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2,000-Year-Old Hadrian’s Wall Cup Discovered in Spain

A bronze cup with enamel decoration depicting Hadrian’s Wall has been discovered in Berlanga de Duero, Spain. It is the second vessel of the Hadrian’s Wall type found in Spain, and is the only one of any of them to name forts on the east side of the wall. A new study of the Berlanga Cup has been published in the journal Britannia.

The first of these vessels, later known as Hadrian’s Wall pans, was discovered in Rudge, Wiltshire, in 1725. It was inscribed along the rim with the names of five of the forts on the western sector of Hadrian’s Wall, information which was helped scholars at the time conclusively identify the known forts. The Rudge Cup is decorated with schematic representations of the Wall’s fortlets and turrets in Champlevé enamel (small cells cut into the bronze and filled with different colors of enamel).

In the 20th century, three more vessels and two fragments were found in France, England and Spain. The Hadrian’s Wall type vessels are believed to date to the 130s A.D., shortly after the completion of the Wall. They have been interpreted as souvenirs or presentation vessels acquired near the Wall, but there is no evidence of where they manufactured.

The Berlanga Cup was found in farmland where subsequent archaeological investigations uncovered evidence of a Roman rural settlement or a large country villa complex. It was broken into four fragments, with one of them comprising more than half of the bowl. It is a hemispherical bowl just under 4.5 inches in diameter at the widest point below the rim. About 3.2 inches high, it is the largest of the Hadrian’s Walls pans.

The inscription at the rim is missing some letters due to the missing fragments, but the surviving letters are […]RNVMONNOV[…]DOBALACONDERCOM. This breaks down into the names the forts of Cilurnum (Chesters, Northumberland), Onno (Halton Chesters, Northumberland), Vindobala (Rudchester, Northumberland) and Condercom (Benwell, Northumberland) represented as [CILU]RNUM, ONNO, V[IN]DOBALA and CONDERCOM.

It is enamelled in the same colors as the other pans (navy blue, green, red, turquoise) and like the comparable vessels, it depicts stylized representations of the ashlar masonry of Hadrian’s Wall.

The central frieze is organised into three bands of squares, alternating green and blue, which gives an appearance of unity. Finally, the central frieze combines two types of metopes, separated by a thick serrated cord whose interior is enamelled in red. The first metopes are presented as a projection of the lower frieze in the form of a crenellated tower. The interior of these is divided into four squares filled with blue and turquoise enamel, with two half-moons at the base filled with turquoise. The second type of metope is decorated with four-petalled flowers filled with turquoise enamel. These floral motifs are framed above and below by two green enamelled crescents and, on the sides, by triangles filled with blue enamel. This colourful decoration even extends to the letters and symbols of the inscription, which are also filled with turquoise.

The upper friezes, present on all Hadrian’s Wall pans except the Ilam Pan, have traditionally been interpreted by most researchers as an elevation of the wall itself, from which crenellated turrets protrude, which can be seen as military forts, perhaps those mentioned in the epigraphy. The two largest cups, the Berlanga and the Hildburgh fragment, also show a third frieze at the bottom with curved motifs which, if we follow the majority hypothesis, should be interpreted as the ditch in front of the wall.

The discovery of the Berlanga Cup with its eastern fort names confirm that the pans were not part of a single set. They each name different forts, and they are different enough from each other in shape and design, so they weren’t created to match each other. It’s likely instead that the bodies of the cups were made first, then the bronze finished, the inscription added to order and the enamel applied to the inside of the lettering.



