incredible indiaaaa

history behind the formation of kerala

2010-12-19T06:39:00.000-08:00

There are myths concerning the origin of Kerala. One such myth is the creation of Kerala by Parasurama, a warrior sage. The Brahminical myth proclaims that Parasurama, an avatar of Mahavishnu, threw his battle axe into the sea. As a result, the land of Kerala arose and was reclaimed from the waters.

He was the sixth of the ten avatars of Vishnu. The word Parasu means 'axe' in Sanskrit and therefore the name Parasurama means 'Ram with Axe'. The aim of his birth was to deliver the world from the arrogant oppression of the ruling caste, the Kshatriyas. He killed all the male Kshatriyas on earth and filled five lakes with their blood. After destroying the Kshatriya kings, he approached assembly of learned men to find a way of penitence for his sins. He was advised that, to save his soul from damnation, he must hand over the lands he had conquered to the Brahmins. He did as they advised and sat in meditation at Gokarnam. There, Varuna -the God of the Oceans and Bhumidevi - Goddess of Earth blessed him. From Gokarnam he reached Kanyakumari and threw his axe northward across the ocean. The place where the axe landed was Kerala. It was 160 katam (an old measure) of land lying between Gokarnam and Kanyakumari. Puranas say that it was Parasuram who planted the 64 Brahmin families in Kerala, whom he brought down from the north in order to expiate his slaughter of the Kshatriyas. According to the puranas, Kerala is also known as Parasurama Kshetram, i.e., 'The Land of Parasurama', as the land was reclaimed from sea by him.

This legend, however, may be a Brahmin appropriation of an earlier Chera legend where a Chera King, Velkezhu Kuttavan, otherwise known a Chen Kuttuvan flings his spear into the sea to claim land from it. The myth of Parashurama is debatable as the legendary king Mahabali, under whose rule Kerala was the land of prosperity and happiness, was granted rule over netherworld (Patalam) by Vamana the avatar of Vishnu, who actually comes before the avatar of Parashurama according to the avatar stories of Hindu mythology. There is however a counter-point to this line of argument, because as per the 'Vishupuranam' Mahabali was ruler of the entire World (there is no mention of a place called Kerala) and eyed to capture the abode of the Devas when Vishnu incarnated as 'Vamana' and banished him. Also it is not necessary for one Avatara to end before the other one begins. Parasurama also appears along with Sri Rama in the Ramayana as well as the Mahabharata,as a Guru for Karna.

One legend of Kerala even makes Parasurama a Pandya ruler. In another legend, the Pandyas themselves are the manifestations of Parasurama. P.N. Chopra writes, "Parasurama is deemed by the Keralites as the father of their national identity."The Kollam Era is also known as "Parasurama-Sacam". Travancore Rajas claim descent from Chera King Bhanu Bikram, who according to legend was placed on the throne by Parasurama. Scholar K. Narayanan Sivaraja Pillai mentions, "Even as the West Coast owes its very rudiments of civilized life to Parasurama...". In the Keralolpatti, Parasurama is said to have selected goddess Durga (Kali) to be the guardian of the sea-shore of Kerala.According to legend, King CheraKuttuvan Chera (also called Kota Varman) once enraged, threw an into the sea, thereby causing it to retreat and the land to dry. According to another legend, a Pandyan called "Vadimbalamba ninrapandyan" threw his spear into the sea, hereby causing the same effect.There is another story of Ukkira obtaining a spear from the Sivan of PandiyanMadura, and throwing it into the sea, causing the shore to retreat.Tradition says that Parasurama minted gold coins called Rasi and that in Travancore, he sowed them and buried the surplus in Cairns.

VELLAM KALI

2010-09-14T22:04:00.000-07:00

THE NEHRU TROPHY VELLAM KALI

When a friend came back from her vacation in Kerala, she was much too excited! Not only about the God’s own country Kerala and its beautiful natural surroundings, but the various cultural events she witnessed there. The Snake boat race was one of the many such local events which she had witnessed there. The name snake boat rose my curiosity…

Only later I came to know that the name “Snake Boat Race” comes with the shape of the boats which are used during the race and the actual name is the Nehru Trophy boat race. One of the most famous local events which attracts the people from all over the world to witness it. These boat races are the part of Kerala culture. For any good event, for any religious event a boat race is organized in this area of Kerala.

