Category Archives: Sculpture

A crumbling treasure in Pullalur

It was almost noon and despite my folks showing various signals that it was past their endurance point, I was lost amidst the treasures of kanchi kailasanthar temple, when the jolt of my ( ok loan from Dad) samsung handphone brought me back to my senses.

“Vijay, come over on Kanchipuram Arakkonam route, am waiting near Tirumalpuram railway station. ” It was heritage enthusiast K.S. Shankaranarayanan. We were to go and try and cover the Early Chola temple in Tirumalpuram. Little did i realise what the rest of the day held in store for me. Halfway through, the landscape got the best of my brother’s ford and my folks. Quick decision to send them on their way back to chennai and i shifted to shankar’s vehicle. The next two hours was an amazing experience but that post will follow shortly, as what we witnessed later on during that day, churned our insides out. The image has been haunting me every since, and i sincerely hope and pray that there can be something that we can all collectively do to save this astounding structure from crumbling to dust.

What and where is this structure that i talk of ? Its an area that has surprisingly witnessed two historic battles. ofcourse, the name Pullalur, wouldn’t register as a Panipet would do, however a little flashback – for those who have read Kalki’s Sivagamiyin sabatham – thanks to Pavithra for the online English translation – am sure Sivagami & Gundotharan along with Pullikesi and Narasimha Pallava would come back to refresh our memories.

Sivagamiyin Sabatham – Battle at Pullalur

The site also witnessed an astounding defeat of the British by Tippu and the french in 1780 – read more from Sri Muthiah’s –

The story of Two Obelisks.

Ok, enough of the location, what you are going to see below is possibly a ….

No self publicity here. You will understand the reason for me posing here after a couple of progressive longer shots ! Now, where am ?

Hmm, lets zoom out a bit more.

We were actually returning after visiting the temples in worship in Pullalur, when from inside these bushes Shankar spotted this structure. When we enquired around, the villagers mentioned ” Oh, that’s our tonsured Vimana ( mottai Gopuram)”

It was only when we went nearer, that we could gauge the actual scale of this beauty.

The lower base has been subject to parasitic activity – obviously the bricks have been put to ` better’ uses.

The towering tower really started overpowering us with its imposing presence, like an aged warrior, despite its visible marks of valor, it still held its head high in the skies. We counted six tiers capped by a beautiful shikara ( the top dome is missing now)

There were still a few Sudhai ( lime & mortar) sculptures on the Vimana.


Despite all the destruction around it, centuries of obvious neglect spawning a profusion of vegetation eating into it – the real beauty of this Vimana came to us. What we cannot delivery today, with the best of engineering talent, machines, science, technology, advances in materials – this lonely edifice proclaimed its mastery in silence, with a profound sense of grief and overpowering sadness that enveloped us, touching a raw chord in our hears was its core, which revealed itself to us in a powerful manner as we stepped inside the Vimana.

The engineering skill of the ancients – it was still picture perfect, the sacred geometry of the tiers were still doing their duty. But in that, they seem to place an appeal to us. Duty bound to their task, despite the main deity not being present, they conveyed the essence of the Omnipresent. The Tamil equivalent of the central core of a temple is called the ” karu varai” which essentially means a mother’s womb – such a profound significance for a name and the selfless dedication that is associated with it. Can we do something in return?

Hear my sad tale – Temple Pillars of Perur

Its been another eventful December in the land of ancestors and thanks to friends, have tonnes of information to feature. Quite a few sad sights were also there, but nothing as shocking as the plight of the temple pillars of Perur. I had earlier featured the amazing pillar – which describes the story of Hanuman coming out of the crocodile’s belly.

Hanuman escapes from a crocodile -perur

But the orientation of the pillars in the previous post was not correct. Verified my doubts this time – the pillar in antique photo is the one that was broken n found in the garden inside the temple.

While the unbroken pillar is seen behind the door of the shop on your left as you pass the main gopuram entrance.

Apart from that broken pillar, there were many more pillars stacked in the small garden.


So, this time with news of the Temple restoration ( always view that with circumspect dread !) and consecration – went over to get another view of the beauties in the temple.

After parking our vehicle, before going inside the temple, i went over to the small sculpture shop ( sirppak koodam) to pay respects to the artists. But what greeted me churned my insides and almost made me faint.