* This article was originally published here

'My living nightmare' - Director Rob Reiner's son bares soul on how he found out parents were dead

Jake Reiner says the grief of his parents' brutal deaths and the arrest of his own brother left him in a "trance".

from BBC News https://ift.tt/tasleHP

'My living nightmare' - Director Rob Reiner's son bares soul on how he found out parents were dead

Jake Reiner says the grief of his parents' brutal deaths and the arrest of his own brother left him in a "trance".

from BBC News https://ift.tt/XEtjMFZ

आमिर खान बोले- बच्चों को वक्त नहीं दे पाया:फिल्म ‘एक दिन’ से पूरी हुई कमी, जुनैद की इंडिपेंडेंस पर गर्व, कहानी पर जताया भरोसा

आमिर खान इन दिनों अपनी प्रोड्यूस की गई फिल्म ‘एक दिन’ को लेकर सुर्खियों में हैं। इसमें उनके बेटे जुनैद खान और साईं पल्लवी लीड रोल में नजर आएंगे। दैनिक भास्कर से बातचीत में आमिर ने फिल्म से अपने इमोशनल कनेक्शन और एक पिता के तौर पर भावनाएं साझा कीं। उन्होंने माना कि व्यस्त करियर के चलते वह बच्चों को ज्यादा वक्त नहीं दे पाए, लेकिन इस फिल्म ने बेटे के साथ काम करने और करीब आने का मौका दिया। आमिर ने जुनैद की इंडिपेंडेंट सोच और अपने दम पर पहचान बनाने के जज्बे की तारीफ की। उन्होंने बदलते सिनेमाई ट्रेंड्स, मजबूत कहानियों की अहमियत और रोमांटिक फिल्मों की कमी पर राय रखी। साथ ही अरिजीत सिंह के साथ काम करने का अनुभव साझा किया। पेश हैं बातचीत के खास अंश। सवाल: ‘एक दिन’ आपके लिए कितनी खास फिल्म है? जवाब: मेरे लिए यह कई वजहों से खास फिल्म है। सबसे बड़ी वजह यह है कि इसमें जुनैद हैं और मुझे प्रोड्यूसर के तौर पर उनके साथ काम करने का मौका मिला। यह सिर्फ फिल्म नहीं, बल्कि मेरे लिए पर्सनल जर्नी भी है। सवाल: एक पिता के तौर पर यह अनुभव कैसा रहा? जवाब: सच कहूं तो मैंने अपनी जिंदगी में काम को ज्यादा समय दिया। जब बच्चे बड़े हो रहे थे, तब मैं उन्हें उतना वक्त नहीं दे पाया, जितना देना चाहिए था। यह बात मेरे अंदर हमेशा रहती है। सवाल: क्या इस फिल्म से आपको वह कमी पूरी करने का मौका मिला? जवाब: हां, बिल्कुल। जुनैद हमेशा से इंडिपेंडेंट रहे हैं। उन्होंने कभी मुझसे कुछ नहीं मांगा, न गाड़ी, न कोई सुविधा। वो हर चीज अपने दम पर करना चाहते हैं। ऐसे में एक पिता के तौर पर जो करने की इच्छा होती है, वह मुझे इस फिल्म के जरिए करने का मौका मिला। यह मेरे लिए इमोशनल अनुभव है। सवाल: कहानी ने आपको कितना प्रभावित किया? जवाब: जब मैंने फिल्म की कहानी सुनी, तो वह सीधे मेरे दिल को छू गई। मैं खुद रोमांटिक इंसान हूं और मुझे ऐसी कहानियां पसंद हैं। इसकी सादगी और भावनाएं मुझे ‘दिलवाले दुल्हनिया ले जाएंगे’ और ‘कुछ कुछ होता है’ की याद दिलाती हैं। सवाल: क्या आपको लगता है जुनैद का किरदार उनसे मिलता-जुलता है? जवाब: हां, काफी हद तक। जुनैद बचपन से शाय और रिजर्व नेचर के रहे हैं। वो ज्यादा खुलकर बात नहीं करते थे, और मैं भी स्कूल-कॉलेज के दिनों में ऐसा ही था। सवाल: क्या आपके और जुनैद के स्वभाव में समानता है? जवाब: बिल्कुल। जब मैंने एक्टिंग शुरू करने का फैसला लिया था, तब लोग हैरान हो गए थे कि यह चुप-चाप रहने वाला लड़का एक्टिंग कैसे करेगा। उसी तरह जुनैद भी शांत स्वभाव के हैं। इस लिहाज से हम दोनों में समानता है। सवाल: जुनैद की एक्टिंग में आपको क्या खास लगता है? जवाब: उनकी सबसे बड़ी खूबी है कि वो जिस किरदार को