The Nehru trophy has a different story behind it though. As it was the tradition of the Keralites, they had welcomed the first prime minister of India, Pandit Jawaharlal Nehru, on his visit to Kerala. It was his first visit way back in 1952. Pandit Nehru was so thrilled with the performance of the rowers and the whole excitement that it created, that he declared a rolling trophy for the winner, and since then this event is being held annually with the trophy named after the prime minister.

It is said that long back the ruler of the area developed these boats so that his warriors had an easy time navigating in between the back waters during the wars. The boats did help. Since then every pious event or any celebration was commemorated with a game using these boats which e ventually culminated into races. The locales call it the Vallam kali in native language, meaning the boat game.

The boats are made up of Anjali thadi, a local forest wood. Today every village that participates in the race has its own prized boat and it is taken care of very devoutly. The boats are cleaned and rubbed and scrubbed. Then they are coated with oil and eggs for a smooth sail in the waters. The rowers of the boat are heroes of the village, and if they are the winners then they are worshipped!

These races are normally held in the area of Allapuzhha, in the Punnamada lakes or the back waters of Allapuzhha and are held between the months of July to September. Allapuzhha or Alleppey as it is known, is an hours distance from the commercial capital of Kerala, Kochi and about three hours from the beautiful Kumarakom.

The snake boat race has many records to its credit.

• It is a sport event having the highest number of team members in a single team.
• It is the biggest water vessel used for sports purpose.

The 100-120 feet long canoes is manned by four helmsmen, 25 cheerers /singers and 100-125 oarsmen, who row in unison to the fast rhythm of `vanchipattu'or boatmen's song. The boat moves like a snake through the channels and definitely is an eye catching sight for any tourist.
Every year lots of tourists throng the place to view this exciting event and also see the beauty of the state along with it. This year the boat race happens on 08th of August 2009. There are many packages that one can choose from to witness this event and add on the visit to rest of the Kerala. So for a cultural and festive thrill one should definitely experience this Boat race.

all about onam............

2010-09-14T21:55:00.000-07:00

Onam, the harvest festival, is celebrated in Kerala during the Malayalam month of Chingam (August - September). This year it was celebrated on Sept. 12. It is celebrated to commemorate the homecoming of King Mahabali, considered as a beloved ruler. Onam recalls the sacrifice of the great king, his devotion towards God, humbling of his pride and his final redemption. The name Mahabali means “Great Sacrifice”. Onam was recognised as the Main Regional Festival of Kerala in 1961. The festival is a ten - day celebration involving Pookalam, boat races, dances, carnivals, cultural programmes, sports, culminating with the traditional meal called Onasadya. Spectacular parades of caparisoned elephants, fireworks and Kathakali dance are traditionally associated with Onam. The tenth day, Thiru Onam, is considered most auspicious.

Onam is an ancient festival which still survives in the Modern times. Kerala's rice harvest festival and the festival of rain flowers which fell on the Malayalam month of Chingam celebrated the annual visit from pathalam of the very noble Demon King Maveli. Onam is unique since king Maveli is revered by people of Kerala from prehistory.

Mahabali conquers the three worlds Kashyapa had two wives, Diti and Aditi, who were the parents of the demons and the gods (Asuras and Devas) respectively. Kashyapa, who had gone to the Himalayas to do penance, on his return found Aditi weeping. By divine insight, Kashyapa instantly recognised the cause of her grief. He tried to console her saying that nothing happens in the world without divine will and people should go on doing their duties. He asked her to pray to Vishnu and taught her Payovrata, a ritual that has to be observed from the 12th day of the bright half of Karthika (Sukla-paksha Dvadasi). Since Aditi carried out the Vrata with a pious heart, Vishnu appeared before her and informed her that he would help Indra.

Alternatively, the Devas were very annoyed as Mahabali became the ruler of all the three worlds having defeated the Devas. Devas, the celestial beings, were annoyed and jealous.^[1] The gods approached Vishnu and asked for his help. Vishnu said to the Devas that Mahabali is doing good things to his subjects and is eligible to become sura (devas). You devas should not be jealous about that. Being jealous would make you asuras. Vishnu decided to test Mahabali.

In the meantime, Mahabali was performing the sacrificial rite of the Viswajith Yagam or Aswamedha Yagam the banks of Narmada River. He also declared that he would give anything that anyone sought from him during this Yagam.

