davidanugraha/M4-RAG huggingface dataset:
Planet Jedward

Planet Jedward is the debut studio album by Irish pop duo Jedward. The album was released on 16 July 2010. The album charted at No. 1 in Ireland and No. 17 in the UK. Critical reaction was largely negative.
The album was released via Absolute Records, a minor subsidiary of the Universal Music Group label. However, the twins' debut single, "Under Pressure (Ice Ice Baby)", had been released by Sony Music. The album itself consists entirely of cover versions.
Following the duo's Eurovision success in May 2011, a version of Planet Jedward was released across Europe in July, mainly consisting of previously unheard tracks from the duo's second studio album, Victory. This version of the album also included their Eurovision Song Contest 2011 entry, "Lipstick".
In 2010, the original album was certified double platinum in Ireland, meaning that between 30,000 and 44,999 copies had been sold in the country as of the date of the certification. In the UK, the album had sold 31,251 copies as of August 2011.
The album was received extremely negatively by critics. The Guardian's Caroline Sullivan said "it would be stretching a point to say I'd ever want to hear it again." Virgin Media criticised the "painfully wooden dialogue before the layers of auto-tuned backing vocalists kick in." The Scotsman called it "a 35-minute comedy of errors". Digital Spy said it "contains more crimes against music than the combined discographies of The Cheeky Girls, Phil Collins and Lou Bega." The duo's compatriot newspaper Irish Independent were unsympathetic and declared "Burn it: In the traditional sense of the word, burn the entire thing." OK! magazine said it was "all very karaoke and never going to win any awards, but it's fun. To sum up, Planet Jedward is great for a short visit but we're not sure we'd want to live there!"
Young Love (Jedward album)

Young Love is the third studio album by Irish pop duo Jedward. The album was released on 22 June 2012. In January 2012, Jedward began recording material for their third studio album, including their 2012 Eurovision Song Contest entry "Waterline". This recording was done at Wendy House Productions, in West London. The rest of the album was recorded in March at a studio in Sweden. Young Love is a concept album recounting the story of a relationship, from its beginning to end. In 2012 the album was given Gold certification in Ireland.
As well as videos for the album's three singles, John and Edward have also released music videos for other tracks from the album.
The album debuted at number one on the Irish Albums Chart, thus becoming the twins' third consecutive album to debut at the top spot of their home country's album chart. Despite minimal promotion outside Ireland, the album debuted at number 63 on the United Kingdom Albums Chart, with sales of 2,241 copies in the country during its first week of release. The album also charted at number eight on the Estonian album charts.
Bicep (duo)

Bicep are an electronic music production and DJ duo from Belfast, Northern Ireland, consisting of Andrew Ferguson and Matthew McBriar.
Bicep was formed in 2009 as a production and DJing pair in London. The duo, childhood friends, created a blog called "Feel My Bicep", which was used to post lost and forgotten disco, Chicago house, Detroit techno and Italo disco edits.
They released tracks on labels Throne of Blood, Traveller Records and Mystery Meat before joining Will Saul's Aus Music and setting up their own label Feel My Bicep in September 2012. That year the pair were awarded DJ Mag's 'Best of British Breakthrough DJ' award.
After signing to Ninja Tune in 2017, Bicep released their debut album Bicep, which went in at number 20 on the UK Albums Chart, and received positive reviews from publications such as Pitchfork, The Guardian, Resident Advisor and Mixmag. The lead single, "Glue", was voted by the public as DJ Mag's (Best of British) Track of the Year. It also reached number 1 on Amazon's Best Electronic of 2017, and came second in Mixmag's 100 Best Tracks of 2017.
Bicep released their second album Isles on Ninja Tune on 22 January 2021. They released the lead single "Apricots" with a music video from BAFTA-winner director Mark Jenkin. "Apricots" scored Top-50 entries in both the UK's Official Singles Chart and Billboard's Dance/Electronic Songs Chart, was named Billboard's #1 dance track of 2020, hit #1 on the UK's Shazam chart, and spent 10 weeks on the BBC Radio 1 playlist.
The album was nominated for Best Irish Album of 2021 for the Choice Music Prize.
Isles was number one on the midweek UK Albums Chart for the week beginning 25 January 2021, before debuting at number two on the final chart, scooping a number 1 on the UK Official Vinyl Albums Chart, additionally breaking into multiple Billboard charts including number 12 on the Dance/Electronic Chart.
The duo made a pivot to ticketed streams during the coronavirus pandemic, delivering two shows broadcast across 5 timezones. The shows were watched in over 70 countries worldwide, giving fans new live material ahead of the return of in-person shows. The second global stream was recorded at London's Saatchi Gallery and was awarded four stars by The Guardian, with NME calling it an innovative and boundary-pushing audiovisual show.
Following the release of Isles, Bicep were nominated in two categories at the 2021 BRIT Awards for 'British Group' and 'Breakthrough Artist'.
In August 2024, McBriar received brain surgery for a rare craniopharyngioma tumour on his pituitary gland.
Between 2017 and 2018, the duo embarked on a live headline world tour to venues across the world, including the US, Japan and Europe. In the UK, they played shows at Electric Brixton, Roundhouse and three consecutive dates alongside Overmono at Printworks in London, which was filmed by Resident Advisor and one of their final live shows until 2020.
Bicep headlined their first major British festival at Field Day in August 2021.
Saint Sister

Saint Sister is an Irish traditional duo, whose music has been described as "atmosfolk."
Morgan MacIntyre (from Belfast) and Gemma Doherty (from Derry) met at Trinity College, Dublin. They founded Saint Sister in 2014. They were voted the “Best Irish Act" by the readers of The Irish Times in 2016. Their debut album, Shape of Silence, was released in 2018 and was nominated for the Choice Music Prize. They performed an a cappella rendition of the song "Dreams" by The Cranberries at Lyra McKee's funeral in Belfast, who was killed by the New IRA in April 2019.
In 2020, the duo were part of an Irish collective of female singers and musicians called Irish Women in Harmony, that recorded a version of the song "Dreams" in aid of the charity Safe Ireland, which deals with domestic abuse which had reportedly risen significantly during the Covid-19 lockdown.
Julia Lemigova

Julia Lemigova, born Yulia Andreevna Lemigova (Russian: Юлия Андреевна Лемигова; born 26 June 1972) is a Russian former model and beauty pageant titleholder who was crowned Miss USSR 1990 and is married to Martina Navratilova. She is a cast member of the Bravo reality television series The Real Housewives of Miami.
Julia Lemigova is the daughter of a Red Army colonel.
Lemigova was first runner-up at Miss USSR in 1990, elevated to be crowned Miss USSR following the disqualification of the original winner, Maria Kezha, for being underage.
As Miss USSR 1990, Lemigova represented the Soviet Union at the Miss Universe 1991 pageant, where she placed 2nd runner-up.
Lemigova moved to Western Europe after being crowned Miss USSR, eventually basing herself in Paris, where she opened her first well-being center, Joiya spa, in 2003, and launched a skincare and spa line, Russie Blanche, in 2009.
In 2021, Lemigova was announced as a cast member on season 4 of The Real Housewives of Miami, making her the first cast member in the history of the Real Housewives franchise to be married to a woman; Lemigova's wife is tennis player Martina Navratilova. Lemigova is the third former Miss Universe finalist to join a Real Housewives franchise after Kenya Moore (Miss USA 1993, Miss Universe 1993 Top 6 Finalist) from Atlanta (seasons 5-10, 12-16) and Joyce Giraud (Miss Universe Puerto Rico 1998, Miss Universe 1998 2nd-Runner-Up) from Beverly Hills (season 4).
In December 2023, Lemigova was scheduled to perform at the Wilton Manors Holiday Spectacular before being uninvited by the Wilton Manors Business Association (WMBA) due to her wife Martina Navratilova's views on transgender topics.
In 1997, Lemigova became romantically linked to banker Édouard Stern, with whom she had a son, Maximilian, who died of shaken baby syndrome while in the care of a new nanny. She has two daughters. Lemigova married her long-term partner former professional tennis player Martina Navratilova in New York on 15 December 2014.
In August 2024, Lemigova and her wife adopted two boys.
Competition number

In many sports, a competition number is used to identify and differentiate the competitors taking part in a competitive endeavour. For example, runners in a race may wear prominent competition numbers so that they may be clearly identified from a distance. Competition numbers are differentiated from uniform numbers in that the former are used for a specific event (for example, competition numbers worn by marathon runners) while the latter persist over time through multiple events, seasons, or sometimes an entire career (for example, uniform numbers worn by Major League Baseball players).
Competition numbers may also be called bib numbers when worn on bibs over, or affixed to, the athletes' tops. With new technology, bibs might contain timing chips for electronic identification. In addition to identifying an athlete, many high profile events also imprint sponsor logos. In such high profile events, bib numbers are mandatory. Failure to wear them could make an athlete subject to disqualification.
Since the 2000s, track and field athletes at major competitions wear their names as well as their numbers on their bibs. In relay events, all team members have the IOC country code. Track athletes also wear lane numbers on the shorts called "hip numbers", for identification by the fully automatic timing system which photographs athletes from the side as they cross a finish line. In racewalking events, competitors also must wear numbers on their backs for identification by the judges after a violation has been detected.
In mixed competitions, like marathons, where professional athletes run on the same course as non-elite athletes, the professionals traditionally wear bibs with their names to differentiate their pre-race status.
In some types of motorsport, such as rallys, competition numbers are attached to the vehicles taking part in a specific event. The competition number can also be used in conjunction with some kinds of timing systems, such as targa timing.
Other sports that may utilize competition numbers include:
While the uniform numbers of various sportspeople have become well-known (for example, Wayne Gretzky's 99, Michael Jordan's 23, and Mickey Mantle's 7), this is rare for competition numbers, which generally are used by an athlete only for a single event. Some notable exceptions include:
At the 2019 Boston Marathon, organizers gave special bib numbers to several celebrities. Former NFL player Tedy Bruschi was given 5454, his uniform number repeated; NASCAR driver Jimmie Johnson was given 4848, his car number with Hendrick Motorsports repeated; and Joan Benoit Samuelson was given 1979, the year of her first win in the event.
Layered hair