Sewage and refuse covering up the beautiful pillars albiet damaged, they could be shown some respect. My worst fears were confirmed, yes – the Hanuman pillar has also been dumped into the trash.

When only Gold and diamonds are considered precious and when even they are not secure, what value are these mere stone carvings to these mortals.

An evening with Cholas – 30th Dec 2010, Chennai

Glad to inform our friends our next meet to be held on the 30th December 2010.

Location : Ashvita Art Gallery No 11, Dr Radha Krishnan Salai 2nd Street, Mylapore, Chennai – 600004 Phone: 044-42109990

Time: 5:30 to 8.30

Mr. Maniam Selvam has agreed to share his memories of his Father with Kalki.

Our dear Mr. P Raman, who has a marvelous private collection of antique coins etc., has agreed to exhibit some of his precious collections – which includes Sri Rajaraja coins too !!

Mr. Sitaraman – guide to Mr. P. Raman has kindly consented to render a talk
on antique Coins & Seals – particularly of Pallava and Chola origin.

Vijay ( poetryinstone) will feature rare paintings including a special highlight of the famed Tanjore Big Temple Fresco paintings in a talk / photo feature.

Our dear Venkat, who published and released sequel to PS – titlted Kaviri Maindhan has consented to honour Mr. Maniam Selvam.

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We will also honor Dr. Gift Siromoney – for his valuable support to the cause of cultural and heritage preservation. Mrs. Siromoney has agreed to share her thoughts of her husband.

Thanks,

PSVP & Poetryinstone


Update: Video link to the introductory speech and felicitations ( thanks to Maravanpulavu Sir)

An Unique Pala Bronze – in Melaikkadambur – Part 1

Today we are going to see a very rare and unique bronze from a spectacular temple. Kadambur brings back fond memories to all History buffs ( to be read as fans of Sri Kalki’s Ponniyin Selvan). We visited Melaikkadambur an year ago !

It was the first day of our tour and we were pushing ourselves to complete this splendid temple before heading for our night halt at Chidambaram ( 30 kms away). It was already dark by the time we reached its gates and the dark clouds were threatening to open up anytime. The temple was getting ready for Prathosham the next day.

But then, i can see you asking, why it took a year to feature the same !

Two reasons – one, Sri Raja Deekshithar had done such a superlative task of documenting this temple, that i was corresponding with him to feature the same here. Unfortunately, fate intervened and the great soul left us. We are working on translating his post and featuring it here shortly. Second reason, was this bronze. He would be taken out only for Prathosha Pooja and despite all our pleadings, all we could get was a photo of the same from the temple board !

However, thanks to the net, managed to track down Sri Vijay the Managing Trustee of the temple via his site
Kadambur Temple
Regarding the origins of this temple check out

Kadambur Temple Puranam in illustrations

For starters, the temple is Amrithakadeshwarar Temple or Melaikkadambur temple. The current structure is assigned to the reign of Kulottunga Chola I (1075 -1120 C.E.). Regarding its architecture and sculptures, we will wait to feature the post of Sri Raja Deekshitar, and proceed to view the wonderful and Unique bronze first up.

This magnificent bronze is called Dasa Buja ( ten handed) Rishaba ( bull or on the bull) thandava murthy ( dancer!)

Lets take a closer look at the beauty.

The striking feature of this bronze is the high pedestal, with straight line edges and the characteristic plate fixed behind as the aureole with the flames emanating out.

Eminent scholar Sri Nagasamy writes thus about this bronze, ” The temple also houses several processional images of exquisite beauty, consecrated in the time of Kulottunga chola. The collection also includes one metal image of Siva dancing on the back of Nandi and surrounded by Ganesa, Subrahmanya, Bringi, Nandi, Bhairava and ganas. This particular image is from Bengal made in the time of the Pala rulers who were contemporaries of the Cholas of Tamilnad. This metal image belongs to 9th – 10th cent. It might have been brought by the Rajaguru of Kulottunga who hailed from Bengal. It is one of the finest and early bronze image of the Pala dynasty but found in Tamilnad. It also establishes a close link between Bengal and Chidambaram in the Chola times.”

Kadambur Temple Dr RN article

Lets compare this bronze with a Pala Bronze Buddha from the Metropolitan Museum Nyc.

You can see the resemblances as far as the pedestal and aureole go. Lets step in closer and analyse the features.

