A test of faith: Montreal to Albufeira

Time Warp

Our journey from Montreal to the Azores is supposed to be routine—just a quick transit before continuing on to Lisbon. We believe we have a comfortable two-hour window between flights. Plenty of time… or so we think.

We are fully aware that we are flying to a different time zone. As soon as we disembark we look for the restrooms leisurely. Then we look at the clock. What a shock! We only have 40 mins left since our previous plane was late. Very late, indeed. Suddenly, the generous two-hour cushion shrinks to a breathless forty minutes. Forty minutes to find the gate, and board again.

We are close to the gates. The numbers are clearly marked—until they aren’t. The sequence marches along the corridor… but ours is nowhere to be seen.

Orderly lines snake away from other gates, passengers waiting patiently, while we peel our eyes desperately for our own. Finally, we ask someone already standing in line. With a casual gesture, he points toward a number hidden completely from our view—concealed behind a thick pillar.

What a relief. We slip into the line just in time. Moments later we are airborne again, and the flight to Lisbon is a welcome contrast to the frantic dash that preceded it.

A stroll becomes a trial

We arrive in Lisbon, retrieve our luggage, and step outside the airport, heading toward the underground metro that will take us to the intercity bus terminal. 

The pedestrian path is mosaic paved in beautiful but treacherous Portuguese fashion—artfully crafted with uneven, broken tiles. Charming to look at but brutal to my suitcase and my feet. The luggage wheels catch and jam every few feet, forcing me to hoist and heave the stubborn thing forward. My footing isn’t much better. The polished tiles seem determined to send me sliding and tripping.

After what feels like a strenuous expedition, we finally reach the station entrance. Our train ride will only take about fifteen minutes—but catching the bus afterward is critical. Intercity buses, we’ve learned, leave exactly on time, and we still have no idea which berth ours will use.

Obstacle courses

The metro is underground but one level above  our underground exit from the airport. Fifty steps to climb up  into a cavernous ticketing area. I take a look at my suitcase and carry on. It's a definite killer. Luckily a gentleman comes to my rescue.he deftly lifts my suitcase and in no time at all deposits it at the top. I huff and puff after him.

We reach the ticketing machines at last, breathing hard but hopeful. But that is premature because the machines stubbornly refuse to accept our credit cards.  My companion still has a railway card from a previous trip with money left on it, but the machine stubbornly spits it out. I try to buy a one-way ticket. The interface seems determined to confuse rather than help. Precious minutes tick by. At last we manage to extract the ticket we need. The train ride is comfortable.

But Lisbon isn’t done with us

At the bus terminal we discover we are underground while the bus bays sit at ground level. The thought of hauling our luggage up another punishing staircase is almost unbearable. Then we notice a row of circular elevators—our salvation. So we hope.

A new head scratcher emerges: which elevator leads to the correct bay? The bays stretch in a long line above us, and the last thing we want is to drag our bags up and down them searching. We try the first elevator. Out of order. The second? Also out of order. The third? Got the gist?

Now there are only two left at the far end. Do we risk the long walk, only to discover it’s broken too? Ha! The first elevator that actually works! We jump in without hesitation. At least from there only one bay stands between us and where we need to be.

We step out  and immediately see buses lined up along the opposite perimeter of the terminal.For a moment it feels like another dead end. 

But after squinting at the destination boards, scanning name after name, we finally spot our bus. With barely a minute to spare, we shove our luggage into the compartment below, climb aboard, and are ready to collapse into our seats. But wait. They're occupied! No one speaks English but waving our tickets in front of them does the trick. At last.

It's getting dark. As we cross the famous Lisbon bridge we get a goose skyline view of the city we have visited twice  before. The ride is a mere 3 hours but enough to take in the countryside – the farms, orchards and vineyards. Its an over

We arrive in Albufeira 

Enchanting: Lake District, UK

Terraced by the snow: too early for daffodils

The first time I visited the Lake District was in the early 1980s, the lake district  was just waking up from its winter slumber. The hills were still wrapped in snow, their pale slopes terracing gently into the cold sky. I had arrived with a certain expectation shaped by the poem I read when I was 10. In my mind I carried images of vast fields of daffodils, the golden host celebrated in Wordsworth’s famous lines. Yet the season had not turned that far. The flowers had not appeared, and the hills remained silent beneath their winter covering. Still, it was easy enough to visualize waves of yellow trembling in the wind

Too late for daffodils

My next journey there came more than thirty years later. This time the land has just entered autumn. Now I visualised John Kear's( though not a Lake Poet)  Ode to Autumn.The colours are different—soft browns, fading greens, and the burnished gold of late leaves. Again there are no daffodils, and once more I find myself imagining that sea of yellow. But simply standing there, lulled by the breeze, knowing I was in the same landscapes that stirred the Lake and Romantic Poets, is highly gratifying. The hills and lakes that inspired their verses seem to whisper into my ears through the rustle of the leaves,  the snapping of twigs, and a not too distant baa and a moo.