Layered hair is a hairstyle that gives the illusion of length and volume at the same time, using long hair (in the back) for the illusion of length, and short hair (in the front) for volume, as an easy style to manage. Hair is arranged into layers, with the top layers (those that grow nearer the crown) cut shorter than the layers beneath. This allows the tips of the top layers to blend like a tornado with layers beneath.
Popular modern hairstyles involve creating unique styles between the different layers. There can be distinct layering with obvious layers, or blended layering with soft layers. Hair color can also amplify the layering effect that layers give in a certain hair style.
The layered hair effect is achieved by taking sections of hair vertically across the head, pulling it perpendicular to the head, and cutting straight across.
Sliding haircut: The hair is sectioned in 4 parts, starting with back section and cut radially at 20 deg angle. The transition over the ear is used as a guideline for the front sections. This creates a soft layered end, but predominantly gives the one-length look. Suitable for medium wavy textures.
Blended Elevation: The top section (bob section) is cut at 90 degrees while the side sections are cut 180 deg to the length of the top section. The occipital and nape sections are cut at 90 deg. In this form of layering there is an "elevated" group of layers formed due to shorter top section and then it blends with the softer side and back layers. It is not considered suitable for wavy or curly hair, but for straight or slightly wavy hair.
Beehive (hairstyle)

The beehive is a hairstyle in which long hair is piled up in a conical shape on the top of the head and slightly backward pointing, giving some resemblance to the shape of a traditional beehive. It is also known as the B-52 due to a resemblance to the distinctive nose of the Boeing B-52 Strategic Bomber. The 1980s band The B-52's took their name from the hairstyle, which was worn by members Cindy Wilson and Kate Pierson.
It originated as one of a variety of elaborately teased and lacquered versions of "big hair" that developed from earlier pageboy and bouffant styles. It was developed in 1960 by Margaret Vinci Heldt of Elmhurst, Illinois, owner of the Margaret Vinci Coiffures in downtown Chicago, who won the National Coiffure Championship in 1954, and who had been asked by the editors of Modern Beauty Salon magazine to design a new hairstyle that would reflect the coming decade. She originally modeled it on a fez-like hat that she owned. In recognition of her achievement, Cosmetologists Chicago, a trade association with 60,000 members, created a scholarship in Heldt's name for creativity in hairdressing. The beehive style was popular throughout the 1960s, particularly in the United States and other Western countries, and remains an enduring symbol of 1960s kitsch.
Despite inventing the hairstyle, Heldt did not name it: for the final touch in her original design she added a bee-shaped hat pin and from that a reporter for the magazine Modern Beauty Shop (now Modern Salon) "it looks just like a beehive! Do you mind if we call it the beehive?"
Heldt died on 10 June 2016, at a senior living community near Chicago.
The beehive is constructed by backcombing or teasing the hair with a comb, creating a tangled pile which is lightly combed over to make a smooth outer surface. The longer the hair, the higher the beehive. Beehive styles of the early 1960s sometimes overlapped with bouffant styles, which also employed teasing to create hair volume; but generally speaking, the beehive effect was a rounded cone piled upwards from the top of the head, while the simple bouffant was a wider, puffier shape covering the ears at the sides. Both of these can be distinguished from the pompadour style, the basic type of which is swept upwards from the forehead.
普贤菩萨

普賢菩薩（梵語：समन्तभद्र Samantabhadra），又稱遍吉菩薩、三曼多跋陀羅，大行普賢菩薩，為漢傳佛教和藏傳佛教普遍信仰的菩薩，被認為代表諸佛的理德、定德和行德，與文殊所代表的德行相對。在中國大乘佛教中與文殊、觀音、地藏合稱四大菩薩。唐密、滇密和日本密教觀點認為普賢菩薩是金剛薩埵的同體異名。
普賢菩薩梵名為「Samantabhadra」，音譯為「三曼多跋陀羅」，或是「viśvabhadra」，音譯為「邲輸跋陀」。嘉祥大師所著《法華論疏》解釋：「三曼多，此云普；跋陀羅，此云賢。」；或如鳩摩羅什所翻譯的《大智度論》中，將其翻譯為同義的「遍吉」。《華嚴大疏》則說明：「體性周徧曰普，隨緣成德曰賢」。其命號的由來，依據《悲華經》的紀載，是因為普賢菩薩前世為泯圖王子時發宏願，獲得寶藏如來為其取名為「普賢」，並授記將來成佛，佛號「智剛吼自在相王如來」。
在初期的佛教中，並無普賢菩薩，也不是吸納婆羅門教固有的神發展而來。印順法師認為普賢菩薩的和帝釋天持金剛杵、乘坐白象的共同點，反映佛教模擬梵天、帝釋脅侍釋迦牟尼佛，所塑造出文殊、普賢脅侍毘廬遮那佛，以象徵佛的兩種德行。
普賢菩薩的興起反應大乘佛教初期由般若學向華嚴學發展的過程。例如東晉佛陀跋陀羅翻譯的《文殊師利發願經》藉由文殊菩薩發願說明普賢行；隨著華嚴思想的成熟與發展，此部經到唐代由不空改譯為《普賢菩薩行願讚》，且經文中不再出現代表般若學的文殊菩薩。反映普賢信仰的提升，也代表華嚴體系「普賢法門」的建立。
普賢菩薩形象的發展也依循著大乘後期密教化的趨勢。印順法師於佛教史地考論中說「普賢充分的金剛化，成為佛教中心，開創神秘的密教。」，密教中與普賢菩薩同體的金剛薩埵，亦即金剛手秘密主，被認為隨時為諸佛侍衛，傳承如來的三密以及密教教法。《金剛頂瑜伽金剛薩埵儀軌》稱「金剛薩埵者是普賢菩薩。即一切如來長子。是一切如來菩提心。是一切如來祖師。」
依《華嚴經．十地品》所述普賢菩薩本體所住處甚深，含藏於法界之中，無法看見。《大智度論》也記載：「遍吉菩薩不可量、不可說，住處不可知；若住，應在一切世界中住，是故不可說。」即普賢菩薩本體存在於一切之中。然而《佛說觀普賢菩薩行法經記載》普賢菩薩會以神通力顯現常人能看見的形象。
普賢菩薩常見的造像為騎乘白象，起源自唐初，依據《陀羅尼集經》等經典。白象常見的具有六根象牙的形象是依照《佛說觀普賢菩薩行法經》和《妙法蓮華經‧普賢菩薩勸發品》的描述所造，同時白象的七支跓地（四足、尾、鼻及莖共為七支）象徵「七覺分」。
源自華嚴體系的普賢菩薩造像最常見的持物為如意或經書，與文殊分別持拿二者之一；普賢也有可能持蓮花、甘露缽或是結說法印和合掌，甚至如大足石刻造像持寶塔。
密教體系的普賢菩薩依《秘藏記》和《胎藏界曼荼羅大鈔》的記載，胎藏界中台八葉院的普賢菩薩，頭戴五佛冠，左手持盛托利劍的蓮花，文殊院中普賢菩薩則左手則持上有三鈷杵的蓮花。由於密教普賢菩薩為金剛薩埵之同體異名，所以《胎藏界曼荼羅大鈔》亦記載：「金剛薩埵名普賢時持鈴杵也」；或如《胎曼陀羅大鈔二》記載，普賢以左手金剛拳，右手持五鈷杵的金剛薩埵形象現於胎藏界金剛手院之中。
密教的普賢造像形象多元，敦煌東千佛洞第7窟中依照《八大菩薩曼荼羅經》所造的普賢菩薩，右手持劍，左手結予願印；《陀羅尼集經．文殊師利菩薩法印呪第三》描述修法所用的普賢造像右手執白拂。因普賢菩薩有延命的功德，密教體系還有普賢延命菩薩，流行於日本。普賢延命菩薩有二臂或二十臂的形象，所乘之象，有一身三頭、三身三頭，或四身四頭等類別。除此之外，日本跟大理國，都流傳有金剛薩埵五秘密或稱秘密五普賢的造像。
普賢行是《華嚴經》貫穿全經的主軸，《普賢行願品》中，詳細說明普賢行的理論和實踐方法，普賢行具體為「普賢十大願王」，亦稱為「普賢願海」、「普賢行願」等同於藏傳佛教的七支供養。內容包含：
並詳細描述此十願如何執行。
普賢行是一切菩薩行的根本，所有菩薩都依照普賢菩薩的德行修行，於《佛說無量壽經》中言：「此賢劫中一切菩薩…皆遵普賢大士之德，具諸菩薩無量行願，安住一切功德之法」。澄觀於《大華嚴經略策》中稱：「此行願一品，為華嚴關鍵，修行樞機」。
《普賢行願品》被列為淨土五經之一，為淨土宗重要經典。此經為四十卷《華嚴經》的第四十卷。在四十卷《華嚴經》中善財童子詢問吉祥雲比丘如何行普賢行，吉祥雲比丘便傳授其念佛法門；最後一卷《普賢行願品》描述普賢菩薩十大願王導歸極樂，以往生阿彌陀佛極樂世界為依歸，「聞此願王，莫生疑念，應當諦受。受已能讀，讀已能誦，誦已能持，乃至書寫，廣為人說。是諸人等，於一念中，所有行願，皆得成就；所獲福聚，無量無邊！能於煩惱大苦海中，拔濟眾生，令其出離，皆得往生阿彌陀佛極樂世界。」，即受持、讀誦、書寫、宣說十大願王即可以投生極樂世界。
在敦煌疑偽經《普賢菩薩說證明經》中記載：「自欲命終之時，普賢菩薩迎其精神不墮八難，得生東方阿閦佛國。」
《法華經》中提及的「法華三昧」，最早於鳩摩羅什翻譯的《思惟略要法》中被具體化為觀照《法華經》諸法實相之理的「法華三昧觀法」，此觀想法是以二十一日正憶念《法華經》與觀想釋迦佛和多寶佛的方式修行的禪法。其後慧思禪師著《法華經安樂行義》建立「法華三昧」二種修行方法的理論；智顗則推廣依據《法華經》與《佛說觀普賢菩薩行法經》所撰寫的《法華三昧懺儀》，更加入《法華經》中無提及的「六根懺悔」。
依《法華三昧懺儀》所產生的「法華懺」，後來發展成天台宗重要之法儀。天台宗將其列為四種三昧中的半行半坐三昧。行此懺法，需要潔淨道場與身體、禮拜勸請諸佛、懺悔六根之罪、行道、誦法華經、行觀法，為期二十一天。日本各地普遍設置以普賢菩薩為本尊，修法華懺的法華三昧堂。天台宗多將之與常行三昧堂並設，以迴廊連接，俗稱擔堂。
依照《法華經》所述，受持、讀誦《法華經》可以獲得普賢菩薩乘象守護、教導，見普賢菩薩色身，得到三昧及陀羅尼；命終時，可得「千佛授手」，「往兜率天上，彌勒菩薩所」。普賢菩薩於《法華經》最末品出現為「守護主」，象徵著學習法門應效法普賢。
在中國，四川峨嵋山被認為是普賢菩薩的道場，為中國佛教四大名山之一。
日本天台宗非常重視法華三昧懺法；以普賢延命菩薩為本尊，為除障延命所修的「普賢延命法」，同時與「安鎮法」、「熾盛光法」、「七佛藥師法」並稱台密特重的「四箇大法」。
法隆寺金堂壁畫