निभाते हैं, उसमें पूरी तरह ढल जाते हैं। ‘महाराज’ में वो वही किरदार लगते हैं। ‘लवयापा’ में उनका अलग शेड दिखता है। वो ईमानदारी और सच्चाई से एक्टिंग करते हैं, जो बड़ी बात है। सवाल: आजकल एक्शन फिल्मों का दौर है, ऐसे में ‘एक दिन’ जैसी सॉफ्ट फिल्म को लेकर डर है? जवाब: हां, डर है। जब ‘कयामत से कयामत तक’ रिलीज हो रही थी, तब भी एक्शन फिल्मों का दौर था। उस समय भी लगता था कि हमारी सॉफ्ट फिल्म लोगों को पसंद आएगी या नहीं। आज 35 साल बाद भी वही डर है। सवाल: फिर भी आपको क्या भरोसा देता है? जवाब: मेरा मानना है कि टेक्नोलॉजी और ट्रेंड बदल सकते हैं, लेकिन कहानी की ताकत नहीं बदलती। अगर कहानी सच्चाई से कही गई है, तो वह दर्शकों तक जरूर पहुंचेगी। सवाल: क्या आपको लगता है दर्शक इस तरह की लव स्टोरी मिस कर रहे हैं? जवाब: हां, मुझे लगता है कि काफी समय से ऐसी मासूम, सच्ची लव स्टोरी नहीं आई है। आजकल ज्यादातर फिल्मों में या तो बड़ा स्केल होता है या ज्यादा ड्रामा। ऐसे में यह फिल्म अलग है। सवाल: ‘कयामत से कयामत तक’ और ‘एक दिन’ में कोई कनेक्शन देखते हैं? जवाब: कुछ दिलचस्प समानताएं हैं। जैसे दोनों फिल्मों की रिलीज टाइमिंग काफी करीब है। ‘कयामत से कयामत तक’ 29 अप्रैल को आई थी और यह फिल्म भी एक मई को लगभग उसी समय रिलीज हो रही है, करीब 38 साल बाद। सवाल: क्या फिल्म की एंडिंग में बदलाव किया गया? जवाब: हां, शुरुआत में शूट की गई एंडिंग से हम पूरी तरह संतुष्ट नहीं थे। इसलिए आखिरी हिस्से पर दोबारा काम किया और उसे बेहतर बनाने की कोशिश की। सवाल: क्या एंडिंग का इमोशन बदला? जवाब: नहीं, इमोशन वही रखा गया है। बस उसे प्रभावशाली बनाने के लिए ट्रीटमेंट में बदलाव किया गया है। सवाल: अरिजीत सिंह के साथ काम करने का अनुभव कैसा रहा? जवाब: बहुत शानदार रहा। उन्होंने पहले हमारे गाने के लिए हां कर दी थी, लेकिन बाद में सोशल मीडिया पर गाने छोड़ने की घोषणा कर दी। उस समय हम घबरा गए थे। सवाल: फिर क्या हुआ? जवाब: मैंने उन्हें फोन कर पूछा कि क्या हम आएं या नहीं। उन्होंने प्यार से कहा कि वो हमारा गाना जरूर गाएंगे। उनके साथ काम करना घर जैसा अनुभव था। सवाल: अरिजीत के साथ आपकी केमिस्ट्री कैसी रही? जवाब: बहुत अच्छी। वो ब्रिलिएंट और गिफ्टेड आर्टिस्ट हैं। साथ ही सिंपल और अच्छे इंसान हैं। उनके साथ बना कनेक्शन हमेशा रहेगा। सवाल: नए टैलेंट को मौका देने के पीछे आपकी सोच क्या है? जवाब: मुझे लगता है कि अगर किसी में जुनून और मेहनत है, तो उसे मौका मिलना चाहिए। इंडस्ट्री को नए लोगों की जरूरत होती है। सवाल: डायरेक्टर सुनील पांडे में आपको क्या खास लगा? जवाब: वो हार्डवर्किंग और पैशनेट हैं। हर छोटी-बड़ी डिटेल पर उनकी नजर रहती है और वो काम में पूरी तरह डूब जाते हैं। सवाल: क्या उन्होंने आपकी उम्मीदों पर खरा उतरा? जवाब: हां, बिल्कुल। जो हमने कागज पर सोचा था, वो उन्होंने स्क्रीन पर अच्छे से उतारा है। पूरी टीम फिल्म से खुश है। सवाल: आप खुद को पुशी मानते हैं? जवाब: हां, मैं काम को लेकर सख्त हूं। लेकिन जब आप ऐसे लोगों के साथ काम करते हैं जो उतने ही डेडिकेटेड हों, तो काम आसान और मजेदार हो जाता है। सवाल: आप इतने चूजी क्यों हैं फिल्मों को लेकर? जवाब: मैं हमेशा से ऐसा ही रहा हूं। मैं सोच-समझकर फिल्में चुनता हूं। पिछले कुछ महीनों में कई कहानियां सुनी हैं। सवाल: क्या जल्द ही आपको फिर स्क्रीन पर देख पाएंगे? जवाब: हां, बिल्कुल। बहुत जल्द मैं अपनी अगली फिल्म अनाउंस करूंगा। बस एक-दो महीने का इंतजार और करिए।