Walls may trace boundaries but much is shared 

As we veer off the expressway toward Windermere, the scenery opens slowly around us. Fells and dales stretch across the horizon, their rugged  contours softened by distance and light. Farms and small fields form a patchwork across the land, each parcel bordered by the familiar lines of dry stone walls. These walls made of interlocking stones, built carefully without mortar, have stood here for centuries. The walls trace boundaries, guide livestock, and quietly shape the rhythm of the countryside. They are as symbolic of the region as the hills themselves, appearing again and again in poetry and paintings. 

Much of the land remains open and shared, woven into a long tradition of hill farming that continues to shape the landscape today. 

The spectacular ribbon lake

The entire region is compact—barely thirty miles across in either direction—yet within that small space lies a remarkable variety of lakes, valleys, and ridges.Windermere, the largest natural lake in England, is perhaps the most well known of them all.10.5 miles long, that's just over 18 miles It stretches from north to south, its long surface reflecting shifting clouds and distant hills. From certain viewpoints the lake appears to gather the entire landscape into a single sweeping panorama.

Spellbound

One such view unfolds from the summit of Orrest Head. The narrow trail along a breezy ridge through the woods and petrified roots leads us  to the summit. At one point, to my delight I find a wooden stile across a stone wall. Standing there, the lake spreads out below like a long ribbon of silver, bordered by wooded slopes and distant ridges fading into blue, just as Wordsworth described in The Prelude. 

Avoiding the bustle for the pastoral

We drive to the village of Windermere which does not lie on the shores of England's largest lake at. It is Bowness that rests directly on the lakeshore. It's a picturesque Victorian town. Bowness is more touristy with various water activities.  We are unable to find parking space and so we go a little further to a piece of land where we see a few families picnicking. Across the walls are calm sheep and cows. It's the simple old fashioned charm that makes my  trip serene, poetic and timeless. A long-held aspiration is finally and peacefully fulfilled.

Picturesque villages

As we leave the Lake District we drive by Hawkshead and Ambleside, a lively town near the northern shore of the lake. Stone cottages line its small streets, and walkers fill the cafés and outdoor shops that cluster around the centre. It has long served as a gateway to the surrounding hills, a place where many Lakeland journeys begin. Paths lead outward in every direction, climbing toward ridges or winding quietly through valleys.

The power of faith?:Sagrada Familia, Barcelona, Spain

My 3 previous posts are related to the cultures, beliefs and lifestyles of ancient India. They refer to caves that predate Christ up to the 12th century,  humongous monolithic edifices hewn with astounding precision and fine detail, the merging of culture, religion and philosophy, the technology and incredible skills and devotion - these are living proof of the astounding ancient history of India.

A living history: not hewn into a cliff but built up

This week more history is being made in the West. The Sagrada Familia in Barcelona, Spain, has been topped with the final outer piece, a cross, which makes it the tallest cathedral in the world. How many years did it take to reach this stage? 140 years?!

Gaudi/y: which came first? The name or the adjective?

We are first introduced to the word through buildings in Barcelona. These are high rise residential buildings like Casa Mila with a stone like appearance and Casa Batllo whose balconies look like spectacles and the embellishments like natural corals.They are unlike any other I've seen.

So many seemingly impossible free form  facades.  Where does one apartment end and another begin? Each is unique even in its furnishings. Do the tenants discover something new everyday, because there is so much detail you can't take it all in at one go? To Picasso it was all gaudy.

Curiosity and amazement triggered

Are these facades structurally safe since some embellishments and protrusions seem lopsided? How did he work out the intricate balance? Does anyone really have the patience to look at the delicate tracery in replication of nature. How have these lasted for so long? Are they easy to clean ? What are the structural innovations of the visionary? Where are the buttresses? How ornamental the lampposts are!

Fantasy to reality 

How did the highly decorative become functional as well? The architect's  love of nature and devotion to religion is visualised in parabolic arches, mosaics and wrought iron and brick. No straight lines or right angles. Instead the structures take on natural forms like tree trunks, bones, shells, waves, fruits and flowers. Where does all the Gaudy colour come from? Broken ceramic tiles, glass and other waste materials cover the surfaces. One would think that with all the heavy artistic embellishments the interior would be dark, but the genius of Gaudi has made sure the spaces are airy. We don't have to go into the buildings to marvel at the innovations. Park Guell gives us a taste of it, including one of Gaudi's residences.

The lofty sand castle.

From afar that is what Sagrada Familia looks like. Could it be washed away anytime? Even so, Gaudi's masterpiece will remain legendary. 

Gaudi, a deeply devout Catholic,the architect and designer who envisioned these buildings died in a tram accident when he was 73. Had he been alive he would be100 this year. His centenary is marked by the planned inauguration of the ephemeral place of worship. Is it any surprise that the vibrantly colored mosaics were considered gaudy by religious moralists like Picasso? 

Construction began in 1882. Work on it continued through wars, political upheavals, revolutions in architecture, and the transformation of an entire century. The building kept growing taller. 18 towers in all One hundred and forty years later it has reached its highest.

How detailed was Gaudi's blueprint? How did the younger engineers who got on to the project long after Gaudi interpret it? How did they incorporate new techniques and technology? Its mind boggling how the spires kept growing part by part laid one top of the other, and how the three facades depict passion, nativity, glory respectively, in great detail all infused with the essence of life and nature. The lighting within through the stained glass windows and strategically placed openings  create an otherworldliness as seen from pictures of the interior.

Elephanta caves: Mumbai, India

We are at the Gateway of India in Mumbai(Bombay), the arch that was built in 1911 to commemorate King George V's visit to Bombay. It's right next to the luxurious Taj Mahal Palace Hotel which was completed in 1908.

Yet another site where stones speak

Just beside the Gateway is the pier from which to take a ferry to an island merely a half hour ride away from the hubbub of Mumbai. Almost everyone on the boat gets excited when sea gulls try to steal the snacks held out overhead enticingly as we glide on the sparkling Arabian sea.

A Layered history: What's in a name.

We alight at the jetty on the island only to find out we still have a long way to walk. It is a hot day. We choose to take the toy train for a small fee which takes us to the foothill of the Elephanta Caves. When the colonial Portuguese arrived centuries ago, they discovered massive stone elephant statues on the island and named it “Elefante,” which eventually evolved into “Elephanta.”  The one colossal elephant statue that remains is now at Jijamata garden in Mumbai.

Leading up to a frozen past

Our ascent begins on the 130 steep steps that test our stamina. We are flanked by souvenir shops all along and therefore a relatively comfortable climb in the shade. We seem to be at the top in no time at all.

Dramatic entrance to cave number 1

The top most step puts us at the entrance to Cave number 1, also known as the Great Cave, hewn into the hill. Three porticos framed by 4 pillars lead us  into a vast pillared hall. Six columns in each row divide the space into smaller chambers. Surprise!  The roof is supported by concealed stone beams and capitals: a marvel of ancient engineering. Standing inside the cool stone hall, with filtered light entering through the pillars we can't help but feel the vibes of the past, of what was once an active place of worship. Every wall of the mandapa tells a story from Shaivite mythology. 

Distinctive in diversity

Massive friezes — each more than 5 meters tall — depict legends with provocative intensity. In one  Shiva is depicted as  the cosmic dancer. In another he is the supreme yogi. Even though the carvings have weathered the expressions remain captivating.

A little further in is an unassuming linga sanctum sanctorum. Grace and simplicity, not grandiosity, are the characteristics of  an intense religiosity.

Piece de Resistance 

But nothing prepares us  for the moment we stand before the Trimurti.

Carved from a single monolithic rock and standing 5.45 meters (17.9 feet) tall. The three-faced Shiva — known as Trimurti Sadashiva — dominates the south wall opposite the main entrance.

The sculpture represents creation, preservation, and destruction — the cosmic balance of existence. It is both serene and overwhelming. The calm central face radiates stillness, while the side faces embody contrasting aspects of Shiva’s nature.

According to Hindu belief, this destruction is not arbitrary, but constructive. Shiva is therefore seen as the source of both good and evil and is regarded as the one who combines many contradictory elements.

A fusion, or an acceptance of similarities and differences?

The caves were probably hewn between the 5th and 7th centuries. Even though the place of worship fell into oblivion, and the art work and carvings suffered damage, attempts by the British India officials, and then the Archaeological  Survey of India have helped prevent further deterioration.

On the hill next to the temple is a stupa, remnants of a Buddhist shrine.

Like the Ajanta and ellora caves, the Elephanta Caves, though much smaller in scale, are combination of different forms of belief or practice

Religious harmony and brilliance of ancient India: Ellora Caves

Out of this world

Hardly a two hour drive from the Ajanta caves (my previous blog)  lie the Ellora caves. There is an air of eager anticipation as we have heard of its grandeur and scale. We are rewarded with a long stretch of caves(34 in all) cut high up yet another vertical basalt cliff.The caves sit side by side.

While Ajanta’s masterpieces were completed by the 6th century, Ellora began its story in the 7th century—and continued shaping it through the 11th. Thus the irresistible inference that Ellora is a continuation of the work done in Ajanta. In just two hours we cross from one era to another.

Breathtaking repository of Ancient India 

Over a span of 4 centuries generation and after generation of artisans have climbed this cliff and left their handiwork, chipping and chiseling into the rock to create temples, monasteries and sanctuaries.

Ajanta seems tame compared to Ellora which is much larger in scale and bolder in the fine artistic details. 

Imagine the tons of rock scooped out to make room for all the carvings inside.

A socio-cultural phenomenon

Three great religions, creative expression, social norms,innovation, craftmanship, structure and technological mastery all converge within a short walk.  The religions thrived not just symbolically but also physically.

The 12 Buddhist caves reveal stages in an evolving philosophy of  Mahayana Buddhism, not only echoing earlier serene artistic traditions seen in Ajanta but also surpassing them in colour and imagination. More elaborates deities and celestial, beings either sculpted or painted in vibrant colours, adorn the walls and ceilings.

The piece de resistance is the three storied monastery replete with staircases and balconies.

It couldn't have got more spectacular

The 17 Brahminical caves are show stoppers. The one that took my breath away is, without a doubt, Kailasha temple. 

The entrance, a tiered gateway, flanked by monumental elephants seemingly standing guard, is already awe inspiring and promises more.

Sure enough, looking up when we enter the front mandapa (pillared hall) we are enthralled by what remains of ancient paintings still clinging precariously to the ceilings — a testament to how the temple was even more vibrant in the days of yore.

That in turn takes us into the open courtyard that suddenly reveals the full scale of the temple — rising from the earth as though it grew there naturally.  Incredibly  this entire free standing complex was built top down from a single massive rock – Not constructed but carved out to include every architectural detail of a Dravidian temple.

The walls are alive with mythological scenes that seem to come alive in their action oriented captured mid gesture or mid emotion, each palpable

One particularly dynamic sculpture shows Ravana, from the epic Ramayana, attempting to lift Mount Kailasa itself in a display of arrogance and power. This temple represents Mount Kailasa, the spiritual Himalayan abode of Lord Shiva

And yes — some of the depictions are strikingly bold. The expressive forms and mythological intensity might be scandalous to modest eyes, but they also reveal a culture unafraid to explore power, passion, divinity, and humanity in all its forms.

The non-theistic

The last set of 5 caves also display exquisite carving in fine detail and delicate sculptures, and includes fine paintings dedicated to Jainism's Digambara sect focused on spiritual liberation through non-violence, non-attachment , and asceticism. It is non-theistic.

The Ellora caves are a testament to that faith which can shape mountains and philosophy which can find form in stone through human ingenuity guided by devotion.

Returning to the sunlight, the rock face appears unchanged. But we know better now. Inside the caves is a world where belief, artistry, and innovation converge in spell binding harmony.

Culture, society and Buddhism : Ajanta Caves, india

The enormity of it all

From a distance it appears as though innumerous  dark windows have been cut into the sweeping curve of a sheer cliff. We are high above the Waghora River. We see the horseshoe-shaped gorge far below us.

We are following the undulating path following the shape of the cliff, negotiating rock-cut staircases of various heights that connect the different levels. We enter dim caves, acclimatise ourselves to the dark and exuberantly pick out details.

As we start to explore we are even more stupefied by the magnitude of it all that reflects the ingenuity and skill of the followers of Buddhism in creating magnificent caves for the monks.

Windows into the past

As I enter each man-made cave ( 30 in all), sometimes squinting to see, sometimes rubbing my eyes in wonder,  I become even more overwhelmed by the carvings, pillared halls, vaulted ceilings, murals, and sculptures. 

Austerity

Some of the caves seemed to have been abandoned mid-carving. Several are austere. These quiet stone halls in a remote gorge speak of the early followers of Hinayana Buddhism. Here the Buddha does not take on a human form. He is symbolized through sacred motifs and stupas. The vaulted ceilings,the further end that is apsidal and the central stupa are all carved straight from the rock itself. A horseshoe shaped window lets in rays of light to naturally and softly light the whole. Obviously these were prayer halls.The evidence suggests that these caves are dated 1st and 2nd centuries BC.

Then there are caves with a central prayer hall with cells, again carved out of rock,  lining three sides of the hall. The cells housed monks and therefore the inference is that these caves were monasteries.

Opulence of sorts

Other caves contain images of the Buddha appearing in human form with the majestic, serene and compassionate  face that exudes inner peace.. There are colourful paintings on the walls and ceilings depicting stories from the Jataka ( recounting the previous births of the Buddha). There are also intricate carvings on pillars and walls and facades.. These have been dated to the 5th and 4th centuries. That is when Mahayana Buddhism thrived.

Revelations

The unfinished caves tell a story. They  reveal the process of rock excavation. The incomplete carvings on the walls and the pillars also  tell a story of evolution that is further developed in the completed or modified caves in terms of beliefs,architecture,  artistic expression and social developments over eight centuries.

Ajanta Caves are an indelible record of changing Buddhist beliefs. After the immersive experience I virtually hear the chants and smell the incense of the days of you emanating from the rocks.

 

Indubitable Noumea, New Caledonia

Tricked by names and vibes

We  step ashore at the breezy Gare Maritime Terminal. Undeniably very French. Within minutes we are at the markets and cafes of the old town replete with craft stalls , live performances and local flavours, particularly that of Kanak and the Pacific enticing with hand-carved wood objects, pandanus baskets, pottery, and seed/shell jewelry. A short walk away are neat rows of coconut trees along the esplanade.  Even before we leave the pier we get a taste of its culture. We are in Nouméa, the capital of New Caledonia, a French territory in the South Pacific 

The past defines the present

The island was first discovered in the 18th century by James Cook, the renowned British navigator. The terrain resembles that of the mountainous region in his native Scotland, and thus he named it New Caledonia. Soon after the British abandoned the archipelago in the 19th century  the French took over. After that came WW II and the Allied fleets were stationed at this strategic base. Now the harbour has been taken over by cruise liners, like ours: from supply vessels to warships and then cruise passengers.  The Polynesian culture thrives, giving rise to a cultural crossroads.

History through landmarks. 

Noumea is an easy city to navigate. All the landmarks have huge information boards depicting the history and the uniqueness of the structure. Within minutes we find ourselves in St Joseph's Cathedral.

The architectural plan came from an ex-convict! Most of the work on the church was carried out by? Yes, talented, skilled ex-convicts. A beautiful church replete with more that 20 stained glass windows, an organ, a chandelier fashioned in the same way as one found in France, pulpits fashioned the local way, etc. It's a  testament to how remarkable the workforce of the penal colony was. 

Next we approach The Old Temple in Nouméa which was also built with convict labour. The broad staircase belies the modest looking building. But, not so fast. The interior is simple but filled with beautiful carpentry and localised icons.

Transported

The Bernheim Library  has an interesting background. The metal frame on which the building is structured  is actually a pavilion designed by Gustave Eiffel for New Caledonia for an Exposition  in Paris in 1900. The structure was dismantled, shipped to and then reassembled in Noumea. Perhaps that's why the capital is called the Paris of the Pacific.

Transformed

What was the City Hall, which began as New Caledonia's first bank, with its unmistakable colonial architecture - arched windows, wooden shutters, and colonial architecture -  is now a Museum.

Having walked along several streets observing the architectural  variety and  the everyday life of Nouméa with visitors and locals mingling, we take a walk along the 4 km Promenade, along the lagoon,which has different sections each unique in its landscaping, boardwalk and seating. 

Stitched together

This takes us back towards the city centre  and hence Cocotiers Square/Coconut Square. The name is misleading for it is not one huge square but made up of several, each unique in its statuary, fountains, and visitors. One has a colonial era band stand. Another specialises in public events  and markets. Yet another, popular with the locals, has groves. One stands out  for its historical Celestial fountain of 1893 marking the 40th anniversary of France’s annexation. This fountain marks kilometer zero for road distances in New Caledonia.  The square's history is also intriguing. An engineer reclaimed part of  the shoreline and shaped it into a landscaped esplanade along which sprang the squares, stitching together all the quirks of history.

We arrive at the blue tented local markets abuzz with activity and call it a day at the ‘Paris of the Pacific’.