金堂壁畫是日本奈良縣生驹郡斑鸠町法隆寺中的金堂壁上之佛教繪畫。
因為無可靠歷史文獻記載，作者不明，大約繪於7世紀末。它遵循了釋迦佛净土、阿彌陀佛净土、彌勒佛净土、藥師佛净土等佛教神話，分別繪製在金堂四面大壁的12面墙壁上。與印度阿旃陀石窟壁畫、中國敦煌莫高窟壁畫同為古代亞洲佛教繪畫的代表。
1949年1月26日，一場不明原因的火災致使法隆寺金堂壁畫被燒毀，直接促成日本制定《文化遺產保護法》。
大象體操

大象體操（Elephant Gym） 來自台灣高雄，2012年2月成立，以貝斯、鼓、吉他為主要編制的數學搖滾樂團。現任團員包含張凱婷（貝斯手）、涂嘉欽（鼓手）、張凱翔（吉他手）。團名以「大象」象徵BASS，「體操」則表示曲中的特殊節奏。
大象體操的樂曲嘗試以不斷變化卻對位精準的節拍製造出獨特的律動。一般歌曲中常被忽略的貝斯在大象體操卻是主要帶領樂器。成軍後隨即陸續參與巨獸搖滾、簡單生活節、大港開唱、野台開唱等音樂節的演出。
寮國國旗

现行寮國國旗于1975年共产主义者上台后启用，由紅色、藍色和白色组成，藍色代表寮國富饒美麗的國土，以及寮國人民熱愛和平安寧的生活。紅色象徵革命，表明寮國人民不惜以鮮血為代價捍衛國家尊嚴。白色圓形象徵寮國人民在寮國人民革命党的領導下團結一致以及國家光明的未來。白色圓形也代表滿月，置於藍條之上，象徵皎潔明月高懸於湄公河的上空。
目前的国旗其实设计于1945年，该旗曾作为当年建立的寮國自由民族统一战线（寮國伊萨拉）旗帜，由寮國民族主义者、知识分子和历史文化学者玛哈西拉·维拉冯设计，颜色灵感来自泰国国旗。1949年伊萨拉解散后该旗由巴特寮、以及1975年成立的寮國人民民主共和国继续沿用。
寮保護國国旗是在寮國法国殖民统治时期使用的一面国旗。左上角的法国国旗象征着法国与寮保护国的联系。红色的旗底象征着人民的血液。图像为三只大象站在撑有阳伞的五阶台座上。大象象征着尊贵、智慧、吉祥，并作为一种交通工具。同时，三只大象还象征着寮國历史上的三个古国：万象、琅勃拉邦和川圹王国。位于大象之上的伞也有其确切的含义，在佛教的宇宙哲学中，须弥山（Mt. Meru）为世界的中心，此伞象征须弥山，代表了寮國的国民信仰。大象所站之台基象征着寮王国的法律。
寮王国国旗，在寮國君主制政权时期使用的一面国旗，去掉了旗帜左上角的法国国旗。
國家大象日

國家大象日（泰語：วันช้างไทย）於1998年5月26日由泰國政府宣布，定於每年的3月13日。紀念活動是由泰國亞洲象基金會建議並提交給泰國大象保育協調小組委員會的。之所以選擇這一天，是因為泰國皇家森林部於1963年3月13日將白象指定為泰國國象。
泰國人自古以來就與大象有著密切的關係，大象在運輸、勞動和戰鬥中發揮著重要作用。大象被視為泰國的國獸，但由於人類入侵棲息地和氣候變遷等因素，大象的生存面臨威脅。在過去的100年中，泰國大象的數量已從100,000頭減少到2,000-3,000頭野生大象和大約2,700頭馴養大象。在泰國，白象（ช้างเผือก）被視為神聖之物，是王權的象徵。
國家大象日有三個主要目的。首先是展示大象對泰國的重要意義，其次是展示泰國文化如何依賴大象。最後，一年一度的慶祝活動提高人們對保護和養護泰國大象及其棲息地的意識。
為了提高人們的認識，全國各地都開展各種活動。在清邁府，活動包括大象自助午餐、傳統祈福儀式和特別大象表演。這些活動由清邁大學和湄沙大象營組織。
天晉滙

天晉滙（PopWalk）是新鴻基地產旗下的商場群，位於香港新界西貢區將軍澳南，商場位處於天晉II、IIIA、IIIB及海天晉基座，沿市鎮廣場兩邊而建，4個商場零售面積合共約240,000平方呎，全數162家商舖料2016年中至2021年分批開業。
天晉匯4個商場面積約240,000平方呎，以特色餐飲、零售為主，首期商場在2016年8月28日開幕。4個商場內共有162個商舖，包括酒樓、時裝服飾、地產代理、花店、寵物用品等商戶，預期每年租金收益約3,000萬元至3,300萬元。
第一期稱為天晉滙（PopWalk）樓高2層，設有38間商店，為天晉II的基座商場。地下主要租戶包括佔地1.8萬方呎的fusion by PARKnSHOP超級市場、雅潔洗衣（已結業）、千色布藝、卓健醫療中心（已結業）。食肆包括WAALAH! Cafe（已結業）、湄南（已結業）、Cafe 50P海南雞飯專門店、Chef's Stage Kitchen等。
1樓主要租戶包括屈臣氏（已結業）、品味1+1（已結業）和7-11便利店（已結業）等。1樓亦設多間食肆，包括Bakery Cafe by Maxim's（已結業）、Parkview Restaurant（已結業）、湘薈（已結業）、御名園（已結業）、SUBWAY及漁之部屋（已結業）等。該層設有通道往天晉IIIA和天橋往PopCorn商場。
第二期稱為天晉滙2（PopWalk 2）樓高2層，設有39間商店，為天晉IIIA的基座商場，於2017年9月9日投入服務。
地下主要租戶包括柏斯琴行、榮華藥坊（已結業）、4間地產代理。食肆包括湘薈（已搬遷）、小方糖甜品、蛋撻王、魚米家（已結業）、一粥麵（已結業）、東南加（已結業）、意樂餐廳等。
1樓主要租戶包括日本城、渣打銀行（已結業）等。1樓亦設多間食肆，包括牛助（已結業）、陳記燒鵝、伊哥Cafe（已結業）、Goobne Chicken及泰COOL等。該層設有通道往天晉IIIA和天橋往PopCorn商場。
第三期稱為天晉滙3（PopWalk 3）樓高2層，設有10間商店，為天晉IIIB的基座商場。地下主要租戶包括4間兒童教育中心、Pizza Hut及MX。
1樓主要租戶包括惠康及2間兒童教育中心。
海天晉滙（Ocean PopWalk）樓高2層，零售樓面達8萬平方呎，設有75間商店，為海天晉的基座商場。商場原定2018年首季開放，但被延至2021年7月1日。地下主要租戶包括新世界韓國食品、中國人壽（已結業）、Cottex、tokyobike、3間地產代理。食肆包括牛八涮涮鍋專門店、22 Branch Oyster Bar & Restaurant（已結業）、形等。
1樓主要租戶包括Champ 24、Boxcut（已結業）、漢唐中醫醫務所、Monkey Tree English Learning Centre、Steamlabo Education Centre（已結業）、MC Music等。1樓亦設多間食肆，包括Das Bier、銀咖喱（已結業）、Red Chicken等。到2022年12月聖誕，1樓曾經開設男團MIRROR成員柳應廷及李駿傑，以及ERROR成員梁業所創立的日式鐵板燒餐廳幻Maboroshij，但到2023年8月結業。
新港城

