Mount Emei - Sacred Mountain

Mount Emei (Chinese: 峨嵋山; pinyin: Éméi Shān; Wade–Giles: O2-mei2 Shan1, pronounced [ɤ̌měɪ̯ ʂán]) is a mountain in Sichuan province, China. Its name is usually written as "峨眉山" and occasionally "峩嵋山" or "峩眉山" but all three are translated as Mount Emei or Mount Emeishan (a linguistic tautology). The word 峨 can mean "high" or "lofty", but the mountain's name is merely a toponym that carries no additional meaning.

Orographically, Mt. Emei sits at the western rim of the Sichuan Basin. The mountains west of it are known as Daxiangling. A large surrounding area of countryside is geologically known as the Permian Emeishan Large Igneous Province, a large igneous province generated by the Emeishan Traps volcanic eruptions during the Permian Period. At 3,099 metres (10,167 ft), Mt. Emei is the highest of the Four Sacred Buddhist Mountains of China.

Administratively, Mt. Emei is located near the county-level city of the same name (Emeishan City), which is in turn part of the prefecture-level city of Leshan. It was made a UNESCO World Heritage Site in 1996.

Indigenous animals

Visitors to Mount Emei will likely see dozens of Tibetan Macaques who can often be viewed taking food from tourists. Local merchants sell nuts for tourists to feed the monkeys. Some monkeys may be seen eating human food such as potato chips and even drinking soda from discarded bottles.

The Emei Shan Liocichla, a passerine bird, as well as the Emei Music Frog, a vocal frog, are named after the site.

Flora

Mount Emei is known for its high level of endemism and approximately 200 plant species in various plant families have been described from this mountain.

Sacred mountain

Mount Emei is one of the Four Sacred Buddhist Mountains of China, and is traditionally regarded as the bodhimaṇḍa, or place of enlightenment, of the bodhisattva Samantabhadra. Samantabhadra is known in Mandarin as Pǔxián Púsà (普賢菩薩).

16th and 17th century sources allude to the practice of martial arts in the monasteries of Mount Emei made the earliest extant reference to the Shaolin Monastery as Chinese boxing's place of origin.

Buddhist architecture on Emei

This is the location of the first Buddhist temple built in China in the 1st century CE. The site has seventy-six Buddhist monasteries of the Ming and Qing period, most of them located near the mountain top. The monasteries demonstrate a flexible architectural style that adapts to the landscape. Some, such as the halls of Baoguosi, are built on terraces of varying levels, while others, including the structures of Leiyinsi, are on raised stilts. Here the fixed plans of Buddhist monasteries of earlier periods were modified or ignored in order to make full use of the natural scenery. The buildings of Qingyinge are laid out in an irregular plot on the narrow piece of land between the Black Dragon River and the White Dragon River. The site is large and the winding foot path is 50 km (31 mi), taking several days to walk.

Cable cars ease the ascent to the two temples at Jinding (3,077 m), an hour's hike from the mountain's peak. 

Great spectacles of Mount Emei include the sunrise and Clouds Sea seen from the Golden Summit of the mountain.

The sunrise is very varied, but optimally begins with the ground and sky being in the same dark purple, soon showing rosy clouds, followed by a bright purple arc and then a semicircle where the sun is coming up.

The Clouds Sea includes several cloud phenomena, e.g. clouds appearing in the sky above, in addition to the regular clouds beneath.

Climate

The summit of Mount Emei has an alpine subarctic climate, with long, cold (but not severely so) winters, and short, cool summers. The monthly 24-hour average temperature ranges from −5.7 °C (21.7 °F) in January to 11.6 °C (52.9 °F), and the annual mean is 3.07 °C (37.5 °F). Precipitation is common year-round (occurring on more than 250 days), but due to the influence of the monsoon, rainfall is especially heavy in summer, and more than 70% of the annual total occurs from June to September.

Villa La Rotonda, Vicenza

Villa La Rotonda is a Renaissance villa just outside Vicenza, northern Italy, designed by Andrea Palladio. The proper name is Villa Almerico Capra, but it is also known as La Rotonda, Villa Rotonda, Villa Capra and Villa Almerico. The name "Capra" derives from the Capra brothers, who completed the building after it was ceded to them in 1592. Along with other works by Palladio, the building is conserved as part of the World Heritage Site “City of Vicenza and the Palladian Villas of the Veneto”.

Inspiration

In 1565 a priest, Paulo Almerico, on his retirement from the  Vatican (as referendario apostolico of Pope Pius IV and afterwards Pius V), decided to return to his home town of Vicenza in the Venetian countryside and build a country house. This house, later known as 'La Rotonda', was to be one of Palladio's best-known legacies to the architectural world. Villa Capra may have inspired a thousand subsequent buildings, but the villa was itself inspired by the Pantheon in Rome.

Design

The site selected was a hilltop just outside the city of Vicenza. Unlike some other Palladian villas, the building was not designed from the start to accommodate a working farm. This sophisticated building was designed for a site which was, in modern terminology, "suburban". Palladio classed the building as a "palazzo" rather than a villa.

The design is for a completely symmetrical building having a square plan with four facades, each of which has a projecting portico. The whole is contained within an imaginary circle which touches each corner of the building and centres of the porticos. (illustration, left). The name La Rotonda refers to the central circular hall with its dome. To describe the villa, as a whole, as a 'rotonda' is technically incorrect, as the building is not circular but rather the intersection of a square with a cross. Each portico has steps leading up, and opens via a small cabinet or corridor to the circular domed central hall. This and all other rooms were proportioned with mathematical precision according to Palladio's own rules of architecture which he published in the Quattro Libri dell’ Architettura.

The design reflected the Humanis values of Renaissance architecture. In order for each room to have some sun, the design was rotated 45 degrees from each cardinal point of the compass. Each of the four porticos has pediments graced by statues of classical deities. The pediments were each supported by six Ionic columns. Each portico was flanked by a single window. All principal rooms were on the second floor or piano nobile.

Building began in 1567. Palladio, and the owner, Paolo Almerico, were not to see the completion of the villa. Palladio died in 1580 and a second architect, Vincenzo Scamozzi was employed by the new owners to oversee the completion. One of the major changes he made to the original plan was to modify the two-storey centre hall.

Interior

The interior design of the Villa was to be as wonderful, if not more so, than the exterior. Alessandro and Giovanni Battista Maganza and Anselmo Canera were commissioned to paint frescoes in the principal salons.

Among the four principal salons on the piano nobile are the West Salon (also called the Holy Room, because of the religious nature of its frescoes and ceiling), and the East Salon, which contains an allegorical life story of the first owner Paolo Almerico, his many admirable qualities portrayed in fresco.

The highlight of the interior is the central, circular hall, surrounded by a balcony and covered by the domed ceiling; it soars the full height of the main house up to the cupola, with walls decorated in trompe l’oeil. Abundant frescoes create an atmosphere that is more reminiscent of a cathedral than the principal salon of a country house.

Landscape

From the porticos wonderful views of the surrounding countryside can be seen; this is no coincidence as the Villa was designed to be in perfect harmony with the landscape. This was in complete contrast to such buildings as Villa Farnese of just 16 years earlier. Thus, while the house appears to be completely symmetrical, it actually has certain deviations, designed to allow each facade to complement the surrounding landscape and topography. Hence there are variations in the facades, in the width of steps, retaining walls, etc. In this way, the symmetry of the architecture allows for the asymmetry of the landscape, and creates a seemingly symmetrical whole. The landscape is a panoramic vision of trees and meadows and woods, with the distant Vicenza on the horizon.

The northwest portico is set onto the hill as the termination of a straight carriage drive from the principal gates. This carriageway is an avenue between the service blocks, built by the Capra brothers who acquired the villa in 1591; they commissioned Vincenzo Scamozzi to complete the villa and construct the range of staff and agricultural buildings. As one approaches the villa from this angle one is deliberately made to feel one is ascending from some less worthy place to a temple on high. This same view in reverse, from the villa, highlights a classical chapel on the edge of Vicenza, thus villa and town are united.

Film

In 1979, American film director Joseph Losey filmed Wolfgang Amadeus Mozart’s opera Don Giovanni, in Villa La Rotonda and the Veneto region of Italy. The film was nominated for several Cesar Awards in 1980 including Best Director, and has generally been praised as one of the finer adaptations of opera to the big screen.

World Heritage Site

In 1994 UNESCO designated the building as part of a World Heritage Site.

The late owner of the villa was Mario di Valmarana († Oct. 13, 2010), a former professor of architecture at the University of Virginia. It was his declared ambition to preserve Villa Rotonda so that it may be appreciated by future generations. The interior is open to the public on Wednesdays and Saturdays, except during the winter months, and the grounds are open every day.