggling art museum. Moo-hak is a major creditor of the art museum, and they meet again unexpectedly when he arrives to collect his debts. Gradually, Moo-hak realizes that he wants to turn the museum's fortunes around to help Dali rather than solely get his money back.
The male lead role was first offered to actor Lee Jae-wook.
Filming was scheduled to begin in April 2021. The series was originally scheduled to be aired between November and December 2021, but KBS decided to premiere it earlier.
List of facial hairstyles

This is a non-exhaustive list of facial hairstyles.
A moustache is defined as any facial hair grown specifically on the upper lip. There are many different types of moustache.
The simple term beard is an umbrella term which can include any style of facial hair that isn't clean shaven or just a moustache.
A full-beard which shows full, unmodified growth on all available areas of the face and neck, including the moustache, chin, sideburns, and cheeks.
The Secret Life of Salvador Dalí

The Secret Life of Salvador Dalí is an autobiography by the artist Salvador Dalí published in 1942 by Dial Press. The book was written in French and translated into English by Haakon Chevalier. It covers his family history, his early life, and his early work up through the 1930s, concluding just after Dalí's return to Catholicism and just before the global outbreak of the Second World War. The book is over 400 pages long and contains numerous detailed illustrations. It has attracted both editorial praise as well as criticism, notably from George Orwell.
Dalí opens the book with the statement: "At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been growing steadily since." According to Time, Dalí wrote with a highly detailed, methodical style that layered words the same way as paint. For example, he states in an early section about his childhood home:
Dalí states in the book:
Time stated that Dalí's autobiography was "one of the most irresistible books of the year." The magazine called it "a wild jungle of fantasy, posturing, belly laughs, narcissist and sadist confessions", while also commenting that "[t]he question has always been: Is Dalí crazy? The book indicates that Dalí is as crazy as a fox."
Essayist, journalist, and author George Orwell wrote a notable criticism of the book titled Benefit of Clergy: Some Notes on Salvador Dalí in 1944. Orwell categorized Dalí's book among other recent autobiographies that he considered "flagrantly dishonest", and he stated that "his autobiography is simply a strip-tease act conducted in pink limelight". He denounced Dalí's accounts of physical abuse against various women in Dalí's early life. He wrote "[i]t is not given to any one person to have all the vices, and Dalí also boasts that he is not homosexual, but otherwise he seems to have as good an outfit of perversions as anyone could wish for" and "[i]f it were possible for a book to give a physical stink off its pages, this one would". He also commented that "[o]ne ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being", defending aspects of Dalí's surrealist style.
In July 1999, an article by Charles Stuckey in Art in America stated that Dalí's book "arguably revolutionized a literary genre". He argued that Dalí's book had been intended as slapstick humor and has been generally misinterpreted by critics. He also wrote:
American writer and humorist James Thurber wrote a semi-autobiographic article for The New Yorker called The Secret Life of James Thurber on February 27, 1943. In the article, Thurber referred to Dalí's title and parts of his style in comparison to his own life. In particular, Thurber noted with dismay that his own autobiographical book, My Life and Hard Times, sold for only $1.75 a copy in 1933 while Dalí's book sold for a full $6.00 in 1942.
Edward Quinn

Edward Quinn (1920–1997) was born in Ireland. He lived and worked as a photographer from the 1950s, on the Côte d'Azur, during the "golden fifties" the playground of the celebrities from the world of show biz, art and business.
The rich and the famous came to the French Riviera to relax. But the movie stars knew how much their off-screen image counted; Quinn was at the right place at the right time, making spontaneous images which caught their charm, sophistication and chic. Amongst celebrities and stars captured on film by Quinn were Audrey Hepburn, Grace Kelly, Brigitte Bardot, Marlon Brando, Sophia Loren, Aristotle Onassis, Maria Callas, Winston Churchill, and Somerset Maugham.
In 1951 Edward Quinn met and photographed Pablo Picasso for the first time. Their friendship lasted until Picasso's death in 1973. This encounter with Picasso was to be greatly influential to Quinn himself and to his subsequent work. Quinn is the author of several books and films about Picasso.
Since the 1960s Quinn concentrated his work on artists, amongst them Max Ernst, Alexander Calder, Francis Bacon, Salvador Dalí, Graham Sutherland, David Hockney.
In the late 1980s an intense relationship, similar to his friendship with Picasso, linked Quinn to Georg Baselitz.
From 1992 until his death in 1997, Edward Quinn lived near Zürich with his Swiss wife Gret, who died in 2011. Quinn's nephew Wolfgang Frei now manages the extensive photo archive and founded the Edward Quinn Archive Ltd.
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Thomas Sauvin

Thomas Sauvin is a French photography collector and editor who lives in Beijing. Since 2006 he exclusively works as a consultant for the UK-based Archive of Modern Conflict, an independent archive and publisher, for whom he collects Chinese works, from contemporary photography to period publications to anonymous photography. Sauvin has had exhibitions of his work, and published through Archive of Modern Conflict.
Sauvin started the Beijing Silvermine project, accumulating more than 850,000 anonymous color negatives (as of December 2019) destined for destruction in a Beijing recycling zone. It covers a period of 20 years, from 1985, namely when photographic film (which contains microscopically small light-sensitive silver halide crystals) started being used massively in China, to 2005, when digital photography started taking over. This period is the beginning of post-socialist China.
Ștefan cel Mare, Călărași