新港城（英語：Sunshine City）是香港新界沙田區馬鞍山私人屋苑，位於馬鞍山市中心，由多個零散地段所組成，為馬鞍山區內規模最大私人住宅項目，由恆基兆業地產發展。屋苑第1及5期由李景勳建築師事務所設計，第2期由王戴建築師事務所設計，第四期則由伍振民建築師事務所設計，並於1992年至1996年分5期落成及入伙，共有20座住宅樓宇，提供4,760個住宅單位。第1及第2期所有單位不設窗台。新港城樓價經歷過高低起跌，於1997年高峰期二手呎價見6,579元，及後樓市泡沫爆破，1年間樓價跌幅逾80%，其後屋苑成交呎價反覆向下，於2003年沙士時期低見2,104元。
第1期位於鞍誠街18號，設兩座樓高30層住宅，合共提供480伙單位，於1993年2月入伙。基座樓高3層，地下設有多間地產代理及茶餐廳、停車場出入口、住宅大堂入口；1樓為月租停車場；2樓為住宅平台。
第2期位於鞍誠街22號，設兩座樓高30層住宅，合共提供480伙單位，於1993年2月入伙。基座樓高3層，地下設有多間茶餐廳、美容中心、洗衣店及髮廊、停車場出入口、住宅大堂入口；1樓為月租停車場；2樓為住宅平台。
第3期位於鞍誠街8號，設四座樓高29層住宅，合共提供929伙單位，於1994年1月入伙。基座樓高3層，地庫為時租停車場、地下設多間兒童學習中心、補習社、美容中心、麵包店、7-11便利店、多間茶餐廳、以至停車場出入口；1樓為酒樓及月租停車場；2樓為住宅平台和行人通道通往第四期行人天橋。
第4期位於鞍祿街18號，為規模最大的一期，位置亦是最佳。設八座樓高30層至43層住宅，提供2,256伙單位，於1994年12月入伙，部分高層的單位可享有海景。
基座大型商場新港城中心為項目重心，為馬鞍山區最大的商場，其住宅平台設施種類數量皆為項目中最多。地下設「新港城街市」、住宅升降機入口大堂、馬鞍山市中心巴士總站、的士站、上落客區、馬鞍山郵政局、民政事務署、貨物裝卸區﹙穿梭巴士總站﹚及停車場出入口。1樓設停車場；2樓3樓為大型商場，其中2樓設多條行人天橋連接馬鞍山站A出口、馬鞍山廣場、富輝花園平台、第1至5期部份及鞍誠街公園。
4樓為住宅平台及住客會所，設施包括健身室、兒童遊樂場、遊樂場、游泳池、壁球室、模擬駕駛室和蒸氣浴室。
第五期位於西沙路628號，稱為海濤居（英語：The Tolo Place），設四座樓高28層至33層住宅，合共提供616伙單位，於1996年10月入伙。基座樓高3層，地下為地舖、小花園和停車場出入口；1樓為停車場；2樓為新港城中心（五期）（舊名新港城廣場）商場，最大租戶為朗思國際幼稚園，其他租戶以兒童學習中心、補習社、銀行、 餐廳、琴行及小型書店為主，設行人天橋連接新港城中心及福安花園；3樓為住宅平台，設兒童遊樂場及水景設施。
海濤居是新港城眾多期數中規模最小，但是售價較其他期數為高，不單因為其戶型大，另一重要因素是其享有無遮檔海景。屋苑距海岸線不遠，前臨廣闊的馬鞍山公園，視線不受阻擋，且是新港城各期數中唯一擁有全海景戶的物業。
屋苑設1個會所，其中4期會所基本上供各期住戶共用，但1、2、3及5期住戶需購買會籍才可享用會所設施。
鄰近有馬鞍山診所、鞍祿街公園、馬鞍山運動場及馬鞍山公園。
巴比肯屋村

巴比肯屋村（英語：Barbican Estate）是位于英国伦敦市中心倫敦城北部的一组大型建筑群，是英国粗野主義（Brutalism）建筑的代表作之一。整个建筑群基本建于一个数层高的基座上（基座内是停车库和其它基础设施），基座中间则建有水池，基座的各部分由桥梁连接。
巴比肯屋村坐落的位置原来是伦敦城的古城门之一，叫作克里波门（Cripplegate，直译“瘸子门”）。从罗马时代起，这座城门就建有用于屯兵的大型瓮城。在第二次世界大戰伦敦城，特别是克里波门区，遭到猛烈轟炸，以致于在战争结束时这里原有的建筑物几乎无一幸免。按照1951年的人口统计，克里波门区的人口只有48人。1952年起伦敦市法团开始审议重建克里波门区，并在1957年决定在此建造居住用房。新的建筑群被命名为“瓮城屋村”，也就是巴比肯屋村，整个建筑群占地14万平方米，由著名現代建築公司張伯倫、鮑威爾與本恩公司（英语：Chamberlin, Powell and Bon）以粗野主義（Brutalism）風格設計。规划中，整个建筑群除了高层和多层居住用房外，还包括学校、博物馆、青年会设施、消防站、诊所、音乐学院、图书馆、美术馆和大型表演艺术场所──后三项构成巴比肯藝術中心。屋村在1965年动工，1976年建成，但是相连的藝術中心则要到1982年才全部竣工，并在1982年3月3日由女王伊丽莎白二世剪彩揭幕。
2001年9月，英國文化部長蒂莎·布勒斯頓（英语：Tessa Blackstone）宣布將巴比肯建築群定為登錄建築「二級文物」（Grade II listed building），列入的理由是整个建筑群的规模、整体性和设计的气魄。除了巴比肯屋村，其设计师还设计了附近的金巷屋村（英语：Golden Lane Estate）。而巴比肯建築群的項目建築師約翰·安拿其後參與设计了位于聖潘克拉斯的新大英圖書館──这里的屋顶采用了一个紅磚金字形神塔的形式。
维基共享资源上的相關多媒體資源：巴比肯屋村
Template:伦敦地标
覆钵式塔

覆钵式塔，又称喇嘛塔、佛舍利塔，是藏传佛教常见的佛塔，藏地称呼为“曲登”（藏語：མཆོད་རྟེན་，威利转写：mchod-rten）；主要流传于南亚的印度、尼泊尔，中国的西藏、青海、甘肃、内蒙古等地区，直接来源于印度的窣堵坡。
覆钵式塔的造型与印度的窣堵坡基本相同。覆钵式塔的造型在北魏时期的云冈石窟中就又出现，早期流入西藏，再从西藏流传至其他地区。随着卒塔婆在中国逐步演化为中国的宝塔，印度的卒塔婆也在不断演化，并在元代随着藏传佛教的兴盛，再一次传入中土，并开始大量在汉民族地区出现。
覆钵式塔是一重实心的建筑，供崇拜之用。被用作舍利塔，还可做僧人的墓塔。其形体大小不一，中国现存最大的覆钵式塔是建于元代的北京妙应寺（白塔寺）白塔。除此以外还有北海公园的永安寺白塔。而香泥小塔也都是喇嘛塔的式样。
覆钵式塔的基本结构相同，有八种不同的风格。塔的每层结构都表达着一种宗教意义。覆钵式塔基本都是由四部分组成，从下向上分别是：
藏式喇嘛塔的基座很宽大，有的开辟为房间，用于存放物品或居住喇嘛。
塔脖子和塔刹象征着佛的头部，巨大的塔身蕴含着深厚的佛教内涵。
大法王塔 （页面存档备份，存于互联网档案馆） 北京地区的藏传佛塔 （页面存档备份，存于互联网档案馆）
救世基督像

救世基督像（葡萄牙語：Cristo Redentor）是一座裝飾藝術风格的大型耶穌基督雕像，位于巴西的里約熱內盧，是该市的标志，也是世界最闻名的纪念雕塑之一，2007年入选世界新七大奇迹。
基督像落成于1931年，总高38米，站立在里約熱內盧國家森林公園中高710米的駝背山頂，俯瞰着整个城市。張開雙臂欢迎来自世界各地的游客，是巴西人民热情接纳和宽阔胸怀的象征。
基督像位于巴西里约热内卢市的科科瓦多山顶，山高710米。基督像身高30米，站立在8米的基座上，基座同时也是一座能够容纳150人的天主教教堂。基督像总重1145吨，张开的双臂横向总长28米。
在科科瓦多山上建造一座雕像的想法始于1850年代中期，那時一個天主教祭司佩德罗·玛丽亚·博斯請求巴西帝国的伊莎貝爾公主籌措資金建造一座大型的宗教紀念物。伊莎貝爾公主對這個主意不是很在意，而當巴西在1889年成為共和國后，這个设想完全被政府否定，因為当时的法律強制規定必须政教分離。
第二次「在山上建立一個地標」的提議是里約熱內盧大主教在1921年所提出。大主教組織了一個叫做「紀念像週」（Semana do Monumento）的活動來吸引捐款，捐款者主要是巴西的天主教徒。基督雕像的設計要求包括：须代表基督教的十字架，有一座手持地球的耶穌基督像和一個象徵世界的基座。最後選擇了「救世基督展開雙臂」為設計外型。
這座紀念雕像由法國紀念碑雕刻家保羅·蘭多斯基設計，当地的工程師海托·达·席爾瓦·科斯卡監督建設。一组工程師和技師團研究了蘭多斯基的设计方案，並決定以鋼筋混凝土代替鋼材，以便更適合十字架形状的雕像。科斯卡和蘭多斯基決定以皂石作為雕像的外層材料，因為它有柔韧性高的特点，而且能够抵抗惡劣的天氣。里约热内卢还特意建造了科科瓦多山的上山鐵路，以便将打造雕像所需的大块石料运到山顶。
1931年10月12日在科科瓦多山上举行了盛大的落成典礼，巴西总统瓦加斯为塑像剪彩，这一天是巴西主保阿帕雷西达圣母的纪念日——圣母显灵日（又称守护神节）。落成典礼的一大亮点是照明系统的启动，原本计划是由意大利发明家马可尼从他在那不勒斯的遊船上，通过他发明的无线电启动开关，但是由于当天天气状况恶劣，信号强度受到影响，最终不得不改由科科瓦多山上的工作人员手工开启。
2006年10月12日，在塑像落成75周年庆典上，里约热内卢的總主教欧瑟比欧·奥斯卡·舍伊德枢机在塑像下为圣母显灵日做彌撒，並宣布这座基督像被列为朝圣圣地。
游客可以從公路或乘坐科科瓦多山鐵路上山游览。以前列車到達終點後人们还需要爬上222级階梯才能到達雕像，这對行動不便者和老年人是一大障礙。2002年的古蹟大整修中，雕像附近安裝了三座全景升降机和四座電扶梯。
另外，從雅丁波卡尼科区的帕奎公園有條有點費力的捷径步道通往山顶。
孟菲斯及其墓地金字塔