from बॉलीवुड | दैनिक भास्कर https://ift.tt/dVhzUlv
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Unique Athena statue found in Laodicea’s ancient theater

A monumental statue of Athena has been unearthed at the ancient West Theater of Laodicea in modern-day Denizli, western Turkey. The white marble statue is two meters (6.6 feet) high without its head, which is broken off at the neck. Its style dates it to the Augustan period (early 1st century A.D.) and has unique features.

Standing on a round base, Athena wears a floor-length Doric peplos (sleeveless and fastened at the shoulders) belted at the hips with a girdle that the extra length of the garment has been drawn up and over giving it a bloused effect. She was a chlamys (cloak) fastened with a brooch at her neck. The rendering of the draping, the variety of widths and depths in the folds of the fabric, attest to the high level of craftsmanship of the carver, and the chlamys is a unique element for Athena iconography.

On her chest is the aegis, covered in snake scales, edges with snakelets and the Gorgoneion, the severed head of Medusa, in the center. Another unusual element is the strap or fold on the top left of the aegis that crosses between Athena’s breasts. Crossed aegis depictions are rare, but they are x-shaped with the Gorgoneion placed where the two straps meet (see this one from Pergamon, for example). This is a breastplate/hide style aegis that either has a diagonal strap or is perhaps the hide folded over which I’ve never seen before. There were a myriad descriptions and interpretations of the aegis in ancient art and literature. This one is in close to Virgil’s description in Book VIII of the Aeneid:

a chilling aegis, the breastplate of Pallas,
competing to burnish its serpent scales of gold,
its interwoven snakes, and the Gorgon herself
on the goddess’s breast, with severed neck and rolling eyes:

In addition to the missing head, the statue’s left arm and right hand are broken off and so far none of the lost body parts have been found. Based on the iconography of other Athena statues, she probably held a spear in her left hand. Her right hand may have held a little winged Victory or been posed on a shield.

The Hellenistic city of Laodicea was founded by Seleucid emperor Antiochus II Theos in the mid-3rd century B.C. who named it after his wife Laodice. It became part of the Rome’s territories when King Attalus III of Pergamon bequeathed his realm to the Republic in 133 B.C. By the early imperial period, it had become an important city in Rome’s Asia province, located on one of the busiest trade routes in Asia Minor and prospering from trade and commerce, including weaving and textile manufacture.

The West Theater was first built in the late Hellenistic period (2nd century B.C.). The stage had a three-story structure with 16 columns on each story. Statues of deities and scenes from Homer’s epics were placed between the columns. Many of the remains of these statues were recovered during recent excavations of the theater, which was extensively reconstructed from its scattered stones and reopened in 2023 with the first performance since the 7th century.