Ștefan cel Mare este o comună în județul Călărași, Muntenia, România, formată numai din satul de reședință cu același nume.
Comuna se afla în nord-estul județului, la limita cu județul Ialomița. Este traversată de șoseaua națională DN3A, care leagă Lehliu Gară de Fetești, precum și de calea ferată București-Constanța, pe care este deservită de halta de călători Ștefan cel Mare.
Conform recensământului efectuat în 2021, populația comunei Ștefan cel Mare se ridică la 3.146 de locuitori, în scădere față de recensământul anterior din 2011, când fuseseră înregistrați 3.236 de locuitori. Majoritatea locuitorilor sunt români (96,19%), iar pentru 3,69% nu se cunoaște apartenența etnică. Din punct de vedere confesional, majoritatea locuitorilor sunt ortodocși (95,07%), iar pentru 4,16% nu se cunoaște apartenența confesională.
Comuna Ștefan cel Mare este administrată de un primar și un consiliu local compus din 13 consilieri. Primarul, Nicolae Pandea[*]​, de la Partidul Național Liberal, este în funcție din 1990. Începând cu alegerile locale din 2024, consiliul local are următoarea componență pe partide politice:
Satul Ștefan cel Mare a apărut sub numele de Cocargeaua Nouă în urma reformei agrare din 1921, fiind arondat în 1931 comunei Perișoru. După al Doilea Război Mondial, comuna a primit numele de Ștefan cel Mare și a devenit comună de sine stătătoare, fiind transferată în 1950 raionului Fetești din regiunea Ialomița, apoi (după 1952) din regiunea Constanța și (după 1956) din regiunea București. În 1968 a revenit la județul Ialomița, reînființat. În 1981, o reorganizare administrativă regională a dus la transferarea comunei la județul Călărași.
Comuna Ștefan cel Mare, Vaslui

Ștefan cel Mare este o comună în județul Vaslui, Moldova, România, formată din satele Bârzești, Brăhășoaia, Călugăreni, Cănțălărești, Mărășeni, Muntenești și Ștefan cel Mare (reședința).
Comuna Ștefan cel Mare are în componență următoarele sate:
Conform recensământului efectuat în 2021, populația comunei Ștefan cel Mare se ridică la 2.999 de locuitori, în scădere față de recensământul anterior din 2011, când fuseseră înregistrați 3.160 de locuitori. Majoritatea locuitorilor sunt români (94,93%), iar pentru 5,07% nu se cunoaște apartenența etnică. Din punct de vedere confesional, majoritatea locuitorilor sunt ortodocși (93,96%), iar pentru 5,24% nu se cunoaște apartenența confesională.
Comuna Ștefan cel Mare este administrată de un primar și un consiliu local compus din 13 consilieri. Primarul, Mihai Moraru[*]​, de la Partidul Social Democrat, este în funcție din 2012. Începând cu alegerile locale din 2024, consiliul local are următoarea componență pe partide politice:
Artă coregrafică maramureșeană

Aproape ritualic prin arhitectura pașilor, naturalețea gesturilor și mimica transfigurată a interpreților, „dansul maramureșean se caracterizează, în raport cu celelalte jocuri din țară, printr-o ritmică extrem de bogată și variată, unică, prin calitatea muzicalității. (...) Frumusețea naturală a matricei neregulate a frazelor muzicale este pusă în valoare de combinațiile ritmice pe valori diferite, tropotite nuanțat în pași mărunței, cu accente pe contratimp și sincope luate chiar în vârful bătăii muzicale. Ritmica tropotită este pregnantă în toate jocurile maramureșene” (Popescu - Județ, 1963).
Dansul specific băieților este Bărbătescul (sau Feciorescul). Jocul de perechi este numit Învârtita (De-nvârtit) - în timp ce băiatul execută încontinuu pași tropotiți, fata se plimbă la dreapta sau la stânga (sau în jurul lui) în pași mărunți. Un dans specific în zonă este și Jocul lui Vili, dans bărbătesc de tradiție haiducească.
Țara Lăpușului

Țara Lăpușului este o regiune geografică și etno-culturală românească din partea de nord-vest a depresiunii Transilvaniei, amplasată în depresiunea Lăpușului, pe cursul mijlociu și superior al râului Lăpuș, principalul afluent de dreapta al Someșului. Are o suprafață de 918 km². Cuprinde comunele Băiuț, Coroieni, Cupșeni, Groșii Țibleșului, Lăpuș și Suciu de Sus.
E delimitată: la nord, spre depresiunea Maramureșului, de munții vulcanici ai Țibleșului, Lăpușului și Gutâiului; la sud, spre valea Someșului, de podișul Boiului, peste culmea Brezei (Vf. Breaza 974m) și dealul Vima (777m); la est, spre județul Bistrița-Năsăud, de muscelele Năsăudului, peste care se trece prin Pasul Înșeuarea Largă (521m), iar la vest, spre Țara Chioarului, de masivul Preluca.
Capitala Țării Lăpușului este orașul Târgu Lăpuș.
Actualmente, marea parte din Țara Lăpușului, face parte din Județul Maramureș.
Graiul vorbit in Țara Lăpușului este Graiul Ardelenesc cu puternice influențe din partea Graiului Maramureșean.
Țara Lăpușului, dă dovadă de „o personalitate puternică”. Din punct de vedere geografic, etnic și istoric, reprezintă zona de extremă nordică a Transilvaniei. Cu toate acestea, este mai degrabă un fel de „arie laterală” a Maramureșului istoric, de unde a împrumutat un lexic bogat, numeroase aspecte etnografice și un repertoriu folcloric apreciabil. La toate acestea se adaugă un fapt istoric, respectiv documente ce atestă că o serie de localități lăpușene au fost întemeiate de nobili maramureșeni prin sec. al XIV-lea.
Cosoroabă