孟菲斯及其墓地金字塔（阿拉伯语：أهرامات الجيزة）是位于埃及開羅郊外，孟菲斯附近，吉薩高原（英语：Giza Plateau）上的考古遺址，其中包括三座金字塔、一個名為狮身人面像的大型雕像、多处墓地及一個工人的村落等。位在距吉薩舊城9公里的沙漠中，在開羅市中心西南方25公里的位置。其中的金字塔在歷史上是西方想像的古埃及（英语：ancient Egypt in the Western imagination）的重要標誌，在希臘化時代廣為人知，其中的胡夫金字塔列名在古代世界七大奇蹟中，也是七大奇蹟中目前唯一仍存在的建築物。孟菲斯及其墓地金字塔于1979年列入联合国教科文组织世界遗产名录。
孟菲斯及其墓地金字塔包括胡夫金字塔﹑卡夫拉金字塔﹑孟卡拉金字塔和一個獅身人面像。
胡夫金字塔，又稱吉薩大金字塔，位於埃及吉薩，是古埃及第四王朝的法老胡夫的金字塔，主要作為其陵墓，也是世界上最大、最高的埃及式金字塔，現高138.74米（455.2英尺），原高146.59米（480.9英尺），底邊長230.37米（755.8英尺），約建於前2580年，完工於前2560年，約建了20年，它是古代世界七大奇蹟中最古老及唯一尚存的建築物，其體積約235萬2千立方公尺，用了高達230萬～250萬塊石灰岩建造，其也是世界上質量最大的單一古代建築物體。
卡夫拉金字塔是埃及的一座金字塔，也是埃及第2大的金字塔，僅次於胡夫金字塔。卡夫拉金字塔也是埃及第四王朝法老卡夫拉的陵墓。卡夫拉金字塔與附近2座金字塔相異的是，在金字塔頂端，仍然保留著部分的石灰岩外殼。
孟卡拉金字塔，又譯門卡拉金字塔，是一座埃及金字塔，位於開羅附近，與胡夫金字塔、卡夫拉金字塔並稱為吉薩三大金字塔。孟卡拉金字塔是埃及第四王朝的法老孟卡拉的陵墓。
獅身人面像是一座位在卡夫拉金字塔旁的雕像，外型是一個獅子的身軀和人的頭。獅身人面像長約73.5米（241英尺），寬約6米（20英尺）和高約20.22米（66.34英尺）。獅身人面像是現今已知最古老的紀念雕像，一般相信是在法老卡夫拉（Khafra）統治期間內建成。（約公元前2558年至2532年）
大部分的金字塔建築理論認為，金字塔是由從採石場移動巨大的石頭並將它們拖到適當的位置來建造的，但是對於如何運送以及放置石頭，有不同種理論。
在建造金字塔時，建築師們可能隨著經驗的累積，修正他們的技術。他們會選擇一個相對平坦的基岩區域而不是沙子來提供穩定的地基。在仔細勘察現場並鋪設第一層石頭後，在此基礎上建造了金字塔。
對於大金字塔來說，內部的大部分石頭似乎都是在建築工地的南面立即開采的。金字塔光滑的外部是由在尼羅河上開采的優質白色石灰石製成的。這些外部砌塊必須仔細切割，用駁船運到吉薩，然後通過坡道拖到建築工地。大金字塔底部只剩下幾個外部街區。在中世紀（5 世紀到 15 世紀），人們可能已經將其餘部分帶走，用於開羅市的建築項目。
為了確保金字塔保持對稱，外部套管石的高度和寬度都必須相等。工人可能已經標記了所有的塊以指示金字塔的角度，並仔細修繕表面，使石塊能夠組合在一起。施工時，石材外表面為光滑的石灰石，這層石灰石隨著時間的推移而被侵蝕。
一般認為孟菲斯墓地金字塔建造的目的，是為了存放死去的法老（古埃及統治者）的遺體。據埃及的信仰，法老靈魂中一部份稱為ka的靈魂仍在他身上，因此有必要妥善保存其遺體，讓「已過世的法老可以執行其king of the dead的新責任。」。根據埃及人的理論，金字塔不只是法老的墓地，也是存放他來生需要各樣東西的處所。「古埃及人相信人在地上的死亡是往下一個世界旅程的起點。」。法老的屍體經過防腐處理，放在金字塔的下方或是中心，以便保護屍體，可以往死后生命轉變及提昇。
吉薩金字塔的所有三個側面在天文角度上都朝向南北和東西方向。根據某些理論，這種排列與獵戶座相關。
建造金字塔需要龐大的工人，希臘歷史學家希羅多德在公元前450年訪問吉薩時，埃及牧師告訴他大金字塔花了40萬人20年時間建造，每三個月輪班工作 10 萬人。來自墓葬的證據表明，由10,000名工人組成的勞動力以三個月的輪班方式工作，花了大約 30 年的時間建造了一座金字塔。
為了安排這些工人的生活，馬克·萊納在金字塔石牆外發現了一座工人村。該村位於Khafre和Menkaure綜合體的東南部。工人村的發現包括公共宿舍、麵包店、啤酒廠和廚房、醫院和墓地。.
该世界遗产被认为满足世界遺產登錄基準中的以下基準而予以登錄：
韋馱

韋馱（梵語：Skanda，原譯作室建陀、塞建陀、私建陀，簡稱建陀，後“建”被誤寫為“違”，再簡化為“韋”，變成韋陀、韋馱）又稱韋馱天、韋馱菩薩，是一尊佛教的知名護法，執金剛神之一，為菩薩化身。韋馱過去為法意太子，因發願為密跡金剛力士來護持千位兄長成佛，願力的關係，示現護法相，後來蒙受釋迦牟尼佛授記，將於未來賢劫千佛中，最後一位成佛，佛號樓至，韋馱菩薩過去的名號於佛典中有著不同的翻譯，《悲華經》稱名為「持力捷」、「火淨藥王」，《大乘悲分陀利經》稱名為「持大力童子」、「無垢明藥王」。世傳祂統領東西南三大洲（東勝神洲、西牛賀洲、南贍部洲）巡遊護法事宜，保護出家人，護持佛法，故寺院都會供奉祂，並常將其的形象印在佛經與佛教典籍的末頁，冀望韋馱菩薩護持，讓正法久昌。在漢傳佛教中，韋馱天也被奉為二十諸天與二十四諸天之一的護法神，而祂的神像通常被摆在寺庙的大雄殿或四大天王殿里。
韋馱菩薩形象來自於南方增長天王部下一名稱作韋琨的將軍，為身穿盔甲、手持寶杵的天神身相。後來由於民間混淆的關係，這位韋將軍的形象，就成了韋馱菩薩的形象。
韋馱天的原型是婆羅門教大自在天的兒子室建陀天。室建陀有二十幾個名字，除了室建陀之外，常見的有鳩摩羅天、迦絺吉夜、善梵天、能瘦、六面童子等，常見形像是一面二臂青年男性戰神，另外還有六面的形像。
室建陀天信仰最早起源於南印度和斯里蘭卡的泰米爾人，後來傳到整個印度。斯里蘭卡自古奉祂為守護神，釋迦牟尼佛曾三次到斯里蘭卡，室建陀天在這時皈依了釋迦牟尼佛，成了佛教的護法。另相傳釋迦牟尼佛涅槃後，有羅剎將釋迦牟尼佛的舍利子搶回去供奉，多虧善於行走的室建陀天奮力追奪回來。在唐密的胎藏界曼荼羅中，祂是外金剛部院205天之一，名為鳩摩羅天。藏密《聖妙吉祥真實名經》則說六面童子是文殊菩薩的忿怒化身。
室建陀天的名字會變成韋陀，唐朝慧琳所著《一切經音義》說：「違陀天，譯勘梵音云私建陀提婆，私建陀此云陰也，提婆云天也，但建、違相濫故，筆家誤耳。」這說法不是沒有依據的。南北朝時曇無讖法師所譯的三部經中，現今流通的版本，《大方等無想經》中譯為「建馱」，《金光明經》中譯為「違馱」，《大般涅槃經》譯為「違陀」。
另有唐朝義淨法師所譯的《金光明最勝王經》中則譯作「塞建陀」。由此比對可知，《金光明經》的「違馱」即「塞建陀」，也可知曇無讖習慣是沒有翻出「塞」的音，都是譯為建馱或建陀，後來兩經在傳抄中被誤寫「違馱」和「違陀」。
現今所流傳的韋馱菩薩形像，實是受到唐朝《道宣律師感通錄》的影響所致。
《感通錄》云：「有一天來禮敬，敘暄涼已，曰：『弟子姓王，名璠。......弟子是南天韋將軍下之使者，將軍事務極多，擁護三州之佛法。」「又一天來，云：姓費氏。禮敬如前，云：『弟子迦葉佛時，生在初天韋將軍下。諸天以貪欲醉，弟子以宿願力，不戀天欲，清淨梵行，偏敬毘尼。韋將軍童真梵行，不受天欲。一王之下，有八將軍，四王三十二將，周四天下往還，護助諸出家人。四天下中，北天一州少有佛法，餘三天下佛法大弘。然出家人多犯禁戒，少有如法。東西天下人少黠慧，煩惱難化。南方一洲雖多犯罪，化令從善，心易調伏。佛臨涅槃，親受付屬，並令守護，不使魔嬈。若不守護如是破戒，誰有行我之法教者？故佛垂誡，不敢不行。雖見毀禁，愍而護之。若見一善，萬過不咎。事等忘瑕，不存往失。且人中臭氣，上熏於空四十萬里，諸天清淨，無不厭之。但以受佛付屬，令守護法，尚與人同止，諸天不敢不來。韋將軍三十二將之中最存弘護，多有魔子魔女輕弄比丘，道力微者並為惑亂。將軍恓遑奔赴，應機除剪。故有事至，須往四王所時，王見皆起，為韋將軍修童真行、護正法故。』」
由此可知，這位姓韋的天將軍是南方增長天王座下的八將軍之一，在四大天王三十二將軍之中最受敬重的一位，一是因為祂修童真梵行，二是因為祂守護僧伽及佛法最是不遺餘力。所以各地寺院都造其形像供奉。因祂姓韋，遂與原本被誤寫成「違陀」的室建陀天名稱相混，進一步改變成「韋陀」，並被稱為韋陀菩薩。
在中國傳統寺院，最前面會有山門，進了山門會有一座天王殿，天王殿裡正面是彌勒菩薩化身的布袋和尚，兩邊是四大天王，布袋和尚的背後則是韋馱菩薩，面朝著大雄寶殿，以鎮護道場，如:南投縣中台禪寺。韋馱菩薩的形像，是身穿盔甲、手持寶杵的天將軍身相。持杵的姿勢常見有三種，一種是兩手合掌，杵橫放在兩臂上，一種是單手持杵拄地，一種是單手持杵靠在肩上。
根據曇無讖所譯的《悲華經》記載，韋馱菩薩（經典中稱名為「持力捷」）曾於佛前發願護持正法等十大願：
持力捷疾對世尊說：「世尊。彼賢劫中諸佛世尊般涅槃已。最後妙音龍成阿耨多羅三藐三菩提。号那羅延勝葉。世尊。...」
在佛教的早晚功课中，还有专门的《韋馱贊》：
《封神榜》中韋馱名為“韋護”（“韦驮护法”的简称），是道行天尊的弟子，與韓毒龍和薛惡虎同門，法寶有“降魔杵”。
《济公全传》中有韦驮显身降妖的故事。
《新著龍虎門》中，龍虎門陣營有一名叫韋陀的青年高手。韋陀身負絕世神功"九霄真經"第九章功力，亦是詠春拳的高手，大有宗師風範。
四大佛教名山