Vamana visits Mahabali

Vamana (blue faced dwarf) in the court of king Bali (Mahabali, right seated) seeking alms.

Taking advantage of the Yagam and Mahabali's declaration, Vamana (Mahavishnu disguised as a Brahmin) came to the Yaga-shala. As he approached them, the sages assembled there perceived the extraordinary effulgence form of the young lad. Mahabali went forth to receive the Brahmin boy with all traditional honours and gave him an eminent seat befitting the status of a holy person. With the usual courtesy given to the people who come to ask for help, Mahabali told him that it was his good fortune that Vamana had chosen to honour him with his presence. Whatever Vamana desired, Mahabali was ready to fulfill. Vamana smiled and said: "You need not give me anything great. It is enough if you give me that extend of land covered by three footsteps of mine".

On hearing him, Mahabali's preceptor, the Brahmin Shukracharya (a Daitya priest), who had visions of the future, told Mahabali that the one who had come to take alms from him was not an ordinary Brahmin but Lord Vishnu Himself having assumed this form. He advised Mahabali not to promise the lad anything. But Mahabali was a king who would never go back on his word, considering it sinful to do so. Shukracharya insisted that he should not fulfill the demand of Vamana as he had come to deprive him of all his possessions.

Onappottan, in traditional costume is a custom in northern parts of Kerala. Onappottan visists houses during the onam and gives blessings. Off late onappottan has become a rare sight, confined to villages.

Mahabali, determined to honour the word given to Vamana, begged the pardon of his Guru for disregarding his advice. Earlier, while Mahabali was embarking on the war with Indra, he had prostrated at the feet of his preceptor, Shukracharya, and on his advice had he started the Vishwajith Yagam from which he secured some very powerful weapons. It was only because of Shukracharya's help that he was able to conquer Indra. Mahabali's refusal angered Shukracharya. He cursed Mahabali, saying: 'As you have not heeded your Guru's words, you will be reduced to ashes'. Mahabali was firm and replied: 'I am prepared to face any consequence but will not go back on my word'.

Mahabali's reign ends

Saying so, he asked Vamana to measure the desired three feet of land. All attempts of Shukracharya to dissuade Mahabali proved futile. Mahabali considered everyone who came to him for help as god himself and never refused them anything. Mahabali told his Guru: "Prana (life) and Maana (honour) are like the two eyes of a person. Even if life goes, honour should be protected. Knowing that the person that has come now is the Lord Himself, I should be the most fortunate one as the Lord, who gives everything to mankind, is seeking something from me." Mahabali gladly said that even if Vishnu himself were to come to his sacrifice and ask for anything, he would deliver it.

triumphing over Bali Vamana grew in size until he towered above the heavens. With one footstep, he measured all of the earth. With the second, he claimed all of heaven. There was still one foot of territory that Mahabali owed him. Mahabali requested Vamana to place the final step on his head as the third step of land, for he had no other left. Vamana did so and in doing so, pushed him down to Patala, the underworld (the kingdom beneath the earth).

Vishnu's blessings

For the devotion of this daitya, Mahabali, Lord Vishnu (Vamana) granted him rule over the underworld. It was also granted that he would hold the position of Indra for one Manvantara, thus fulfilling his devotee's desire (the office of Indra being a rotating position, changing every Manvantara).

As a last gift, Mahabali was granted permission to visit his subjects once a year. Thus, Keralites celebrate the Onam festival to commemorate the memory of the Great King Mahabali who would keep his promise to visit. Mahabali fulfilled his name as the great martyr for the sake of Truth ("Satya"). The name "Mahabali" itself means Great Sacrifice.

During Onam, the feast and festive mood of the people, dressed in their best, is considered reminiscent of the prosperous and truthful life of the subjects during Mahabali's flawless reign. People wear new clothes (Vastra) during Onam. The 'Vastra' also stands for heart. Thus the significance of wearing new clothes is about making the heart new by removing all bad thoughts and feelings. People forgetting their sectarian outlooks, join together to welcome the auspicious 'Thiruvonam' day.