Cosoroaba este un element constitutiv al șarpantei unui acoperiș și anume fiecare dintre bârnele așezate orizontal deasupra pereților casei în lungul acoperișului, pentru a susține căpriorii. Cosoroaba este talpa de jos a șarpantei, pe ea se sprijină tot acoperișul.
În arhitectura tradițională, cosoroaba este și grinda orizontală întâlnită deasupra stâlpilor unui foișor, a unui pridvor sau a unei prispe. Este adesea împodobită cu decorații liniare (crestături), traforate sau sculptate.
Decorații deosebite prezintă cosoroabele bisericilor de lemn din Slăvuța (Gorj), Larga (Gorj) și Mănăstirea Draga-Cozla (Neamț).
La Biserica de lemn din Brebi cu hramul „Sf. Împ. Constantin și Elena” din Brebi, județul Sălaj ca un omagiu adus realizatorilor, în cosoroaba prispei a fost săpat următorul text: „1759 în acea vreme au făcut această biserică. Meșteri au fost Breurz și Borzan Ion în zilele lui popa Dănilă”.
Prispă

Prispa este un element arhitectonic tradițional al casei românești. În regiunile muntoase, prispa e cel mai adesea înlocuită de pridvorul de lemn (scânduri). Prispa prevăzută cu coloane se numește portic. Prispa poate avea o dispunere pe latura principală a casei. Mult mai rar poate înconjura casa de jur împrejur. Materialul predilect este lutul, uneori folosindu-se în combinație cu bârne de lemn, sau sunt exclusiv din lemn. Casele ce se construiesc în prezent au renunțat la acest brâu, cu rol decorativ și practic - se stătea în fața casei pe prispă, se depozitau fasole, nuci, ceapă pentru uscare, iar în nopțile calde de vară se și dormea (vezi filmul Moromeții).
Biserica Sfântul Ilie din Popești

Biserica „Sf. Ilie” din Popești este un lăcaș de cult ortodox ctitorit în anul 1776 de către familia boierilor Mavrocordat în satul Popești din comuna omonimă (județul Iași). Ea se află în apropierea conacului familiei Cantacuzino - Pașcanu.
Biserica „Sf. Ilie” (fostă „Sf. Varvara”) din Popești a fost inclusă pe Lista monumentelor istorice din județul Iași din anul 2015 la numărul 1473, având codul de clasificare IS-II-m-B-04229.02. Ea face parte din ansamblul Conacului Cantacuzino - Pașcanu din Popești.
Prima atestare documentară a satului Popești este într-un uric din 12 august 1426 al domnitorului Alexandru cel Bun (1400-1432). El a făcut parte din Ținutul Cârligăturii. Moșia Popești a aparținut o lungă perioadă familiei Mavrocordat. În jurul anului 1776, boierii din familia Mavrocordat a construit Biserica "Sf. Varvara" din Popești, ca biserică de conac boieresc.
Aici au fost înmormântați principesa Lucia Cantacuzino-Pașcanu (19 mai 1862 - 26 martie 1930) și fiul său, principele Gheorghe Al. Mavrocordat (1887 - 20 iulie 1907).
În acest lăcaș de cult, preotul Nicolae Butescu i-a cununat în 1937 pe prințul Gheorghe M. Sturdza (n. 1912) cu norvegianca Margareta Kavaal (1915-2009) și l-a fost botezat în 1938 pe fiul acestora, prințul Dimitrie Sturdza, nași de botez fiind regina Elena și fiul acesteia, principele moștenitor Mihai, viitorul rege al României. Biserica a suferit reparații importante în perioada interbelică. În urma resfințirii, hramul bisericii a fost schimbat din „Sf. Varvara” în „Sf. Ilie”.
Începând din 1 decembrie 1984 aici slujește ca paroh preotul Vasile Matcovici (n. 1958).
Începând din anul 2007, Biserica „Sf. Ilie” din Popești a fost consolidată și restaurată, după planurile arhitectului ieșean Neculai Munteanu. La intrarea în curte, au fost amplasată o poartă din lemn sculptat, în stil maramureșean.
La 20 iulie 2009, de sărbătoarea Sfântului Ilie Tesviteanul, Calinic Botoșăneanul, episcopul vicar al Arhiepiscopiei Iașilor, a sfințit un paraclis de vară.
În biserică, în partea de nord a naosului, se află o placă funerară de marmură. Ea a fost pusă pe mormântul principesei Lucia Cantacuzino-Pașcanu (19 mai 1862 - 26 martie 1930) și a fiului său, principele Gheorghe Al. Mavrocordat, decedat la Popești în 20 iulie 1907, la vârsta de 19 ani.
Troiță

O troiță este un simbol de cult creștin folosit în România. Troița poartă zonal alte denumiri, precum: "cruci la răscruci“ (în nordul Moldovei), "răstigniri“ (în Maramureș), "icoane“ (în Vâlcea), "rugi“ (în ținutul Pădurenilor), "lemne“ (în documentele mai vechi), "cruci“ (în Transilvania și Oltenia). Troițele sunt cruci din lemn sau piatră, cu diferite inscripții, sculpturi, icoane nelegate de cruce. Unele cruci sunt adăpostite în chioșcuri de lemn sau piatră prevazute cu o fereastră sau ușă de vizitare și care seamănă cu un mic altar având crucea, icoane de sfinți, ștergare, mănunchiuri de flori și busuioc și candele. Potrivit credinței populare, troițele se construiesc la intersecțiile drumurilor, pentru a alunga răul. Mircea Eliade, istoric român al religiilor, afirma, în lucrarea sa „Sacrul și Profanul”, că troița sau stâlpul cerului are rol ritual și închipuie axul cosmic, pentru că, odată înălțat, teritoriul din jurul lui devine locuibil.
Nicolae Iorga a scris că „Pe timpurile mai vechi decât domniile noastre, până și bisericile de lemn erau foarte rare. Atunci, în jurul unei astfel de cruci se făcea toată slujba. Ea înlocuia biserica, o rezuma în ce avea mai caracteristic”.
Mircea Cristian Pricop, a scris că poporul român a rezistat în fața mării slave fiindcă era deja creștinat iar credința era exprimată la început prin ridicarea de prototroițe (stele funerare) Tradiția troițelor a fost mai puternică și s-a menținut mai ales în zonele submontane, mai ferite de influentele străine. Troițe mai vechi de perioada medievală a secolelor XIV-XV din țările române nu au rezistat din cauza perisabilității lemnului Numărul mare de cruci și troițe care umplu drumurile satelor românești arată cinstirea deosebită pe care a acordat-o mereu țăranul român principalului semn creștin.
Mara, Maramureș