中國佛教四大名山，是漢傳佛教傳統認為的四大菩薩道場。浙江普陀山是观音菩萨的道场，山西五台山是文殊菩萨的道场，四川峨眉山是普贤菩萨的道场，安徽九华山为地藏菩萨道场。以上四处也合称“四大菩萨道场”。
四大佛山之中，五台山的佛寺建筑最为雄伟、密集，漢傳佛教、藏傳佛教建築匯聚於此，佛像雕塑的建造也是最为精美的，为四大佛山之首。有人还把四大佛山视为佛教的“四大”结聚。这“四大”又称为“四界”，指的是地、水、火、风四种物质现象构成的基本元素。佛教认为，世界万物均由“四大元素”组成，宣扬所谓的“四大皆空”其实就是指宇宙间的一切，包括人身在内，都是虚幻不实的。中国佛教教徒也将四大道场说成是“四大”的体现。《普陀山志》中记载：
有時加上一座佛教名山稱爲“五大佛教名山”（佛教五大名山），但第五座名山未有定論，有以下幾處最為常見：
華嚴經

《華嚴經》，全名《大方廣佛華嚴經》（梵語：महावैपुल्य बुद्धावतंसक सूत्र，羅馬化：Mahāvaipulya Buddhāvataṃsaka Sūtra），又名為《雜華經》、《佛雜花經》，是大乘佛教的重要經典之一。據稱本經是釋迦牟尼佛於菩提樹下成道後，在禪定中為文殊、普賢等大菩薩顯現無盡法界時所宣講，被認為是佛教中最為浩瀚廣博的世界觀介紹。華嚴宗依據本經立法界緣起、事事無礙等義為宗旨。
《大方廣佛華嚴經》經名由“大”（mahã）、“方廣”（vaipulya）、“佛陀”（buddha）和“華嚴”（avataṃsaka）組成，意為「名為『佛華嚴』的大乘方廣經典」。其中“大”指大乘，與“方廣”連用強調經文之方正、廣大、平等。
華嚴梵語為avataṃsa、avataṃsaka，指王冠、耳環、花鬘等環狀裝飾品，引申為裝飾繁複、莊嚴美麗；「佛華嚴」（Buddhāvataṃsaka）指稱佛國之無限莊嚴，也指此經中蓮華藏世界（毘盧遮那佛淨土）之美麗。
日本學者櫻部建（日语：櫻部建）則認為「佛華嚴」是形容諸佛示現神通變化，由四面八方乘坐蓮花前來集會的現象，與佛國境界無關。在梵本《撰集百緣經》的第15緣，佛陀示現稱為「佛華嚴遊戲」（Buddhāvataṃsakavikrīḍita）的神變，「於其臍中，出七寶蓮華，各有化佛結跏趺坐，放大光明，上至阿迦膩吒天（日语：色究竟天），下至阿鼻地獄」；又在藏譯佛典中，藏語「集會」一詞（phal chen）常用來對譯梵語的avataṃsaka。
華嚴宗以華嚴經為“法喻因果”，“理智人法”兼備之名稱，一經的要旨，都包含在題目中。大，即包含之義；方，即軌範之義；廣，即周遍之義。即一心法界之體用，廣大而無邊，故稱為大方廣。佛，即證入大方廣無盡法界者；華（花），即成就萬德圓備果體之因行的譬喻；嚴，即開演因位之萬行，以嚴飾佛果之深義，此為佛華嚴。
華嚴宗主張此經以「因果緣起、理實法界」為宗（因果緣起必無自性，無自性故即理實法界。法界理實必無定性，無定性故即成因果緣起），說菩薩以菩提心為因而修諸行，頓入佛地的因果，顯示心性含攝無量、緣起無盡、時空行願等相涉相入、無礙無盡的理境，及佛果地遼闊無礙、莊嚴無比的勝境。此經之舊譯（六十卷本）有寶王如來性起品，亦即新譯（八十卷本）之如來出現品，揭橥了華嚴宗的性起思想；性起二字的詮釋，是華嚴學界的重要議題。
據雲棲袾宏，華嚴經要旨為：「知一切法，即心自性，成就慧身，不由他悟」，出〈梵行品〉。
根據漢傳華嚴宗的說法，《華嚴經》是龍樹進入龍宮取回的，有上中下三種版本，內容長度不同，傳入人間的版本為下本十萬頌。
龍樹在《大智度論》中，提到《十地經》與《不可思議經》，提到的內容對應於華嚴經十地品與入法界品。龍樹與世親也曾為《十地經》作註解，即《十住毗婆沙論》與《十地經論》。呂澂認為，龍樹時代還沒集成大本《華嚴經》，而是以單行本方式流傳。
印順法師認為，《華嚴經》集成可劃分為三個階段：最早出現的是《兜沙經》與《菩薩本業經》等；隨後出現《十地經》與《不可思議經》等；這些單行本最終集成大本《華嚴經》。早期的《十地經》都不說十波羅密，印順法師指出，可以從《華嚴經》裏對十波羅密的使用，說明整部經典或全本，是經過不斷增補而形成的，所以大本《華嚴經》應是後期大乘的著作。
佛教學者認為，《華嚴經》最早的寫作年代，可能在佛滅後約五百年，可能在西元3或4世紀時開始集結。《华严经》最初在印度只是分散的章句，并没有集结成完整的经典。约在公元2～4世纪中叶间，华严系的经典从南印度，向西北印度和中印度传播。最后在中国西域地区合成大本的《华严经》。
作為眾多佛典集成的一大部類，《華嚴經》的梵文原本現已不存。本經的梵文本目前發現了相當於《十地品》的《十地經》（Daśabhūmika Sūtra）和相當於《入法界品》的《健拏驃訶》（Gaṇḍavyūha） 。這兩本經在印度獨立傳播，在尼泊爾，被歸入大乘佛教的“九法”之中，並且也有獨立的漢譯本。此外，近年發現，西藏還保存有《華嚴經·壽量品》的梵文原本，在中亞一些屬於《華嚴經》的梵文殘片也被陸續發現。
《華嚴經》有三個漢譯本：
藏文甘珠爾收錄《華嚴經》（藏語：སངས་རྒྱས་ཕལ་པོ་ཆེ་ཞེས་བྱ་བ་ཤིན་ཏུ་རྒྱས་པ་ཆེན་པོའི་མདོ།，威利转写：sangs rgyas phal po che zhes bya ba shin tu rgyas pa chen po'i mdo）共45品，三萬九千三十頌；前44品相當於八十華嚴的前38品，最後一品相當於《入法界品》。其經文原本來自西域于闐，勝友、智軍譯，遍照校，內容與漢文本頗有出入，並多出兩品，分別是第十一品「如來華嚴品」（Tathāgatāvataṃsaka），位於毗盧遮那品後如來名號品前，以及第三十二品「普賢宣說品」（大方廣普賢所說經 ），位於十地品後十定品前。
中國佛教根據《菩薩瓔珞本業經》、《仁王護國經》、《大乘梵網經》，認為從初發心（初信位的菩薩）直到圓滿成佛，歷經三大阿僧祇劫，總共有五十二個階位，即菩薩五十二位。在《華嚴經》中，雖提到五十二位中的十住、十行、十迴向、十地，但是是在各品分別陳述，沒有明顯將其組合成一系列的位階。
甚深禪定名稱，明一真法界、無盡緣起之理，修六度四攝、莊嚴佛果之行，只有普賢菩薩大行，可入正覺華嚴三昧。六十華嚴三十七曰：“普賢菩薩正受三昧，其三昧名佛華嚴。”若得華嚴三昧，可謂已經成佛，《無量壽經》詩句為證：“得佛華嚴三昧，宣暢一切經典。”凈影在《無量壽經疏》中說：“如華嚴說，彼一三昧統攝法界，一切佛法悉入其中。”《華嚴經》第十二品賢首菩薩偈曰：“嚴凈不可思議剎，供養一切諸如來；放大光明無有邊，度脫眾生亦無限；智慧自在不思議，說法言辭無有礙；施戒忍進及禪定，智慧方便神通等；如是一切皆自在，以佛華嚴三昧力。”
华严字母出自《大方广佛华严经入法界品》，全部有42个字母，为善财童子参访第44位善知识时传授的字智法门。相传为古代僧人为学习梵语而产生用汉字标注的梵语字母表。不空譯有《大方廣佛華嚴經入法界品四十二字觀門》：阿、多、波、左、那、邏、柂、婆、茶、沙、嚩、哆、也、瑟吒、迦、娑、麼、伽、他、社、鏁、柂、奢、佉、叉、娑多、壤、曷攞多、婆、車、娑麼、訶婆、縒、伽、吒、拏、娑頗、娑迦、也娑、室左、侘、陀。
「淨行品」、「十地品」、「十迴向品」、「如來出現品」、「離世間品」、「入法界品」等華嚴單經（品），在大乘論書中得到頻繁引用。這表明《華嚴經》在印度相當流行，也得到印度大乘論師的重視。
《金獅子章》全稱《華嚴金獅子章》，是華嚴宗三祖賢首國師向武則天闡述華嚴宗義理的講記，比喻巧妙，深入淺出，結構嚴謹，言簡意賅，令武則天茅塞頓開，大為贊賞。此章采用以十代表圓滿的華嚴結構，共分十個部分：一名緣起，二辨色空，三約三性，四顯無相，五說無生，六論五教，七勒十玄，八括六相，九成菩提，十入涅槃。
Jikō-ji