The Ten Days of Celebration

Onam pookkalam

A typical onapookkalam

The celebrations of Onam start on Atham day, 10 days before Thiruonam. The 10 days are part of the traditional Onam celebrations and each day has its own importance in various rituals and traditions. Earthen mounds, which look somewhat like square pyramids, representing Mahabali and Vamanan(an Avatar of Vishnu) are placed in the dung-plastered courtyards in front of the house and beautifully decorated with flowers. Known as ‘Onapookkalam’, it is a carpet made out of the gathered blossoms with one or two varieties of foliage of differing tints pinched up into little pieces to serve the decorator's purpose. It is a beautiful work of art accomplished with a delicate touch and a highly artistic sense of tone and blending. (In a similar manner North Indians make something called "Rangoli" which is made of powders of various colors.) When completed, a miniature pandal, hung with little festoons is erected over it.

Atham- The first day of Onam Celebrations

Onam starts with Atham day in the Malayalam month of Chingam. Its believed that King Mahabali start his preprations to descend from heaven to Kerala on this day. The day also marks the start of festivities at Thrikkara Temple (considered as abode of Mahabali). The Onam celebrations across the state, starts off with a grand procession at Thrippunithura near Kochi called Athachamayam. In olden days, the Kochi Maharaja used to head a grand military procession in full ceremonial robes from his palace to the Thrikkara Temple. After independence, the public took over the function and celebrated as a major cultural procession which kicks off the official celebrations of Onam. Elephant processions, folk art presentations, music and dancing make Athachamyam a spectacular event which is now aggressively promoted as a tourist event.

The traditional ritual of laying Pookalam (floral carpet) starts on Atham day. The size of pookalam on this day is called as Athapoo and will small which eventually grew day after day. Only yellow flowers will be used on this day and the design will be simple. Also the statues of Mahabali and Vamanan will be installed on the entrance of each house on this day.

Chithira- The second day of Onam Celebrations

The second day is marked off when a second layer is added to pookalam design with 2 different colours apart from yellow (mostly orange and creamy yellow). On this day, people starts cleaning the house-hold to prepare for the Thiruonam day.

Chodi- The third day of Onam Celebrations

The pookalam now will start growing in its size by adding new layers or designs with atleast 4 to 5 different flowers. The day also marks the start of shopping activities. Onam is associated with gifting new clothes, hence from this day onwards people start buy new clothes and jewelleries.

Vishakam- The fourth day of Onam Celebrations

Vishakam is considered to be one of the most auspicious days of Onam. In olden days, the markets open this harvest sale on this day, making one of the busiest days in the markets for public. Today Vishakam marks the start of many Onam-related competitions like Pookalam competitions etc.

Anizham- The fifth day of Onam Celebrations

Anizham is one of the most important day in the Onam days as it kicks off the great Vallam Kali (Snake boat) at many parts of Kerala. A mock Vallam Kali is conducted on this day at Aranmula as a dress-rehersal for the famed Aranmula boat race which will be held after Onam.

Thriketa- The sixth day of Onam Celebrations

By the sixth day, the public frenzy starts going on higher side. Most of the schools and public offices starts issuing holidays from this day onwards and people starts packing their bags to their native homes to celebrate the festival with their dear ones. The pookalam design will be very large by this time, with at least 5 to 6 new flowers types added to the original designs.

Moolam- The seventh day of Onam Celebrations

On the seventh day, the smaller versions of traditional Ona Sadya (Onam special buffet lunch) starts in many places. Most of the temples offers special sadhyas on from this day. Festivities include Puli Kali (Masked leopard dance) and traditional dance forms like Kaikotti Kali also performed in various functions. The official Government celebrations starts on this day with heavy illuminations in Thiruvananthapuram City, Kochi city and Kozhikode along with fireworks.

Pooradam- The eight day of Onam Celebrations

The day marks off with a major traditional ritual where the small statues of Mahabali and Vamana will be washed and cleaned and taken around the house as a procession. It will be later installed in the center of the pookalam smeared with rice-flour batter. The smearing is done by small children whom will be Pooradaunnikkal. From this day onwards, the statue will be called Onathappan.

The pookalam design from Pooradam day onwards get much bigger and complex in design. Shopping will be one of the major activities as the public will be making final purchases for the great Thiruonam day.

Uthradom- The ninth day of Onam Celebrations

Uthradom is the ninth and the penultimate day of the festival of Onam. It is considered as Onam eve and celebrated in a very big way. The importance of this day is last minute extreme shopping frenzy called as Uthradapachal and is considered the most auspicious day for purchase of fresh vegetables and fruits along with other provisions from the Thiruonam day.