What clearly strikes you as the non local nature of this bronze is the Urdhva Linga of this bronze. We do not find this feature in South Indian bronzes.

Mr Vijay also accommodated our request to study this bronze is closer detail and without the back plate.

The style and grace of this bronze is evident in the way he is shown dancing. The attachment of the arms at the shoulders rather than at the elbow ( as we see in most early chola bronzes and even earlier Pallava bronzes) . You can study this aspect more clearly below.

There are a profusion of attendants and Gods on the aureole and on the Pedestal, whom we will see in Part 2 of this post.

Big Temple paintings book release – was defintely worth the wait!

April 9, 1931.

“Close upon the discovery of the Pallava paintings in the Kailasanathaswami Temple at Conjeevaram by the French savant, the indefatigable Prof. Jouveau Dubreuil it has been my great good fortune to bring to light the hitherto unknown frescoes of the Imperial Chola period, in the Brihadeswaraswami Temple, popularly known as ‘the Big Temple of Tanjore.’

“It was almost a year since I visited that noble fane [temple] one evening, in the company of my friend Mr.T.V.Umamaheshwaram Pillai, when in the dim religious light of a small oil lamp I felt, as it were, the existence of some kind of paintings on the walls on either side of a dark narrow circumambulatory passage around the sanctum sanctorum.

“But it was only yesterday I found it convenient to examine the place more thoroughly with the help of a ‘Baby Petromax’ whose bright light revealed paintings indeed but paintings of an undoubtedly very late and degenerate age, whose linear contortions and chromatic extravagances shattered in a moment all my wonderful dreams of discovering there the best and the only example of the art of Chola mural paintings.

“Still I chose a part of the western wall for close inspection and found the painted plastering there cracked all over and threatening to fall down. A gentle touch and the whole mass crumbled down, exposing underneath a fine series of frescoes palpitating with the life of other days.”

S.K. Govindaswami in The Hindu, April 11, 1931

Hindu article

Its taken 80 years for the above effort to reach its end, I would be wrong to say it as the end, for this is indeed a new Dawn. The famed Chola Frescos, hitherto seen only by a privileged few, with lesser mortals having to put up with the OOhs and AAhs of scholars and seeing low resolution faded prints in newspapers and magazines, have been given a new life. Thanks to the efforts by the TN Government, The Tamil University Tanjore, Mr Rajendran, Mr Thyagarajan , Mr Rajavelu, Mr. Chandru – we get to see them in new light.

There has been lot of talk of such efforts earlier, and when Sri Badri of Kizhakku Pathippagam showed a sneak preview of the book on facebook, my pulse raced in anticipation, but somewhere there was a bit of dread – would the book do justice to the paintings, will the quality of photographs compare with international publications, would the presentation falter, would the quality of paper be compromised ( more so since the price was just Rs 500). Not wanting to take chance, I rushed through two sources to order the book. And 3 weeks ago, the books reached me, thanks to Sri Raman. Normally, i would finish a book of this size in a day or two, but then this was no ordinary work. It took me weeks to finish studying a page – Every inch of the Frescoes have been faithfully captured on Camera and not stopping with that – Artist Sri Chandru has faithfully drawn every line and curve as line drawings. I showed the book to Oviyar Sri Maniam Selvan and he was mighty pleased and impressed as well and showed me a few of his father’s ( Sri Maniam’s sketches of the frescoes as well !! – felt blessed)

Let me explain what i mean, by showing you a sneak peak of the books contents – the famed Dhaksinamurthy panel.

( have to use low resolution so it doesn’t really do justice to the work, but don’t want to infringe on the book !!)

Now, comes the book specialty – the line drawings

There is so much to study in these Frescos and I am sure this book would spawn many Phd’s. For eg, take just one part of the panel, towards the top left hand side.

Notice the highlighted part – its a fantastic Asta Buja ( eight armed) Bairvar form.

The detailing on the paintings is stunning. Take a look

But the Bairavar looked very familiar, so immediately set about looking into my database. The first one that came up, was this Kstera Balar ( special Bairava from without the Dog mount – favorite of Sri Raja Raja’s queen Lokamadevi!) who is currently stationed just outside the entrance of the Big temple entrance.

Though the style matched, the placement of the Trishool – on the right hand compared to the one in the painting – where its holstered ( forgive the pun) to the left waist – showed this was not a match.