Jikō-ji (持光寺) is a Buddhist temple in Onomichi, Hiroshima Prefecture belonging to the Seizan Zenrin-ji of Jōdo-shū Buddhism. Its principal image is a seated image of Amida Nyōrai. The temple houses a National Treasure, an 1153 Heian Period hanging scroll of Fugen Enmei (Samantabhadra).
34°24′26″N 133°11′45″E﻿ / ﻿34.40725°N 133.195806°E﻿ / 34.40725; 133.195806
Songyue Pagoda

The Songyue Pagoda (Chinese: 嵩岳寺塔; pinyin: Sōngyuè sìtǎ), constructed in 523 CE, is located at the Songyue Monastery on Mount Song, in Henan province, China. Built during the Northern Wei Dynasty, this pagoda is one of the few intact sixth-century pagodas in China and is also the earliest known Chinese brick pagoda. Most structures from that period were made of wood and have not survived, although ruins of rammed earth fortifications still exist. In 2010, the Pagoda was inscribed on the UNESCO World Heritage List along with other nearby monuments as part of the 'Historic Monuments of Dengfeng in “The Centre of Heaven and Earth” site.
The spread of Buddhism dramatically influenced Chinese architecture. By the sixth century, Buddhism had spread with tremendous momentum throughout China: Chinese culture was adjusting and adapting its traditions to include Buddhism worship. The Chinese transformed the rounded earthen mound of the South Asian stupa into the towering pagoda to house the sacred buried relics of Buddha at its core.
The pagoda has had a changing shape over time from its Indian Buddhist origins to its form in China. The unique many-sided shape of the Songyue Pagoda suggests that it represents an early attempt to merge the Chinese architecture of straight edges with the circular style of Buddhism from the Indian subcontinent. The perimeter of the pagoda decreases as it rises, as this is seen in Indian and Central Asian Buddhist cave temple pillars and the later round pagodas in China.
The Songyue Pagoda is unique in form, being twelve-sided. The tower is 40 m (131 ft) high and built of yellowish brick held together with clay mortar. It is the oldest surviving pagoda and was built at a time when, according to records, almost all pagodas were composed of wood.
The pagoda has a low, plain brick pedestal or base, and a very high first story characteristic of pagodas with multiple eaves, with balconies dividing the first story into two layers and doors connecting the two parts. The ornamented arch doors and decorative apses or niches are intricately carved into teapots or lions. At the base of the door pillars are carvings shaped as lotus flowers and the pillar capitals have carved pearls and lotus flowers. After the first story there are fifteen closely spaced roofs lined with eaves and small lattice windows. The pagoda features densely clustered ornamental bracked eaves in the dougong style ornamenting each story. Inside the pagoda, the wall is cylindrical with eight levels of projecting stone supports for what was probably wooden flooring originally. Beneath the pagoda is an underground series of burial rooms to preserve cultural objects buried with the dead. The inner most chamber contained Buddhist relics, transcripts of Buddhist scriptures and statues of Buddha.
Joss (Chinese statue)

A Joss is an English term used to refer to a Chinese deity or idol. It generally describes a Chinese religious statue, object (such as joss paper), or idol in many Chinese folk religions.
The English designation "joss" first appeared in the 18th century as a reference to a Chinese idol. The term is usually explained as a borrowing from Portuguese deus or deos, meaning "god". The main objection to this connection with Portuguese deus/deos is that it does not address the linguistic routes that would have allegedly led to the appearance of "joss", with its Chinese religious connotation. Most likely, the English form does describe an actual Chinese divinity, viz. the Dizhushen "landlord deity" ( 地主神), being the tutelary deity of the land (and heaven) and its inhabitants. Known under various epithets and names, this paternal god, who confers luck and wealth to his loyal worshippers, occupies a central position in the folk beliefs of many (overseas) Chinese communities.
A similar form is also attested in Dutch as "joos" or "josie", which is a taboo form for the devil (often "corrected" to the less offensive sounding, personal name Joost). This was already noticed by Samuel Hull Wilcocke who translated the travelogues of the Dutch captain and explorer John Splinter Stavorinus.
Josses serve multiple functions in traditional Chinese religious customs, varying by the specific tradition. Although the word directly translates to "god", the term "joss" is used to describe a physical statue that is believed to be the dwelling place of a specific deity. Josses are often decorated with golden plaques, which are given by the worshippers as a sign of reverence and respect.
Josses are used as a symbolic representation of a particularly important god or goddess. They are often used as a means of divination. Depending upon the tradition, josses will be found in family homes, be communally shared, and appear in temples across China and Taiwan.
Josses belong to specific villages and are considered to be owned by the village temple. Most josses are passed throughout the homes of the village, where they reside for a time. The temple altars host at least one joss, which represents the village's main god. Josses will be placed at the center of an altar in the worshipper's home, where they make offerings to them, and are used to communicate to the deity.
Statues of deities, such as Guanyin (the goddess of mercy) and Guangong (the god of justice), are placed on altars in every new business and restaurant. Josses play an important role in ritual ceremonies. The spiritualization ceremony for new temples involves inviting the spirits into statues made of clay, and in doing so, creates a joss. If the invitation ceremony is successful, the spirit lives inside the statue indefinitely. Significantly more women than men visit the temples and make offerings to the josses. Different deities in the temples have their own special abilities and characteristics. Many worshippers will have josses of a particular deities that can bring about good health or good fortune at home or at work.
Religious goods store

A religious goods store, also known as a religious bookstore, religious gifts store or religious supplies shop, is a store specializing in supplying materials used in the practice of a particular religious tradition, such as Buddhism, Taoism, Chinese folk religion, Christianity and Islam among other religions.
These shops are abundant across the Greater Chinese region as well as Overseas Chinese communities around the world.
In Iran, religious goods stores are usually visited to buy the Quran, Al Mafatih-Al Jinan, goods like the tasbīḥ, and many other things. One of the services related to this is to add a page to Mafatih al-Jinan book for a deceased loved one.
In Christendom, religious goods stores are often visited to purchase Christian art, books and devotional material for the home, as well as gifts such as Bibles, daily devotionals or cross necklaces for occasions such as baptism, confirmation and marriage.
In Buddhist bookshops, a variety of Buddhist books and chanting CDs are usually available for sales. There is also wide range of other products which includes Buddha statues, Buddhist pendants, incense, candles, chanting beads, instruments, Buddhist monastics' robes, meditation cushions and other Buddhist accessories.
In Christendom, "religious goods stores", also known as "Christian bookstores", have family Bibles, Christian art, daily devotional books, breviaries, catechisms, cross necklaces, Christian music albums, holy cards, home altars, prie-dieus, and prayer beads (such as the Dominican Rosary of Catholicism, the Wreath of Christ of Lutheranism, the Anglican rosary of Anglicanism, and the prayer rope of Eastern Orthodoxy), among other sacramentals.
Samantabhadra (Jain monk)

Samantabhadra was a Jain ācārya (head of the monastic order) who lived about the later part of the second century CE. He was a proponent of the Jaina doctrine of Anekāntavāda. The Ratnakaranda śrāvakācāra is the most popular work of Samantabhadra. Samantabhadra lived after Umaswami but before Pujyapada.
Samantabhadra is said to have lived from 150 CE to 250 CE. He was from southern India during the time of Cholas. He was a poet, logician, eulogist and an accomplished linguist. He is credited with spreading Jainism in southern India.
Samantabhadra, in his early stage of asceticism, was attacked with a disease known as bhasmaka (the condition of insatiable hunger). As, digambara monks don't eat more than once in a day, he endured great pain. Ultimately, he sought the permission of his preceptor to undertake the vow of Sallekhana. The preceptor denied the permission and asked him to leave monasticism and get the disease cured. After getting cured he again joined the monastic order and became a great Jaina ācārya.
Samantabhadra affirmed Kundakunda's theory of the two nayas - vyavahāranaya (‘mundane') and niścayanaya (ultimate, omniscient). He argued however that the mundane view is not false, but is only a relative form of knowledge mediated by language and concepts, while the ultimate view is an immediate form of direct knowledge. Samantabhadra also developed further the Jaina theory of syādvāda.
Jaina texts authored by Ācārya Samantabhadra include:
Jinasena, in his celebrated work, Ādi purāṇa praises the Samantabhadra as
The Mirror of the Mind of Samantabhadra