Uthradam is known as FIRST ONAM because it marks the day when King Mahabali descends Kerala and the traditional myths says that the king will spend the next four days touring his erstwhile kingdom and blessing the subjects. Due to this Urthadom is celebrated in a very pompous manner with larger pookalam and celebrations in household. The Urthada lunch is very famous tradition. Women normally cuts the first set of vegetables on this day that marks the celebrations of Thiruonam in each household and preparations for grand Onam buffet starts in evening of Uthradom day.

Thiruonam- The tenth day of Onam Celebrations

The final day of Onam that culminates the 10 days of Onam Carnival. The day is known as Thiru-Onam (Sacred Onam Day) also known as SECOND ONAM. Myth says, it was the day Mahabali was suppressed to underworld by Vamana. The day marks return of Mahabali to his fabled land (Kerala), as per the boon he received from Vamana to meet his subjects and bless them. Apart from this myth, this day is considered auspicious being birthdays of several temple deities like Vamana of Thrikkara temple, Sree Ppadmanabha Swamy of Thiruvananthapuram etc. Though a traditional Hindu festival, Onam today has emerged as a secular festival associated with harvest time of Kerala.

Activities begin early in the morning. People clean their house, smear the main entrance with rice-flour batter (a traditional welcome sign), take early bath, wear new clothes and distribute alms to needy. The eldest female member of each family presents clothes to all the members of the family. Special prayers and Masses are organized in temples, churches and mosques that highlight the secular nature of festival. Later a very special and the biggest of all days, Pookalam is prepared to welcome Mahabali.

The most important activity of Thiruonam is the grand Thiruona-Sadya, well known for being one of the most sumptuous feasts ever prepared by mankind. The le

vel of sumptuous varies at each individual household, however every household tries to make as grand as possible as they can. The feast served on plantain leaves have more than 13 to 15 curries apart from other regular items. In hotels and temples, number of curries and dishes can go upto 30 for the feast. Whatever may happen no malayalee will miss the Grand ona-sadya. There is a saying in Malayalam that "Kanam Vittum Onam Unnanam" which means "We should have the Thiruvonam lunch even if we have to sell all our properties" which shows the importance of the grand lunch on the Thiruvonam day.

A fabulous display of fireworks turns the capital Thiruvananthapuram and Kochi into a veritable fairyland. Sumptuous feasts are prepared in every household. Even the poorest of the poor manage to find something for himself to celebrate the national festival in his own humble way.

The afternoon is marked with various traditional Onam games normally seen common in rural areas and those organized by resident associations, clubs etc in large cities.

According to the legend, Kerala witnessed its golden era during the reign of King Mahabali. Everybody in the state was happy and prosperous and the king was highly regarded by his subjects. He was that much highly regarded among the subjects that even the Gods under Indra became jealous of Mahabali, they approached Mahavishnu claiming that Mahabali is now equivalent to an Indra. Since a world with two Indras represents imbalance, Mahavishnu assumed the form of a dwarf: the Vamana avatara and tricked him to Pathalam, the Underworld. However, as Mahabali is equal to an Indra, he is to wait until the next Yuga where he would be the Indra. In the meantime, with the grace of Mahavishnu, Mahabali visits his people on an annual basis. Mahavishnu serves Mahabali as a gatekeeper in the world of Pathalam as the Lord himself serves his greatest devotees.

It is this visit of Mahabali that is celebrated as Onam every year. People celebrate the festival in a grand way and impress upon their dear King that they are happy and wish him well.

The rich cultural heritage of Kerala comes out in its best form and spirit during the ten day long festival. The most impressive part of Onam celebration is the grand feast called Onasadya, prepared on Thiruonam. It is a nine course meal consisting of 11 to 13 essential dishes. Onasadya is served on banana leaves and people sit on a mat laid on the floor to have the meal.

Another enchanting feature of Onam is Vallamkali, the Snake Boat Race, held on the river Pampa. It is a colourful sight to watch the decorated boat oared by hundreds of boatmen amidst chanting of songs and cheering by spectators.

There is also a tradition to play games, collectively called Onakalikal, on Onam. Men go in for rigorous sports like Talappanthukali (played with a ball), Ambeyyal (Archery), Kutukutu and combats called Kayyankali and Attakalam. Women indulge in cultural activities. They make intricately designed flower mats called, Pookalam in the front courtyard of the house to welcome King Mahabali. Kaikotti kali and Thumbi Thullal are two graceful dances performed by women on Onam. Folk performances like Kummatti kali and Pulikali add to the zest of celebrations.