Next on the scanner, was this fantastic bronze from the Tanjore Art Gallery. ( imaged courtesy Sri Raman and my cousin Sri Prasanna Ganesan)

The gallery board read 11th C CE, Tirvengadu

I went back to my books and found the reference in Bronzes of South India – P.R. Srinivasan (F.E. 1963, L.R. 1994 – Price Rs. 386), to dig out what they thought of the bronze.

In respect of workmanship, this is in the same style as the bronzes of the Rishabantaka.
Rishabantaka
But its iconography has necessitated the introduction of some new details not met with in any of the figures previously examined.

The eight armed Bhairava is another interesting bronze of this period, the like of which has not been met with. It stands erect, ie, in sama Bhanga posture. The other details peculiar to this figure are the following:

The braided locks of hair are arranged in the forms of heart and it serves the purpose of a Bha manadala ( halo) too. a knob like projection is seen on the head. On one side is seen a serpent and on the other the crescent and the Datura flower. ( there are two serpents and the crescent and flower are on opposite sides !)

Six tassels are seen, three on each side of the Jata – mandala. The fillet with the gem consists of flower designs. Patra kundalas are seen in both the ears. The raudra or terrific aspect associated with this icon, is attempted to be depicted by means of the knitting of the eye brows, wide open eyes and the small canine teeth. But as was customary with ancient stapathis to introduce benign qualities in the representation of terrific themes, here too the stapathi has depicted the details in the same fashion which goes to make the bronze pleasant looking rather than terrible looking. Even the knitting of the eye brows, in the context of features expressive of joy, seems to add charm to the expression rather than striking terror.

The necklaces and the pendant ornament on the right shoulder are of the same type as those of the above figures ( Rishabantaka post) and thus affords a proof of its grouping with them. The Yagnopavita is made of two strands, twisted like a rope. Besides, along mala – a string made up of small globules is seen. Perhaps they represent severed heads, in which case thus becomes a Munda – Mala.

Arms are displayed in fan-wise series on either side, and the manner of their attachment to one another is beautiful. The armlets are actual naga-valayas and in no other bronzes armlets of this kind are seen – this is where this bronze started differentiating with the one in the Fresco. Its does not have this feature

Except, the three hands, namely the upper most right hand, the corresponding left hand and the lowermost left hand which hold respectively, a damaru, a bell and a bowl, the rest are in kataka poses. The series of arms seen one below the other in the depth of each side is impressive.

No tassels are present in the Udara bandha. This figure shows two serpents with their bodies twisted and wound round the waist. Further their heads are converted into decorative pieces adorning the thighs. The manner of showing them hanging on the thighs is superb.

Now, comes the definitive clue. There are two snakes in the bronze, but only one in the painting ! So this is not the bronze shown in the painting !

Now, you will understand, how important documenting our heritage is and Kudos to the team behind this spectacular book. Cannot call it a collector’s item, for its something that has to be studied and taught in art schools and subject of many Phd’s.

Art Talks Series

Friends, Mark you calender this weekend. 3 back to back talks in Singapore.

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The first one on Friday is on Paintings, the second on Stone sculpture and Sunday is on Bronzes. So get ready for some stunning visuals.

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Sincere thanks to Temple of fine Arts, the DITI organisers and to the Artist Sri Maniam clan !

Temple Vahanas of Tamil Nadu – Pradeep Chakravarthy

I have never met Pradeep ( yet) and my interaction with him started only in early May this year over a few brief email and facebook exchanges. Must confess that even the few initial interactions made quite an impression. Some googling threw up his columns in the papers, other articles about his Temple walk campaigns ( 30 such in a year is no mean achievement), they made me sit up and take notice that I was dealing with someone special. A few more weeks of email interactions, and I was pretty sure that I was dealing with someone not just special, but an extraordinary person, a dedicated professional who did meticulous preparations and indepth research for even his newspaper columns. Later thanks to technology, managed to view some of the recordings of his talks and realised that inside this modern profile ( definitely not the current avtar of a techie) and attire, there was a vestigial being – the remnants of the rich tradition of Kathakalakshepam, where the versatility and humor of the one man performer held sway over the audience for an entire evening.

So, when he told me that two of his books are scheduled for release shortly, I was more than excited at the prospect of a special treat for heritage lovers and was eagerly awaiting their formal launch. One was ” Thanjavur – A Cultural History” and the other ” Temple Vahanas of Tamil Nadu“. While we wait for the official release of the first book, the second one has been released recently by Kalamkriya, the publishing house of the Sanmar Group of Companies.

Vahanas or vehicles have always been my passion – be it my first BSA SLR and then graduating to an Atlas MTB during my school days, seeing Dad’s trusted Lamby and then on to the popular Chetak, when the affluent could afford either an Amby or a Fiat ( ok Bangaloreans would go for their Premier Padimini) – a slight flicker of hope was the Standard 2000’s and then the Invasion by the Maruti 800’s till the flood gates opened. But then to me – it was always an Arnie inspired bike rage, but had to settle for the Indian Harley – our very own Royal Enfield. Each of these were special in their own right but with the passage of time, most of them have been stripped of their positions. But what we are see today is from a bygone Era, an era when human energy or at best animals were the only means, and how tradition is still ensuring that they are alive to this day.

Combined to this, the fact that these adorable creations get their brief time under the sun ok moon ! once or twice a year ( if at all) – during the annual festival or some special days for the deity, and then being consigned to dingy bat infested confines for the rest of the year, where no one even acknowledges their existence. Its always been our endeavor to champion the cause of Temple Art, more so the beauties that escape our notice most often – a pillar sculpture here, a wood carving on a temple chariot or a magnificent Vahanam. Credit goes to Pradeep for bringing out this work to champion their cause.

What immediately caught my attention was the Pencil sketches – not just for the cover art but the entire book has been wonderfully illustrated by Sri V. Vijayakumar. I hope he does more such and hones his skills to follow the illustrious steps of greats like Sri Silpi, Sri Padmavasan. The team has also made it a bilingual ( in English & Tamil) which is a very good trend. The layouts bring a old world charm and the book in landscape mode is surely a collectors item.

The Foreword starts off on a really bold note and was actually quite surprised that the author chose to start on those lines, but as I read on it was more like the author wanting to clarify his stance on the “great divide”. But the real intensity of the work and the author’s passion hits you as you read the Introduction. He couldn’t have picked a better inscription to set the tone – an inscription from 1274 CE.

The contents cover an exhaustive list including some very special delightful Vahanas.

Here is a sample chapter on Adhikara Nandhi, for you all to read and enjoy

My personal favorite was the Kailasa Vahanam with Ravana shown stuck under the mountain, playing the instrument that he fashioned out of one of his heads and hands with his veins as the string.

Of the specials there is one Aadu ( Goat) Vahana. The extent of background research done by the author is evident as he quotes from literature to support the deity who would ride it !

To me the beauty of our heritage is in its complexity and in its own idiosyncrasies,on how even a simple description of a Puli Vahanam for the “Son” of God can be portrayed.

Surprisingly not all Vahanas are animals, reptiles and Demi Gods, some are Trees as well like the Punnai Mara Vahana or the Kalpa Vrisha Vahana. a pointer to strong nature worship prevalent among out ancestors ( are we learning ?)

Credit to the Author, the Artist and the team behind the book for successfully bringing out the significance of each Vahana, in a crisp manner, interlacing narration with choice selection of hymns and verses that transport you to the temple precincts, to visualise the lilting motion of the vahana bearers, to the accompaniment of characteristic drums and trumpets, and even maybe smell the kerosene from a leaking Petromax lamp.

p.s The book is currently under reprint and will update as soon as they are off the press !!

The soft embrace of a loving savior Vs the crushing grasp of an abductor!

Happy Deepavali Wishes to friends !! Trying to post on something associated with the basic theme on the origins of the festival. We head back to Mamallapuram, to our favorite relief Panel, to see Vishnu as Varaha, rescuing mother earth – the damsel in distress, rescuing her from the dark depth after slaying Hiranyaksha.

The subtle emotions depicted in this masterpiece of stone crafting – cut into hard granite, as a wall in a rock cut cave shrine, is a feast for our eyes. But then, a chance glance at another sculpture ( haven’t had the good fortune to travel to Rome – yet to marvel at these beauties, but hope someday i would get it – so these images are from the internet and credits given at the end of the post) – a marble masterpiece of Gian Lorenzo Bernini, which he fashioned even before he was 23 years of age, made me wonder. If only the Pallava sculptor had tried his hand at sculpting in marble. Why?? Read on.

The piece we are going to see today is the famed The Rape of Proserpina.

The scene depicted is very interesting indeed. The main characters are Pluto, Proserpina and below them Cerebrus !

You can read the full story on wiki, but jist is

” Venus, in order to bring love to Pluto, sent her son Amor also known as Cupid to hit Pluto with one of his arrows. Hmmmm, vaguely familiar story. Ok, we wont digress, Proserpina was in Sicily, at the Pergusa Lake near Enna, where she was playing with some nymphs and collecting flowers, when Pluto came out from the volcano Etna with four black horses named Orphnaeus, Aethon, Nycteus and Alastor. He abducted her in order to marry her and live with her in Inferi, the Roman Underworld, of which he was the ruler.

Her mother Ceres, the goddess of agriculture or of the Earth, went looking for her in vain to every corner of the earth, but wasn’t able to find anything but a small belt that was floating upon a little lake (made with the tears of the nymphs). In her desperation Ceres angrily stopped the growth of fruits and vegetables, bestowing a malediction on Sicily. Ceres refused to go back to Mount Olympus and started walking on the Earth, making a desert at every step.

Worried, Jupiter sent Mercury to order Pluto (Jupiter’s brother) to free Proserpina. Pluto obeyed, but before letting her go he made her eat six pomegranate seeds, because those who have eaten the food of the dead could not return to the world of the living. This meant that she would have to live six months of each year with him, and stay the rest with her mother. This story was undoubtedly meant to illustrate the changing of the seasons: when Ceres welcomes her daughter back in the spring the earth blossoms, and when Proserpina must be returned to her husband it withers.”

Now, this looks as very much a prelude scene to the Varaha. If the Pallava sculptor had sculpted Hiranyaksha taking Boomadevi, lets imagine so and see this beauty in marble.

From Pluto’s side, see the rippling muscles and masculine force

On the side of Proserpine, its all serpentine curves, the anguish and despair gushes through

Lets compare with Varaha. He holds her up majestically and seats her on his thigh , while she is gentleness personified.

Proserpina is pushing out at her abductor and trying to break free

Whereas, Devi is making eye contact with him.

The masterpiece of the young artist, she how he brings in the feel of flesh into stone. How the rough handling of an abductor – The Hands of Pluto on her

and how she pushes at him, the flesh on his face .

Compare the hands of Varaha on Devi, its almost a caress, a loving embrace of the right hand, while the left hand holds a steady yet soft grip on his leg.

You can see the anguish and the tears on the Face of Proserpine

Compare to the shyness in the face of Devi, as her right hand is almost moving to touch and feel the chest of her Lord ( notice the left hand is bent under her chin to complete the expression !!)

A thousand years split the two creations, both great masters – One whose praise is sung to this day and the other who chose to remain anonymous.

Want to end the post with these two once again.

Image and content credits :
Ashok and Shriram for Mallai.
Rest: ( if i have inadvertently missed out please let me know, will include)
Bernini's "Rape of Proserpine"
http://www.students.sbc.edu/vermilya08/Bernini/Pluto%20and%20Proserpina.htm
http://www.youtube.com/watch?v=nXR2YZxgDV4&feature=player_embedded#!
http://en.wikipedia.org/wiki/The_Rape_of_Proserpina

If this is the case in a Gallery then ….

The Tanjore millennium celebrations have wound to a close and after the display the exhibits have moved back to their original locations. So we hope. But there is one special exhibit, the one which we featured earlier in a post, which has gone back to its original location at the Tanjore Art Gallery, but then ….
Why loot a door Guardian

The original position of the exhibit was as below

Readers of the post, would remember the speciality of this exhibit – it lies in its base.

“This is the door guardian brought by Lord Vijayarajendradeva after burning (the Chalukya capital) Kalyanapuram.”

But, the care with which the exhibit was displayed at the site exhibition to coincide with the festivities – seen here with a blue carpet in front….

…has not been continued after the event. As with all our exquisite antiques, its been installed with utter disregard for its uniqueness. Senseless is the word that comes to my mind. Take a look yourselves and judge.

The base has been crudely cemented into the floor, painted over – the ignorant mason, having covered up the bottom line !! blood boils….

What can be done to such people, the powers to be, who has scant regard for such treasures.