The Mirror of the Mind of Samantabhadra (Tibetan: ཀུན་ཏུ་བཟང་པོ་ཐུགས་ཀྱི་མེ་ལོང, Wylie: kun tu bzang po thugs kyi me long) is one of the Seventeen tantras of Dzogchen Upadesha.
In the Lungi Terdzö (Wylie: lung gi gter mdzod) the prose autocommentary by Longchenpa (1308 – 1364 or possibly 1369) to his Chöying Dzö (Wylie: chos dbyings mdzod) -- which are numbered amongst the Seven Treasuries (Wylie: mdzod chen bdun) -- the following embedded quotation from this Tantra has been rendered into English by Barron, et al. (2001: p. 8) and the Wylie has been secured from Wikisource and interspersed and embedded in the English gloss for probity:
"Phenomena" in the abovementioned quotation should be understood as a rendering of dharmas (Sanskrit) which may also be glossed "constituent factors". "Nature" (rang bzhin) is an analogue of svabhava (Sanskrit). "Awareness" is a gloss of rigpa (Tibetan). Though Buddhism is for the most part non-theistic, Dzogchen and other Buddhadharma traditions often personify attributes or qualities with a deity in textual discourse as Samantabhadra herein is the Adi-Buddha (to be clearly discerned from the namesake Bodhisattva) and is iconographically "attributeless" and "unadorned", the "primordial Buddha", and Samantabhadra is often so for many textual traditions of Dzogchen in both lineagues of Bonpo and Nyingmapa. Following Longchenpa, wherever Samantabhadra is Samantabhadri is evident indivisibly in Yab-yum (Tibetan).
সাত গম্বুজ মসজিদ

ঢাকার মোহাম্মদপুরে অবস্থিত মুঘল আমলে নির্মিত একটি মসজিদ। এই মসজিদটি চারটি মিনারসহ তিনটি গম্বুজের কারণে মসজিদের নাম হয়েছে 'সাতগম্বুজ মসজিদ'। এই মসজিদটি মুঘল আমলের অন্যতম নিদর্শন। ১৬৮০ সালে মুঘল সুবাদার শায়েস্তা খাঁর আমলে তার পুত্র উমিদ খাঁ মসজিদটি নির্মাণ করান। মসজিদটি লালবাগ দুর্গ মসজিদ এবং খাজা আম্বর মসজিদ এর সাথে সাদৃশ্যপূর্ণ।
ঢাকার মোহাম্মদপুরে (বাসস্ট্যান্ড) কাটাসুর থেকে শিয়া মসজিদের দিকে একটা রাস্তা চলে গেছে বাঁশবাড়ী হয়ে। এই রাস্তাতে যাওয়ার পথে পড়ে সাত গম্বুজ মসজিদ।
এর ছাদে রয়েছে তিনটি বড় গম্বুজ এবং চার কোণের প্রতি কোনায় একটি করে অণু গম্বুজ থাকায় একে সাত গম্বুজ মসজিদ বলা হয়। এর আয়তাকার নামাজকোঠার বাইরের দিকের পরিমাণ দৈর্ঘ্যে ১৭.৬৮ এবং প্রস্থে ৮.২৩ মিটার। এর পূর্বদিকের গায়ে ভাঁজবিশিষ্ট তিনটি খিলান এটিকে বেশ আকর্ষণীয় করে তুলেছে। পশ্চিম দেয়ালে তিনটি মিহরাব রয়েছে। দূর থেকে মসজিদটি অত্যন্ত সুন্দর দেখায়। মসজিদের ভিতরে ৪টি কাতারে প্রায় ৯০ জনের নামাজ পড়ার মত স্থান রয়েছে।
মসজিদের পূর্বপাশে এরই অবিচ্ছেদ্য অংশ হয়ে রয়েছে একটি সমাধি। কথিত আছে, এটি শায়েস্তা খাঁর মেয়ের সমাধি। সমাধিটি ‘বিবির মাজার’ বলেও খ্যাত। এ কবর কোঠাটি ভেতর থেকে অষ্টকোনাকৃতি এবং বাইরের দিকে চতুষ্কোনাকৃতির। বেশ কিছুদিন আগে সমাধিক্ষেত্রটি পরিত্যক্ত এবং ধ্বংসপ্রাপ্ত ছিল। বর্তমানে এটি সংস্কার করা হয়েছে। মসজিদের সামনে একটি বড় উদ্যানও রয়েছে। একসময় মসজিদের পাশ দিয়ে বয়ে যেত বুড়িগঙ্গা। মসজিদের ঘাটেই ভেড়ানো হতো লঞ্চ ও নৌকা। কিন্তু বর্তমান অবস্থায় তা কল্পনা করাও কষ্টকর। বড় দালানকোঠায় ভরে উঠেছে মসজিদের চারপাশ। প্রত্নতত্ত্ব অধিদপ্তর এর দেখাশোনার দায়িত্ব গ্রহণ করেছে।
সুন্দরবনে সাত বৎসর

সুন্দরবনে সাত বৎসর প্রখ্যাত কথাসাহিত্যিক বিভূতিভূষণ বন্দ্যোপাধ্যায় দ্বারা সমাপ্ত একটি রোমাঞ্চকর উপন্যাস। বিভূতিভূষণের মৃত্যুর দুই বছর পর অর্থাৎ ১৯৫২ খ্রিস্টাব্দে এটি প্রথম বইয়ের আকারে প্রকাশিত হয়। উপন্যাসটির সূচনা-অংশের লেখক কে এই নিয়ে মতভেদ আছে। গল্পের কাহিনীটি মূলত অভিযান-কেন্দ্রিক। প্রবল প্রতাপ নদী ও তার উত্তাল তরঙ্গের সঙ্গে মানুষের বাঁচার লড়াইয়ের মর্মস্পর্শী বর্ণনা এতে আছে।
বিভূতিভূষণ উপন্যাসটির ভূমিকায় লিখেছেন, "শেষ দিকের কয়েকটি অধ্যায় লিখিয়া দিয়া এই পুস্তকের সুন্দর গল্পটি সমাপ্ত করিবার ভার আমার উপর ন্যস্ত হইয়াছিল।" প্রথম প্রকাশের পর মনে করা হয়েছিল, ভুবনমোহন রায় এর সূচনা-অংশের লেখক। কিন্তু, বইটির দ্বিতীয় মুদ্রণে (১৯৭৩ খ্রিস্টাব্দে) 'সখা ও সাথী' (১৮৯৫ খ্রিস্টাব্দ) পত্রিকার উল্লেখ থাকায় ধারণা করা হয়েছে, স্বয়ং ঐ পত্রিকার সম্পাদকই উপন্যাসের সূচনা-অংশ লিখে থাকতে পারেন। দীর্ঘদিন পর এটির পুনরুদ্ধার হয় এবং বইটির প্রথম প্রকাশক এটি সম্পূর্ণ করার জন্য বিভূতিভূষণকে অনুরোধ করেন।
পুরানো দিনে গঙ্গাসাগর-তীর্থ কেমন ছিল, তার একটা মোটামুটি চিত্ৰ উপন্যাসের সূচনা-অংশ থেকে পাওয়া যায়। বাঘ-কুমীর-বুনো মহিষ-অজগর অধ্যুষিত অবিভক্ত বাংলার ভয়ঙ্কর সুন্দরবনের পরিচিতিও মেলে।
গল্পে সবকিছু ছাপিয়ে বড় হয়ে দেখা দিয়েছে ঐ জায়গার একটি দ্বীপের (নাম কাছিমমারির চর) এক বৃদ্ধের চরিত্র। নায়ক-ছেলেটি বৃদ্ধকে জিজ্ঞাসা করছে, "আপনি কাছিমের খোল একত্র করেন,মুক্তা বিক্রি করেন না?" বৃদ্ধের উত্তর — "না কাউকে দেখাই না। অনেক টাকার মাল। টাকা হলে মনে অহংকার আসবে, বিলাসের ইচ্ছা আসবে। এমন সুন্দর জায়গা থেকে হবে চির-নির্বাসন।" এই এক আঁচড়ে ফুটে উঠেছে বৃদ্ধের চরিত্র। বিভূতিভূষণ সৃষ্ট এই চরিত্রটির জন্য অভিযান-কাহিনীটির এক মহত্তর ক্ষেত্রে উত্তরণ ঘটে। ফুটে উঠেছে তার সৃষ্টি অন্যান্য উপন্যাসের মতো প্রকৃতি প্রেম ।
UAAP Season 87 volleyball tournaments

The UAAP Season 87 volleyball tournaments is the University Athletic Association of the Philippines (UAAP) volleyball tournaments for the 2024–25 school year.
The collegiate men's and women's tournaments began on February 15, 2025.
The high school boys' and girls' tournaments began on September 14, 2024.
All eight member universities of the UAAP fielded teams in the collegiate division while 8 universities fielded teams in the boys' and girls' division, respectively.
Results on top and to the right of the solid cells are for first-round games; those to the bottom and left are for second-round games.
The Collegiate Press Corps awards a "player of the week" for performances on the preceding week.
Results on top and to the right of the solid cells are for first-round games; those to the bottom and left are for second-round games.
The Collegiate Press Corps awards a "player of the week" for performances on the preceding week.
Results on top and to the right of the solid cells are for first-round games; those to the bottom and to the left of it are second-round games.
FEU-Diliman and Adamson finished the elimination round tied for fourth. This is a one-game playoff to determine the #4 seed.
UST and NUNS have the twice-to-beat advantage. They only need to win once while their opponents twice in order to qualify in the Finals.
The finals is a best-of-three series.
The awarding ceremony was held after Game 2 of the Finals series at UST's Quadricentennial Pavilion on December 7, 2024.
Results on top and to the right of the solid cells are for first-round games; those to the bottom and to the left of it are second-round games.
NUNS and Adamson have the twice-to-beat advantage. They only need to win once while their opponents twice in order to qualify in the Finals.
The finals is a best-of-three series.
The awarding ceremony was held after Game 2 of the Finals series at UST's Quadricentennial Pavilion on December 7, 2024.
In case of a tie, the team with the higher position in any tournament is ranked higher. If both are still tied, they are listed by alphabetical order.
How rankings are determined: