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Casio Men's GA110-1A XL Series By G-Shock Classic Analog-Digital Black Watch

Deconstructed design and dual capabilities, mastered by G-Shock. Black resin strap and round case. Shock-resistant analog-digital dial features auto LED illuminator, world time, four alarms, stopwatch with velocity indicator, countdown timer and 12/24 hour format. Analog and digital movement. Water resistant to 200 meters. One-year limited warranty.

A flurry of functionality, we think you are going to love the Casio Men's XL Series By G-Shock Classic Analog-Digital Black Watch. It begins with a 51.2mm black resin case, which cradles the unique digital/analog display. Features include: Japanese quartz movement, four daily alarms with snooze, stopwatch, countdown timer, world time, shock and magnetic resistance as well as water resistance up to 660 feet (200 meters). A black resin band straps this watch to the wrist, while a buckle clasp ensures that it stays there.

Eight years ago, in Sharjah, Sanath Jayasuriya scored a magnificent 189 before Sri Lanka's bowlers sent India tumbling to 54 all out, and a humiliating 245-run defeat. At Karachi's National Stadium, Jayasuriya, now 39, smashed another superb century before Ajantha Mendis, the mystery spinner still classed as a slow-medium bowler, bamboozled a highly rated batting line-up to finish with astonishing figures of 6 for 13.

Virender Sehwag's blistering early onslaught was rendered irrelevant as Sri Lanka stormed to a 100-run victory, retaining the Asia Cup and extending India's miserable record in tournament finals.

With Sehwag hammering an exhilarating 60 from just 35 balls, India had romped to 76 from just nine overs. Muttiah Muralitharan prefers not to bowl during the Powerplays, and it was to Mendis, who the Indians had never faced before, that Mahela Jayawardene turned as he sought to staunch the flow of runs.

Even he couldn't have predicted the impact that Mendis would have. Like a combine harvester scything through a field of corn, Mendis sliced through a line-up that has quite a reputation when it comes to playing spin. Sehwag charged his second delivery and watched helplessly as it drifted away from him. Kumar Sangakkara did the rest. Two balls later, Yuvraj Singh was utterly befuddled by one that skidded on. Suddenly, 274 appeared a long way away.

That Sri Lanka got anywhere near that was down to a man who refuses to bow to Father Time. India picked up four wickets in the first 12 overs, with Ishant claiming three of them, but Jayasuriya's 114-ball 125, and a 131-run partnership with Tillakaratne Dilshan utterly changed the complexion of the game.

It's perhaps no coincidence that India haven't won the Asia Cup since Jayasuriya became a regular at the top of the Sri Lankan order, and his mastery over the opposition was best revealed in the 16th over, bowled by RP Singh. RP had managed to escape relatively unscathed in his opening spell, conceding 24 from five overs, but when he returned, Jayasuriya took to him like a bull that had been riled by the matador's cape.

Sixes on either side of the sightscreen were followed by two wallops over cover, and after a one-ball lull, he pulled one over midwicket for six more. With Dilshan then taking three successive fours off Irfan Pathan, Mahendra Singh Dhoni had no option but to turn to spin, with Pragyan Ojha and Sehwag managing to have something of a fire-extinguishing effect.

India had started poorly, with RP conceding two boundaries to fine leg in the opening over, but a mix-up between two experienced hands gave them the opening they so desperately needed. Jayasuriya tapped one to short mid-off, and Sangakkara had already hared halfway down the pitch before he realised the striker had no interest in a single. Suresh Raina's underarm flick was the ultimate punishment.



But with two maiden overs bowled in the first five, India wrested back a measure of control, despite Jayasuriya's sporadic bursts of aggression. With the pressure building, it was Ishant who struck, as Jayawardene slapped one straight to Rohit at point. No bother for Jayasuriya though. A swivel pull sent an Ishant delivery for six, and Pathan's introduction was greeted with three fours in the over.

The problem was at the other end, where Ishant was wreaking havoc with the extra bounce he extracted from a comatose pitch. Bounce and a hint of lateral movement had Chamara Kapugedera playing one off the leading edge to point, and two balls later, the other Chamara - Silva - inside-edged one back on to the stumps.

Jayasuriya's version of consolidation involved a pull for six off Ishant and a slice of luck as a as a miscue off Pathan evaded RP, who ran around in circles and failed to get his hands to the ball. Dilshan contributed only four to the first 50 the pair added, from 30 balls, but he did his part, turning the strike over to allow Jayasuriya to inflict maximum damage.

With Sehwag and Ojha - Rohit contributed three tidy overs too - taking the pace off the ball, it was a different story. With the field spread, the boundaries dried up and the runs came mainly in singles. India missed a couple of run-out opportunities and Dhoni put down a sharp chance offered by Dilshan when he was on 37, but the helter-skelter pace of the Powerplay overs soon gave way to relative calm.