Mahabali's rule is considered the golden era of Kerala. The following song is often sung over Onam:

“

maveli nadu vaneedum kalam,

manusharellarum onnupole
amodhathode vasikkum kalam
apathangarkkumottillathanum
kallavum illa chathiyumilla
ellolamilla polivachanam
kallapparayum cherunazhiyum
kallatharangal mattonnumilla
adhikal vyadhikalonnumilla
balamaranangal kelppanilla

”

......

(Translation)

“

When Maveli, our King, ruled the land,

All the people were equal.
And people were joyful and merry;
They were all free from harm.
There was neither anxiety nor sickness,
Deaths of children were unheard of,
There were no lies,
There was neither theft nor deceit,
And no one was false in speech either.
Measures and weights were right;
No one cheated or wronged his neighbor.
When Maveli, our King, ruled the land,
All the people formed one casteless races

”

Mahabali was the grandson of Prahlad (son of Hiranyakashyap who was slain by Vishnu in his Narasimha Avataram). Prahlad, despite being an Asura, had great faith in Vishnu. Mahabali learned the act of love and devotion to Lord Vishnu as a child, from Prahlad.

Kodiar Palace

2010-04-15T02:52:00.001-07:00

Kowdiar Palace in Trivandrum, Kerala, India was built in 1915 by Maharajah Moolam Thirunal for his niece Maharani Sethu Parvathi Bayi, and is the official residence of the Travancore Royal Family. Kowdiar Palace's architectural work is famous and has over 150 rooms.

Beautiful isn't it. I found this when I was looking up palaces for Brech, Brechalon.

keralas monumental painter Raja Ravi varma

2010-04-15T02:44:00.000-07:00

Keralas ancient painting monuments

2010-04-15T02:36:00.000-07:00

Raja Ravi Varma (1848 - 1906)

Raja Ravi Varma (1848-1906) was born in Kilimanoor Palace as the son of Umamba Thampuratti and Ezhumavil Neelakandan Bhattathiripad. At the age of seven years he started drawing on the palace walls using charcoal. His uncle Raja Raja Varma noticed the talent of the child and gave preliminary lessons on painting. At the age of 14, Ayilyam Thirunal Maharaja took him to Travancore Palace and he was taught water painting by the palace painter Rama Swamy Naidu. After 3 years Theodor Jenson, a British painter taught him oil painting.

Most of his oil paintings are based on Hindu epic stories and characters. In 1873 he won the First Prize at the Madras Painting Exhibition. He became a world famous Indian painter after winning in 1873 Vienna Exhibition.

Many of his oil paintings are classic and his unique Indian style has later influenced artists and designers worldwide. Here we have displayed pictures of some of the classic oil paintings and oleographs of Raja Ravi Varma.

Glory be...Statue of Bahubali

2010-04-10T17:17:00.003-07:00

Religion and beauty seem to be inextricably intertwined in Shravanabelagola and it's hard to tell what you will find more breathtaking - its sun-kissed mountains, aqua green lakes, beautifully sculpted buildings or the giant statue of Bahubali and its numerous basadis.

This astoundingly quiet place, set between two stony hills Chandragiri and Indragiri, has been a Jaina religious centre from the 3rd century AD. While Chandragiri functions as a centre of art and learning, Indragiri is famous for the giant statue of Bahubali, a Jaina ruler who renounced his kingdom for the life of an ascetic after being overcome with guilt and sadness for having defeated his brother who had challenged his authority.

The statue, the largest monolith in the world, is an edifice of sacrifice and renunciation. It's of great religious significance because Jainas believe Bahubali was the first to attain moksha (freedom from cycle of birth and death), something that's higly valued in the Jaina tradition. The statue, simple and sublime, leaves visitors wonderstruck.

James Fergusson had once said, "Except in Egypt, something so huge is found nowhere in the world. Nowhere does a taller monolithic statue exists and as for all round artistic merit only Bahubali can match Bahubali." Apart from the Bahubali statue, the centre also has many other monuments that serve as basadis and lecture halls and are considered as great examples of Jaina art. Endowed with such rich tradition, it's no wonder that the place has been a source of inspiration for many a great poet like Pampa, Ranna, Chavundaraya and Boppana for over 1800 years now.