Mara este un sat în comuna Desești din județul Maramureș, Transilvania, România.
Numele vechi a localității este Crăcești. În 1964 (prin decretul 799/1964) denumirea localității se modifică în Mara.
Prima atestare documentară: 1415 (Karachfalva).
Etimologia numelui localității: din hidron. Mara. (< rad. i.-e. *mar-, cu sensul de „apă”).
La recensământul din 2011, populația era de 917 locuitori.
MM Acest articol despre o localitate din județul Maramureș este deocamdată un ciot. Puteți ajuta Wikipedia prin completarea lui.
Slătioara, Maramureș

Slătioara este un sat în comuna Strâmtura din județul Maramureș, Transilvania, România.
Prima atestare documentară: 1353 (Sospatakchu), 1430 (Zlatyna), 1431 (Zlatyna, Zlatina).
Etimologia numelui localității: din hidron. Slătioara < subst. slătioară „pârâu cu apă sărată" (< subst. slatină „apă sărată, izvor sărat" + suf. dim. -ioară < lat. -eola).
La recensământul din 2011, populația era de 513 locuitori.
MM Acest articol despre o localitate din județul Maramureș este deocamdată un ciot. Puteți ajuta Wikipedia prin completarea lui.
Pediment (geologie)

Pediment este o suprafață de eroziune situată la poalele munților, modelată în roci, întinsă, și ușor înclinată (între 0,5 și 7 %). Tipic, se găsește în zonele aride (dar se găsește și în zone umede) și se formează sub acțiunea apelor de șiroire. Spre partea inferioară se acumulează un strat de material grosier rezultat din dezagregare.
Extinderea și îngemănarea pedimentelor prin avansul procesului de eroziune spre interiorul masivelor, determină formarea unei câmpii de denudație (suprafață de netezire) numite pediplenă.
Pedimentele se dezvoltă în jurul unor „munți” insulari (inselberguri) și se dezvoltă pe roci masive, rezistente, mai ales pe roci cristaline de tipul granitului. Termenul este echivalat adesea cu glacisul de eroziune în roci dure, sau glacisul pietros.
Zărand, Arad

Zărand (în maghiară: Zaránd, în germană: Sarand) este satul de reședință al comunei cu același nume din județul Arad, Crișana, România.
Zărandul este situat la confluența râului Cigher cu Crișul Alb, la o distanță de 46 km de municipiul Arad și la 12 km de Pâncota.
Localitatea Zărand, atestată documentar pentru prima dată în anul 1318, a fost un important centru administrativ, capitală a comitatului cu același nume până în anul 1744. În anul 1214, documentele vorbesc despre existența comitatului Zărandului, condus de către Dionisie, fiul lui Ompund. Castrul sau cetatea cu numele de Zarand figurează în documentele din anul 1232. Aproape de marginea comunei, în direcția nord-vest, lângă apa Cigherului, pe locul numit Chereptel se văd urmele Cetății Zărandului. Unii istorici, ca de exemplu arădeanul Gabor Fabian, susțin ca această cetate a luat ființă pe baza unei cetăți de pământ care aparținea voievodatului lui Menumorut (sec. X). În aceste părți s-a ținut și un "târg de fete" asemănător celui de pe Muntele Găina. Obiceiul a dispărut încă înainte de 1835, probabil odată cu mutarea comunei pe actualul său loc.
Câteva dintre localitățile Țării Zărandului merită să fie amintite pentru bogățiile lor istorice speciale. Crișan - satul natal, comuna Ribița, cu casa memorială reconstruită și bustul lui Crișan, conducător important al răscoalei de la 1784. În sat se găsește și mănăstirea ortodoxă Crișan, din sec. al XIV-lea. Casa memorială se compune din două corpuri de clădiri executate din lemn de stejar. Caracteristic zonei Zărandului, casa este de plan dreptunghiular cu accese dintr-un pridvor deschis. Casa propriu-zisă, acoperită cu paie, este formată din două încăperi, folosite azi ca muzeu.
Crișcior - cu cel mai vechi monument de arhitectură din Zărand - biserica ortodoxă din 1404 - ctitorie a cneazului Vlad Crișcior - cu cel mai vechi monument de arhitectură din Zărand - biserica ortodoxă 1404 -ctitorie a cneazului Vlad Bâlea, precum și un muzeu etnografic și de istorie a mineritului. Biserica este de tip tradițional, formată din naos, pronaos și altar absidat, inițial hexagonal, iar din sec. al XIX-lea, semicircular. Turnul este masiv și înalt, așezat în fața pronaosului. Pictura din pronaos este datată pe la 1395-1404. Tot aici este prezentată cina cea de taină în compoziție circulară.
Ribița - cu biserica ctitorie a cnezilor Vladislav și Miclăuș, cu o frescă valoroasă 1417. Pictura din naos este în stil bizantin și îi reprezintă pe ctitorii bisericii.
Economia este predominant agrară, localitatea fiind cunoscută în regiune ca un important bazin cerealier și legumicol.
Deși nu deține elemente spectaculoase din punct de vedere turistic, frumusețea văilor Crișului Alb și Cigherului, tradițiile și ospitalitatea locuitorilor din această zonă compensează din plin acest neajuns.
Budești Josani church