Eventually, the lack of action got to Jayasuriya and a flat slog-sweep off Sehwag only found Ishant at deep midwicket. After that, Sri Lanka lost their way. Dilshan eased to 50 from 68 balls, but when Pathan returned to bowl round the wicket, he popped a catch to Dhoni. Vaas, back in the fray after missing the last game, square-drove Ishant for the first four in more than 20 overs, but was castled by RP soon after.

Nuwan Kulasekara flailed the bat to finish with an unbeaten 29, but a target of 274 was expected to be well within reach for an Indian side that had included seven specialist batsmen. But after h

Art under the Maurya dynasty is a treasure house which comprises the remains of the royal palace and city of Pataliputra, the stupas at Sanchi, Sarnath and Amaravati, pillars of Ashoka, potteries, coins and paintings. The Maurya Empire from fourth to second century B.C. is an important period in the history of Indian art.

The Maurya Empire was founded by Chandragupta Maurya and it reached its greatest moment of political, religious, and artistic development in the middle years of the third century B.C. The prologue to the foundation of the Maurya Dynasty was the invasion of India by Alexander the Great. The background of Maurya power, together with Ashoka's substitution of a kind of religious imperialism is important in considering the art of his period. The Maurya Empire indicates a significant transition in Indian art from use of wood to stone.

The ruins of the fabulous city of Pataliputra near modern Patna, is extremely important for an understanding of the whole character of Maurya civilisation which Ashoka inherited and perpetuated. Following not only Indian but ancient near eastern instance, the palace walls, the splendid towers and pavilions, were all constructed of brick or baked clay that has long since crumbled to dust or been swept away by periodic deluge of the swollen waters of the Ganga. Beyond the evidence of the authentic excavations at Pataliputra, an idea of the appearance of the city in the elevations of towns that form the backgrounds for Buddhist subjects in the reliefs of the early Andhra Period at Sanchi can be perceived. . The excavations of Pataliputra revealed that there is a presence of moat which is surrounded by a palisade or railing of the type developed in the Vedic period to the uses of urban fortification. It is assumed that all the super structures were built of wood.

The remains exposed in the actual palace area like a great audience hall was preceded by a number of huge platforms built of solid wood in log-cabin fashion. They formed a kind of artificial eminence, like the palace platforms of ancient Mesopotamia and Iran. Undoubtedly, these wooden structures were projected as foundations for the support of some kind of pavilions in front of the palace itself. In addition to a ground plan of the palace area, a single illustration of the remains of Pataliputra is reproduced to demonstrate the extraordinary craftsmanship and durability of the city’s belt of fortifications. Pataliputra with towers and gateways rivaling the ancient capitals of Iran does give some slight suggestion, by its vast extent and the enormous strength of construction, of the great city of the Maurya Empire.

Buddhism flourished during the reign of Ashoka whose tolerance and generosity to religious sects were not limited to his patronage of Buddhism but is illustrated by his donation of cells for the habitation of holy men of the heretical Ajivika sect in the Barabar Hills near Gaya. The hermitage at Lomas Rishi cave is noted for its architectural magnificence. The carving of the facade of this sanctuary is completely Indian. It is an imitation in relief sculpture in stone of the entrance of a freestanding structure in wood and thatch, of repeated crescent shapes under an ogee arch that most probably represents the contour of the thatched roof. The principal decoration of the so-called "chaitya window" of the over door is a parade of elephants approaching a Stupa. The naturalistic depiction of the expression and gait of these elephants seems almost like a continuation of the style of the Indus Valley seals. The complete elevation of this small facade is repeated over and over again in the chaitya-halls of the Sunga and later periods, and is particularly significant in its showing that the forms of later Buddhist architecture were already completely evolved in the Maurya Period.

The proper picture of Maurya period is revealed in its sculpture. The existing monuments divulge the same imperialist and dictatorial character as Ashoka's rule in its essential structure; like so much of Maurya culture, they are foreign in style, quite apart from the main stream and tradition of Indian art, and display the same intimacy of relationship and imitation of the cultures of the Hellenistic Western powers and of Iran as the language of Ashoka's inscriptions and the Maurya court's philhellenic leanings. Side by side with this official imperial art, there existed a folk art, much more truly Indian in style and tradition and, in the final analysis, of far greater import for the future development of Indian art. Another fabulous sculpture is the Sarnath Pillar, which has four lions back to back at the top of the pillar. The extraordinary precision and beauty associated with these sculptures is a fine instance of the proficiency that the artisans of that period possessed.

It has often been pointed out that one of the tangible results of Alexander's invasion of India and the continuation of Indian con

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