Grand and beautiful - The great Temple of Lord Shiva ( Brihadeshwara Temple of Tanjavur)

2010-04-10T17:17:00.001-07:00

If there is a beauty contest for temples, the Brihadeshwara temple in Tanjavur will win it hands down. The magnificent Chola temple which was constructed in 1010 AD is a perfect blend of what is termed as 'beauty with brains'. So while there is an amazing simplicity about the various parts of the temple: square vertical base, tall tapering body and over it all the graceful vimana (the crowning glory of the temple), the temple also has many a dazzling architectural feat to its credit. Its vimana, for instance, it is said, never casts a shadow at noon at any time of the year.

The walls of the temple are covered with beautiful sculptures of gods and goddesses and its top is capped by a monolithic cupola. In those times, moving such a massive block to the top of the temple was a remarkable achievement and legend has it that this task was accomplished by constructing a ramp 6 km long and elephants were employed to pull the stone to the top, a technique also used by the pyramid builders of Egypt.

The most dominating feature of the temple is the vimana, which is the tallest structure in the temple. This makes Brihadeshwara temple somewhat unusual, since the tallest structure in most Indian temples is the gopuram.

There is a sense of solidity about Brihadeshwara and the grace and form of the structures is amazing. At the entrance of the temple sits a huge stone bull (nandi) which is considered among the largest in the world. Legend has it that the nandi continued to grow and grow until finally a nail was driven on its back and the growth stopped.

Spiritual glory - A monastic retreat for the monks, Ajanta is any visitor's delight.

2010-04-10T17:16:00.003-07:00

Set amidst lush greenery along the face of a mountain with a small stream cascading through the valley below, Ajanta is any visitor's delight. A monastic retreat for the monks, these stupendous structures embellished with some of the most lovely paintings and splendid sculptures took 800 years to be carved out.

About 200 monks worked relentlessly on the hillside hanging over the tiny streamlet, chiselling and drawing into the heart of the rock, digging deep into the hillside, some going 100 feet deep. It is believed that the caves were strategically located along the trade routes so that the monks could travel safely with traders to far flung areas to spread their faith. For many years the caves functioned as a perfect retreat for the monks but around the 8th century AD they were abandoned for the nearby Ellora caves. The reason for the shift is shrouded in mystery but once past its days of glory, Ajanta slipped into oblivion. The caves lay hidden for over a 1,000 years under dense forest overgrowth before being discovered by sheer chance by a hunting team in 1819.

There are 28 caves at Ajanta, two chaityas or prayer halls and three viharas, a place for the monks to rest, study and meditate. The walls and ceilings on the inside are adorned with sculptures and murals depicting stories from the life of the Buddha and the more popular tales from the lives of Buddha's previous incarnations. Some paintings also contain scenes from the royal court and popular life of the ancient times. The paintings on the walls are of the highest craftsmanship and depict a mastery of forms, positions and gestures that had never been seen before in ancient India. And like many say, it's hard for anyone who has not been to Ajanta to imagine the charm of the caves.

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Chariot of the Sun - The Sun Temple of Konark is a stupendous sight.

Even in a half-preserved state, the Sun Temple of Konark is a stupendous sight. The temple does require a bit of thinking to be envisaged in its original form-the Sun god passing through the heavens on his divine chariot, being pulled by seven horses. But then the 'whole' does not seem to matter to the eye when each part here is an example of exquisite Indian craftsmanship.

Each stone slab in the perfectly proportioned structure is alive with precisely chiselled motifs of flowers, animals, birds, royals and deities. The leaves of a tree, the adornments of the courtesans, the carved spokes of the wheel - the details on each block are striking.

The panels carry erotic sculptures as well, besides those depicting other everyday activities like hunts, dances and battle scenes. It is said that the base of the temple alone has some 2,000 images of elephants. The main sanctum, where the principle deity was enshrined, is in ruins.

The fame of the 13th century structure, located in Puri district of Orissa, had reached far and wide even during medieval times. It was visited by the Vaishnava saint Chaitanya as well as Abu'l Fazl, the author of A'in-i-Akbari, in which he wrote: "Near Jagannath is a temple dedicated to the Sun. Its cost was defrayed by 12 years revenue of the province.

The jewel of Hyderabad - The charm of the 400-yr-old Charminar seems everlasting.

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Located in the midst of bustling traffic and bangle sellers, Charminar stands authoritatively tall even as the city around it has evolved from the old Nizam era to a bustling metro now.