The church of Saint Nicholas in Budești Josani ("Lower Budești") in the village of Budeşti in the region of Maramureș, Cosău valley in Romania is representative of the characteristic wooden churches of Maramureș with double eaves. It is one of eight wooden churches of Maramureș that UNESCO has listed as a World Heritage Site.[1]
The wooden church at Budești Josani was dated by an inscription on the portal from 1643. Unfortunately the inscription was lost during the enlargement of the entrance in 1923. The inscription was verified dendrochronologically and the log structure was firmly dated from the winter 1642–43, i.e. the moment the timbers were felled. This church appears to have been built by the same master carpenter who built the wooden churches at Slătioara (before 1639) and Sârbi Susani (1639).
Alexandru Baboș: Tracing a Sacred Building Tradition, Norrköping 2004.[2]
Church of the Holy Archangels, Rogoz

The Church of the Holy Archangels (Romanian: Biserica de lemn Sf. Arhangheli) is one of eight Wooden Churches of Maramureș in Romania listed as a UNESCO World Heritage Site in December 1999. The structure is in the village of Rogoz in the Lăpuș River valley, within the mountainous area of northern Transylvania.
The church was built in 1633, which is indirectly confirmed by the inscription at the entrance informing visitors about the Tatar raid in 1661. The church survived the last Tatar invasion of 1717 which is referred to on a mural writing which mentions the terrifying year 1717 of the time of the Tatars. In 1883 it was moved from Suciu de Sus to the centre of the village of Rogoz on the site of St. Paraskeva, an existing church built in 1701. In 1834 the size of the nave windows was increased. In 1960–1961 a major renovation of the structure was undertaken and the floors were renewed.
The church is a timber structure built of slabs that are jointed together without the use of metal nails. The wooden walls rest on a base of stone blocks and pebbles. The timber is elm and according to tradition all this wood came from two huge trees from the hill of Dealul Popii. The roof is of wooden shingles with very wide eaves that overhang the walls. There is a tower at the western end, the usual position in Maramureș wooden churches. The tower has a spire and four corner pinnacles, all hung with shingles and surrounded by the sweep of the main roof. The nave is narrow and rectangular, extending to a heptagonal chancel at the eastern end. There is also a polygonal porch. The design combines Orthodox traditions with Gothic influences. Both the interior and exterior have carved wooden architectural details including a twisted rope decoration. There are two windows in the nave and the altar has a small circular window through which the sun's rays penetrate for a period of 30 minutes from 1 to 15 August.
All the interior walls are painted with murals in bright colours by Nicholas Mann and Radu Munteanu from the village of Ungureni who also produced wall paintings for the church in Desești and others in the Lăpuș area. The murals date from 1785 as documented in inscriptions in Cyrillic. The scenes represented are not coherent as some are missing and some are fragmented. In 1834 the ceiling and nave were repainted by an unidentified artist.
All Saints' Church (Easton, Maryland)

All Saints' Church is a historic Carpenter Gothic style Episcopal church at Easton, Talbot County, Maryland, United States. It is a small rectangular frame church constructed in 1900–1901. The exterior features of the church include a three-stage bell tower with a shingled spire. The interior features imported stained glass windows from Munich, Germany, along with decorative tile floors, a darkly stained exposed timber roof structure, and intricately carved church furniture. The church was designed by New York architect, Henry Martyn Congdon.
All Saints' Church was listed on the National Register of Historic Places in 1983.
Media related to All Saints Church (Easton, Maryland) at Wikimedia Commons
Amruteshwar Temple

Amruteshwar Temple is an intricately carved Shiva temple in Ratanwadi. It is over 1200 years old and was built by the rulers of Shilahara dynasty in the 9th century CE. This is one of twelve Shiva temples built by King Jhanjha. It measures 61mX36m and is surrounded by a low parapet with an entrance towards the east. On plan it consists of the mandapa, with an antarala and garbhagriha on the east of it, and a porch before the eastern back door of the shrine. The temple faces west and is dedicated to Shiva; the lingam installed in the shrine is peculiar; it consists of a yoni which is placed over a cavity in the rock and over it in the shape of kalasha are three stones kept one over the other. The Nandi is placed on the western gate facing the backdoor of the shrine, i.e. east; apart from this, there are two other eroded nandis on the porch. Perforated windows can be seen in the shallow recesses of the mandapa.
The shikhara over the shrine is intact and is very ornamental, while the roof of the mandapa has disappeared leaving the inner lintels of the ceiling. The ceiling at places where the original roof slabs are missing is filled in with Hero stones, undressed stones and other architectural members at a later period. The shikhara has four vertical spires with diminishing miniature shikharas capped with a flat amalaka. The walls are decorated with geometrical patterns but are devoid of images. The pillars are carved and consist of a square base over which an octagonal member is topped by a circle.
A stepped tank locally known as pushkarani, square on plan, was also provided near the temple, with stepped entrances from three directions and a number of subsidiary shrines in niches around it. The images in the niches are of Ganesha and different forms of Vishnu like those of Sheshayi, Madhava and others.
Archaeological Survey of India declared it a monument of national importance.
Ion Mincu University of Architecture and Urban Planning

The Ion Mincu University of Architecture and Urban Planning (Romanian: Universitatea de Arhitectură şi Urbanism „Ion Mincu" din București) is a public university for architectural and urbanism studies in Bucharest, Romania. The university was named after the architect and engineer Ion Mincu. It was formerly named Superior School of Architecture in Bucharest (Romanian: Școala Superioară de Arhitectură din București).
Media related to Ion Mincu University of Architecture and Urbanism at Wikimedia Commons
44°26′11″N 26°06′00″E﻿ / ﻿44.43639°N 26.10000°E﻿ / 44.43639; 26.10000
দ্য মুসলমান (সংবাদপত্র)

দ্য মুসলমান ভারতের চেন্নাই থেকে প্রকাশিত উর্দু-ভাষার প্রাচীনতম দৈনিক সংবাদপত্র। এটি চার পৃষ্ঠা বিশিষ্ট সান্ধ্য পত্রিকা, ছাপাখানায় ছাপানোর পূর্বে যেটির সকল পাতা হস্তলিপিকারদের দ্বারা হাতে লেখা হয়। দ্য টাইমস অব ইন্ডিয়া এবং ওয়্যারড ম্যাগাজিন অনুযায়ী, দ্য মুসলমান সম্ভবত বিশ্বে টিকে থাকা একমাত্র হস্তলিখিত সংবাদপত্র। পত্রিকাটির বর্তমান সম্পাদক সৈয়দ আরিফুল্লাহ।
সংবাদপত্রটি সৈয়দ আজমতউল্লাহ ([[[ইংরেজি]]:Syed Azmathullah) ১৯২৭ সালে প্রতিষ্ঠা করেন। এটি ভারতীয় জাতীয় কংগ্রেস-এর মাদ্রাজ সেশনের প্রেসিডেন্ট ডাঃ মুখতার আহমেদ আনসারি উদ্বোধন করেন। সংবাদ পত্রটির কার্যালয় চেন্নাইয়ের ট্রিপলিকেন হাই রোডে অবস্থিত।
সৈয়দ আজমতউল্লাহ-এর মৃত্যুর পরে, সংবাদপত্রটি সৈয়দ ফাজুল্লাহ (Syed Fazullah)-এর দ্বারা প্রকাশিত হয়। ২০০৭ সালে, ফাজুল্লাহ আশঙ্কা করে যে তাঁর মৃত্যুর পর চারুলিপির এই সংস্কৃতিও হারিয়ে যাবে, যেহেতু তাঁর পুত্রগণ এই সংস্কৃতিতে আগ্রহী ছিলেন না। ফাজুল্লাহের পুত্র, সৈয়দ নাসরুল্লাহ, বলেন যে তিনি ক্যালিগ্রাফি-তে আগ্রহী নন, এবং যখন তিনি ক্ষমতায় আসবেন, তখন "কিছু বদলও আসবে"। কিন্তু এখনও পত্রিকাটি হাতে লেখা হয় ও এপ্রিল ২০১৮-তে ৯২ বছরে পা দেয় পত্রিকাটি।
লিপিবিশারদগণ, যারা কাতিব নামেও পরিচিত, ৮০০ ফিটের একটি ছোট এক-ঘর কার্যালয়ের এক কোণে কাজ করেন। তাদের কাছে বিশেষ সুবিধা থাকে না, শুধু দুইটি দেওয়াল পাখা, তিনটি বাতি এবং একটি ফ্লুরোসেন্ট বাতি। প্রত্যেকটি পৃষ্ঠায় প্রায় ৩ ঘণ্টা সময় লাগে। চার পাতার দৈনিকের কাজ শুরু হয় সকাল ১০টায়। দু’জন অনুবাদক খবরগুলো উর্দু ভাষায় লিখে দেন। ঘণ্টা দু’য়েক ধরে অনুবাদের কাজ চলে। তারপর চারুলিপি ও মূল কাগজ লেখার কাজ শুরু হয়। মূল কপি তৈরি হওয়ার পর প্রায় দুপুর ১টায় প্রিন্টের মাধ্যমে ও ফটো নেগেটিভে প্রসেস হয়ে বাকি কপিগুলো তৈরি হয়। সন্ধ্যার মধ্যে খবরের কাগজ পৌঁছে যায় প্রায় ২২ হাজার পাঠকের হাতে।
এই দৈনিকটির তিনজন কাতিব। প্রধান কাতিবের নাম রাহমান হোসেইনি। ১৯৮০ সালে তিনি এ পত্রিকায় যোগ দেন। মাস শেষে বেতন পান আড়াই হাজার রুপি। এখানে কাতিব হিসেবে লেখার কাজ করেন শাবানা বেগম ও খুরশিদ বেগম। প্রতি পৃষ্ঠার জন্য প্রতিদিন ৬০ ভারতীয় টাকা করে আয় করেন উভয়ে। চিন্নাস্বামী বালাসুব্রামোনিয়াম প্রধান প্রতিবেদক, যিনি সংবাদপত্রটির সঙ্গে আছেন প্রায় ২০ বছর। দৈনিকটির ক্রেতা সারা ভারতে আছে, নয়া দিল্লী, কলকাতা ও হায়দরাবাদ অন্তর্গত।
দৈনিকটির চারটি পৃষ্ঠা থাকে। প্রথম পাতায় থাকে দেশ ও বিদেশের নানা খবর। দ্বিতীয় পাতায় সম্পাদকীয়। পরের পাতা দুটিতে স্থানীয় খবর, খেলা ও বিজ্ঞাপন। সম্পাদক বলেন, সাধারণত এই দৈনিকে ব্রেকিং নিউজ থাকে না। তবে ব্রেকিং নিউজের জন্য প্রথম পাতার নিচের ডানদিকে কিছু জায়গা ফাঁকা রাখা হয়। সোমবারে কোরান ও ইসলাম সংক্রান্ত খবর বেশি প্রাধান্য পায় অন্যান্য খবরের থেকে।
এপ্রিল ২০১৮ অনুসারে, প্রতিটি খবরের কাগজের দাম ৭৫ পয়সা (ভারতীয়) এবং দৈনিকটির প্রায় ২১ থেকে ২২ হাজার ক্রেতা আছে।
রজতাভ দত্ত

