Question: What is the location of the temple built in the style that is considered an independent architectural tradition with many unique features in 1200? Answer the above question based on the context below: The modern interest in the Hoysalas is due to their patronage of art and architecture rather than their military conquests. The brisk temple building throughout the kingdom was accomplished despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their architectural style, an offshoot of the Western Chalukya style, shows distinct Dravidian influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from the traditional Dravida, and is considered an independent architectural tradition with many unique features.A feature of Hoysala temple architecture is its attention to exquisite detail and skilled craftsmanship. The tower over the temple shrine (vimana) is delicately finished with intricate carvings, showing attention to the ornate and elaborately detailed rather than to a tower form and height. The stellate design of the base of the shrine with its rhythmic projections and recesses is carried through the tower in an orderly succession of decorated tiers. Hoysala temple sculpture replicates this emphasis on delicacy and craftsmanship in its focus on depicting feminine beauty, grace and physique. The Hoysala artists achieved this with the use of Soapstone (Chloritic schist), a soft stone as basic building and sculptural material.The Chennakesava Temple at Belur (1117), the Hoysaleswara temple at Halebidu (1121), the Chennakesava Temple at Somanathapura (1279), the temples at Arasikere (1220), Amruthapura (1196), Belavadi (1200), Nuggehalli (1246), Hosaholalu (1250), Aralaguppe (1250), Korvangla (1173), Haranhalli (1235), Mosale and Basaralu (1234) are some of the notable examples of Hoysala art. While the temples at Belur and Halebidu are the best known because of the beauty of their sculptures, the Hoysala art finds more complete expression in the smaller and lesser known temples. The outer walls of all these temples contain an intricate array of stone sculptures and horizontal friezes (decorative mouldings) that depict the Hindu epics....
Answer: Belavadi
[Q]: Who does the young female zebra befriend? Answer the above question based on the context below: In South Africa within the Great Karoo, a half-striped zebra named Khumba is born into an insular isolated herd of all-striped zebras where his mother is Lungisa and his father is Seko. Rumors that the strange foal is cursed spread and before long he is blamed for the drought that sets into the Great Karoo. As he matures, Khumba is picked on and remains ostracized by most of the herd with the exception of Tombi, a young female zebra friend close in age - whom Khumba has a crush on - and uncomfortable in the herd due to her tomboyish manners. When a mystical African mantis appears to Khumba, he draws a map to what could be interpreted as either water or stripes between it. Khumba jeopardizes the herd and gets into trouble when he attempts to admit several gemsbok (Nhlanhla Mkhwanazi and Anele Matoti) into the watering-hole enclosure when their wise elderly healer needs water. He also nearly admits the ferocious half-blind African leopard Phango who warns Mkhulu that he and his zebra herd can't stay in their enclosure forever. Seko berates and scolds Khumba for putting the herd at risk and for the next week, he'll drink half of his rations. Lungisa tells the story of how a white horse got its stripes by swimming in a magic river and other horses wanted to have stripes like him, making the zebra we know today. Shortly after, Lungisa succumbs to her disease and dies. Then, Khumba leaves the confines of his home knowing that he cannot survive in the herd where it is viewed as only "half-a-zebra" even to his father.
****
[A]: Khumba
input: Please answer the following: What is the name of the person that Vaughan Williams sometimes helped? Answer the above question based on the context below: Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody." The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel. Among those who studied with or were influenced by Boult were Colin Davis, James Loughran, Richard Hickox and Vernon...
++++++++++
output:
Boult