The excavation of the Western Theater’s stage area is ongoing, and the Athena statue was found lying face down next to the postskene, the exterior rear wall of the stage building. Athena as the goddess of weaving was celebrated at the theater during festivals dedicated to one of the city’s main industries.



* This article was originally published here

Artist's threat to sue Sunderland AFC over kit design

Andrew Small claims the football club infringed the copyright on his 2008 sculpture.

from BBC News https://ift.tt/QV1LzZd

Charred loaf of bread found at Roman military camp

A Roman charred loaf of bread, preserved for 2,000 years thanks to carbonization, has been discovered in the remains of the ancient military camp of Vindonissa in Windisch, Switzerland. It is the first Roman bread ever discovered in Switzerland.

The site is being excavated prior to construction of a large housing development. Because the location is directly across from the southwestern side of the ancient legionary camp, Canton Argau initiated a rescue archaeology operation to document and recover any archaeological materials. The excavation began in August of last year and is scheduled to continue for 11 months.

Evidence of fortifications that are older than the well-established defenses of the permanent 1st century camp were discovered in two places. Two parallel ditches with post holes at regular intervals between them mark the location of a timber and earth wall. A V-shaped ditch was discovered south of the wall remains. This is the same kind of ditch found almost a century ago that marked the larger permanent fort, and it gives archaeologists the ability to estimate the dimensions of the previous temporary fort: it extended 400 meters (a quarter mile) from north to south.

The remains of a building from the interior of the older camp, preserved by a Roman road that was later built over it, have also been unearthed. It contained two groups of rooms, each consisting of two small rooms next to a larger room with a hearth. Other finds made in the interior include metal tools, blacksmith’s waste, spearheads and projectile points. A clay oven carefully constructed and very large suggests commercial food production took place at the camp.

A black, charred, round object caught the attention of the excavation team during the dig. The object was recovered as a block along with the surrounding soil and immediately transported to the restoration laboratory of the cantonal archaeology department. There, it was carefully unearthed. An initial examination by an archaeobotanist from the Integrative and Natural Science Prehistoric Archaeology department at the University of Basel indicated that it is very likely a charred Roman loaf of bread. The presumed bread has a diameter of ten centimeters and is about three centimeters thick – it looks like a small flatbread.

The bread will now undergo scientific analysis at a specialized laboratory in Vienna. Archaeologists hope to find out more about it, its composition, how it was cooked, its date range, etc.



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Depot of medieval cannonballs found in Belgium

Medieval cannonballs recovered from excavation pit behind City Hall. Photo courtesy Stad Nieuwpoort.An excavation in advance of new construction in Nieuwpoort, Belgium, has uncovered a cache of almost 500 medieval cannonballs. A large arsenal of medieval artillery assembled in a single location is an exceptionally rare find.

The site behind the historic Stadshalle (city hall) is slated to become the town’s new administrative center with the foundation stone to be laid at the end of the year. The Stadshalle has been there since the 13th century and test pits found evidence of archaeological material. Since February, archaeologists have been thoroughly excavating the grounds. They uncovered the remains of structures — walls and floors — from the Middle Ages, but the exact function and dates of the structures have not yet been determined.

Given the age of the Stadshalle, medieval remains were expected finds, but archaeologists were astonished to discover dozens of cannonballs of varying size stored together less than three feet below street level. Stratigraphy dates the cannonballs to between approximately 1350 and 1600. These types of stone balls were fired from cannons, but also used as thrown projectiles in catapults and trebuchets. They are all carefully finished and rounded, however, which suggests they were intended to fit smoothly in the barrels of firearms.

The balls were piled; they didn’t land there randomly in battle. This was an artillery depot strategically located behind City Hall near the medieval southern city walls (now gone). One possible hint is a map from 1641 which depicts a cannon next to that wall close to the find site. The cannonballs may have therefore been an arsenal maintained by the city for defense.

The archaeological fieldwork phase will be completed at the end of this week. This will be followed by an extensive research and reporting phase in which all finds will be further analyzed. Only then will it be possible to draw more detailed conclusions regarding the precise significance of the discovered structures and the cannonball depot.



* This article was originally published here

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