রজতাভ দত্ত ভারতীয় বাংলা চলচ্চিত্র, ধারাবাহিক এবং থিয়েটারের এক বিখ্যাত অভিনেতা। তিনি অসংখ্য বাংলা ছবিতে অভিনয় করেছেন। তিনি কামিনের মত হিন্দি চলচ্চিত্রে এবং মিস্টার এন্ড মিসেস নায়ার-এর মত ইংরেজি চলচ্চিত্রেও অভিনয় করেছেন। তিনি জি বাংলায় প্রচারিত হাস্যরসাত্মক আপাতবাস্তব টেলিভিশন অনুষ্ঠান মীরাক্কেলের একজন বিচারক।
তিনি বালিগঞ্জ সরকারি উচ্চ বিদ্যালয় থেকে ১৯৮৩ সালে মাধ্যমিক পাস করেন। তিনি গোয়েঙ্কা কলেজ অব কমার্স থেকে উচ্চ মাধ্যমিক পাস করেন। ১৯৮৭ সালে তিনি নেতাজি নাগর কলেজ থেকে গ্রাজ্যুয়েট হন।
রজতাভ দত্ত (তিনি রণিদা নামে সমধিক পরিচিত) ১৯৮৭ সাল থেকে থিয়েটারে অভিনয় করছেন। তিনি স্বপ্নসন্ধানী থিয়েটার গ্রুপে অভিনয় করেছেন। তিনি চলচ্চিত্রে একজন জুনিয়র আর্টিস্ট হিসেবে কাজ শুরু করেন। তিনি এরপর ক্রমে ক্রমে তিনি খ্যাতির শীর্ষে আরোহণ করেন। সব রকম চরিত্রে মানিয়ে যাবার এক আশ্চর্য ক্ষমতা আছে তার। এটাই তার এগিয়ে যাবার মূল হাতিয়ার।
হাতপাখা

হাতপাখা হচ্ছে গরমে বিশেষত গ্রীষ্মকালে প্রশান্তির জন্য ব্যবহৃত হাতে চালিত পাখা। এটি বাংলাসহ বিশ্বের অন্যান্য অঞ্চলের ইতিহাস ও ঐতিহ্যের একটি অংশ।
হাতপাখা তৈরি ও ব্যবহারের ইতিহাস বহু প্রাচীন। প্রায় তিন হাজার বছর গ্রিক-রােমান যুগেও হাতপাখার প্রচলন ছিল। তৎকালীন রাজাদের সিংহাসনের দুই পাশে ময়ূরের পালক বা রেশমি কাপড়ের তৈরি পাখা হাতে ডানে-বাঁয়ে দাঁড়িয়ে বাতাস করার প্রচলন ছিল।অনেকেই শৌখিন বেশে কাছারিঘরে ছাদ বরাবর কড়িকাঠে ঝাুলিয়ে রাখতেন। এই ধরনের বড় হাতপাখা কাপড়ের তৈরি ছিল যা রশি টেনে চালানাে হতো।
প্রাচীন সময়ে বেত, বাঁশ, তালগাছের ডাল, তালের পাতা বা কাপড় দিয়ে হাতপাখা তৈরি করা হলেও আধুনিক সময়ে প্লাস্টিকসহ অন্যান্য বিভিন্ন উপাদানের সমন্বয়ে তৈরি হাতপাখা পাওয়া যায়। এসব হাতপাখাতে বিভিন্ন কারুকাজও করা হয়ে থাকে যা নকশি পাখা নামে পরিচিত এবং অনেকটা নকশিকাঁথার মতাে। তবে পাখার ক্ষেত্রফল কম হওয়ায় সেখানে বিস্তৃত কারুকাজের সুযােগ কম। তবে সুতা দিয়ে পাখার গায়ে পাখি, ফুল, লতাপাতা, কারও মানুষের নাম অথবা চিহ্ন ফুটিয়ে তােলা হয়। বাংলাদেশের বিভিন্ন অঞ্চলে বিশেষ করে ময়মনসিংহ, নরসিংদী, রংপুর, দিনাজপুরসহ দেশের উত্তরাঞ্চলের বেশ কিছু জেলায় হাতপাখা বাণিজ্যিকভাবে উৎপাদিত হয়। শীতের মাঝামাঝি সময়ে তালপাতার পাখা তৈরির কাজ শুরু হয়ে থাকে যা গ্রীষ্ম পর্যন্ত স্থায়ী হয়।
তালপাতা বা বাঁশ, বাঁশের কঞ্চি ও সুই-সুতা হলাে হাতপাখার উপকরণ। প্রথমে তিন-চার ঘণ্টা পানিতে ভিজিয়ে অথবা রোদে রাখা হয় পাতা। তারপর সেই পাতাকে সুবিধামত আকারে কাটা, সরু লম্বা কাঠি দিয়ে বাঁধা, রং করা প্রভৃতি পর্বের মধ্য দিয়ে পাখা তৈরি হয়। কেবল তালপাতা দিয়েও পাখা তৈরি করা যায় এতে অতিরিক্ত হিসেবে কেবল সুতার প্রয়োজন হতে পারে যদিও সুতা ছাড়াও তালপাতার পাখা তৈরি সম্ভব। একটি তালপাতা থেকে একাধিক পাখা তৈরি করা যায়। বর্তমানে তালগাছ কমে আসার ও সর্বত্র বিদ্যুতের সরবরাহ থাকায় এর উৎপাদন কমে গিয়েছে। তবে আধুনিক সময়ে প্লাস্টিকের তৈরি হাতপাখাও পাওয়া যায় যা সাধারণত কলের তৈরি।
জলেশ্বর শিবমন্দির

জলেশ্বর শিবমন্দির ভারতের ওড়িশা রাজ্যের ভুবনেশ্বরে অবস্থিত একটি শিবমন্দির। মন্দিরটি কালারাহাঙ্গা গ্রামের দক্ষিণাংশে অবস্থিত যা পাতিয়া থেকে ২.০০ কিলোমিটার এবং চুয়াডাঙ্গাগড় থেকে ৬ কিলোমিটার দক্ষিণে ভুবনেশ্বরের উত্তরাংশে অবস্থিত। এই মন্দিরের আরাধ্য দেবতা বৃত্তাকার যোনিপিঠের উপর অধিষ্ঠিত শিবলিঙ্গ।
কিংবদন্তি অনুযায়ী রাজা চুয়াডাঙ্গাগদা লিঙ্গরাজের একনিষ্ঠ পূজারী ছিলেন। তিনি প্রতিদিন লিঙ্গরাজ মন্দিরে যেতেন। কিন্তু বর্ষা মৌসুমে প্রতিদিন লিঙ্গরাজ মন্দিরে যাওয়া সম্ভব হতো না। তাই দেবতা তাকে স্বপ্নাদেশ করেন পার্শ্ববর্তী পদ্ম পুকুরের মাঝখানে মন্দির নির্মাণের যেখানে তিনি জলাশয়ী রূপে অবস্থান করেন। দেবতার ইচ্ছাপূরণে তিনি জলেশ্বর পুকুরের পশ্চিমপাড়ে বর্তমান মন্দিরটি নির্মাণ করেন। পূজা অর্চনা এবং অন্যান্য কার্যক্রমের জন্য রাহাঙ্গা শাসনের ব্রাহ্মণ ও অন্যান্য সেবায়েতদের জন্য রাজা জমি প্রদান করেন। স্থানটি কালারাহাঙ্গা নামে পরিচিত।
স্থানীয় জনশ্রুতি অনুযায়ী মন্দিরটি কেশরী শাসক পদ্ম কেশরী নির্মাণ করেন কিন্ত সোমবংশের বংশলতিকা সেটা নিশ্চিত করে না। শিববিবাহ, শিবরাত্রি, জন্মাষ্টমী, দোলপূর্ণিমা, শীতলাষষ্ঠী, চন্দন যাত্রা, পিণ্ডদান, ধনু মকর ইত্যাদি অনুষ্ঠান এখানে পালিত হয়। বিভিন্ন সামাজিক আচার যেমন বিবাহ উৎসব, মুন্ডানাক্রিয়া ও বাগদান ইত্যাদির আয়োজন করা হয় এখানে। একটি বড় দেয়াল দিয়ে মন্দির চত্বরের চতুর্পাশ ঘেরা। দেয়ালের বাইরে পূর্বদিকে জলেশ্বর পুকুর, উত্তর ও দক্ষিণে ধানক্ষেত এবং পশ্চিম দিকে রাস্তা। পাশের নিচু ধানক্ষেতের অবস্থানের কারণে ধারণা করা হয় একসময় মন্দিরটি চারদিক থেকে পানিতে ঘেরা ছিলো যা স্থানীয় কিংবদন্তিকে সমর্থন করে।
মন্দিরটিতে একটি বিমান, একটি অন্তরাল, একটি জগমোহন আছে এবং অল্প কিছু দূরত্বে একটি নটমন্দির অবস্থিত। বিমানটি ৫.৪০ বর্গমিটার, অন্তরাল ১.৩০ মিটার এবং জগমোহন ৯.০০ বর্গমিটার। বিমানটি রেখাশৈলীর বড়, গান্ধী এবং মস্তকযুক্ত। মন্দিরটির জগমোহন পরশুরামেশ্বরের মত পরবর্তীতে নির্মিত।
উত্তর, দক্ষিণ ও পূর্বের কুলুঙ্গির প্রতিটির পরিমাপ ১.০৮ মিটার উঁচু ও ০.৫৬ মিটার চওড়া এবং ০.৫৬ মিটার গভীর। দক্ষিণে গণেশ, পূর্বে কার্তিক এবং উত্তরে মহিষমর্দিনী অবস্থান করছে। কুলুঙ্গির নিচের তলগর্ভিকা খাখড়ামুন্ডি নকশা এবং উপরের উর্ধগর্ভিকা কীর্তিমুখ মোটিফ দ্বারা নকশাকৃত। উত্তরের কুলুঙ্গিতে পার্বতীর স্থানে মহিষমর্দিনী অবস্থান করছেন যার দশটি হাত। অধিকাংশ হাত এবং সরঞ্জামাদি ধ্বংসপ্রাপ্ত হয়েছে। মনুষ্যরূপী অসুর কাটা মহিষের মধ্য থেকে বের হওয়ার চেষ্টা করছে। অসুরটি ছুটন্ত অবস্থায় আছে, ডান থেকে বামে সরছে। দুই অসুর শুম্ভ ও নিশুম্ভ অস্ত্র উঁচিয়ে ছুটছে। দুজন কাত্যায়নী ছুরি হাতে এই অসুরদের তাঁড়িয়ে নিয়ে যাচ্ছে। দক্ষিণের কুলুঙ্গিতে গণেশ পদ্ম ফুলের উপর ত্রিভঙ্গ মুদ্রায় দাঁড়িয়ে আছে। তার নিচের বাম হাত পরশুর হাতলে রাখা ও ডান হাতে অক্ষমালা ধরা এবং উপরের বামহাতে মোদকপাত্র এবং ডানহাতে ভাঙা দাঁত ধরা। মূর্তির মাথায় জটামুকুট পরা এবং উড়ন্ত বিদ্যাধারা পাখা দিয়ে হাওয়া করছে। মূর্তিটি মকর তোরণের সামনে অবস্থিত। ভিত্তির কাছে ঈঁদুর অবস্থান করছে। পূর্বের কুলুঙ্গিতে সজ্জিত ভিত্তির উপরে ত্রিভঙ্গ মুদ্রায় চার হাতযুক্ত কার্তিক বিরাজমান। তার উপরের ডান হাত ভাঙা।