From curious tourists to canoodling couples who climb the dark narrow stairs to look at Hyderabad from atop Charminar, the charm of this 400-year-old lime, mortar and granite monument seems everlasting, with hundreds of visitors clocking in to take a peek of Hyderabad's history from the Charminar every day. The structure looks magnificent when illuminated at night. The top floor of the four-storeyed structure provides a panoramic view of the city and the Golconda Fort.

Be it the innumerable jharokhas on the first floor landing of the monument that women look through dreamily or the fountain in the monument's ground floor leaving water droplets and smiles on the faces of visitors to the floral designs on its granite floor and the intricate designs on the arches - Charminar's beauty lies not just in its
architectural but even in its historical significance.

While some believe that Charminar was built by Quli Qutub Shah for his lady love Bhagmati at the same place where her hut was situated, other historians say that it was the first 'people's monument'. "Charminar is the only Muslim monument in the country that was built to mark the end of a disease - a devastating plague. The monument was built by Quli Qutub Shah both in the memory of people who had been wiped out by the plague and to thank god for containing the spread of the disease," says Jitender Das of the Archaeological Survey of India.

Mumbai's nerve centre - Victoria Terminus is the lifeblood of Mumbai

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As any Mumbaikar will tell you, Victoria Terminus is the lifeblood of the city. The milling crowds, the stampede to get to your train first is all possible courtesy this great Gothic building created in 1888.

And though it may now be called the Chhatrapati Shivaji Terminus (CST) nothing can obliterate its secular spirit, its unique blend of East and West. Built in homage to Queen Victoria by British architect FW Stevens - he took ten years to finish it - the station is the signpost to the rest of India that they've made it to Mumbai. Many famous names will recall in their struggle to make it big, they, once upon a time, got out at this terminus with nothing.

The building has received honours, albeit a little late. In July 2004, it was nominated and made a World Heritage building by UNESCO - the first functioning administrative building to be selected. So it's no surprise that despite the honour, its gone right back to work. Every day an estimated 2.5 million people pass in and and out, rushing to catch up with life.

Scarcely any of them pay a thought to the station that makes it possible. The headquarters of the Central Railways, CST ensures that not just Mumbai but India remains on track. If it ever sneezes, the country could catch a big cold.

But if you're not rushing to catch a train, the best thing to do is take in the building at night. The Gothic
architecture of the building softened by the city's lights will leave you hard pressed to find anything more beautiful and awe-inspiring.

Petal perfect - Bahai Temple of New Delhi

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If you stand atop any highrise in Delhi's Connaught Place on a clear day and look towards the south east direction, the outline of a white lotus is silhouetted against the blue sky.

An epiphany in marble, the Bahai house of worship has etched itself on the consciousness of the city's inhabitants — capturing their imagination, fuelling their curiosity, and revolutionising the concept of worship.

Set among sprawling green lawns, the petals of this grand lotus are surrounded by nine pools that represent the floating leaves of the flower.

The interior dome is spherical and patterned after the innermost portion of the lotus flower. Light enters the hall in the same way as it passes through the inner folds of lotus petals. The interior dome is like a bud consisting of 27 petals.

Light filters through these inner folds and is diffused throughout the hall. The central bud is held by nine open petals, each of which functions as a skylight. The nine entrance petals complete the design. External illumination is arranged to create the impression that the lotus is afloat on water.

A spectacular combination of architecture, nature and culture, the Bahai house of worship combines the grandeur of a palace and the peace of a monastery. There are no priests, idols, pictures, sermons or rituals here. It is a place for communication between man and his God. The aura of silence surrounding the Prayer Hall instills reverence.

Daily public services here include selections from the holy books of all religions. Few temples radiate the atmosphere of sublimity, peace, and calm so necessary to elevate a devotee spiritually as the Bahai House of Worship.

Darjeeling Himalayan Train

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You've seen this locomotive chugging away happily in popular Hindi movie songs such as Mere Sapno Ki Rani and, more recently, Kasto Mazaa from Parineeta.

Of course this toy train huffing and puffing its way up from Siliguri to Darjeeling is no ordinary train. It's part of the folklore of the hill people. Locals wait everyday for the train to show up, coming from behind the mountains and then disappearing into the distant mist.

They wait for this sighting, for the tiny steam engine to blow its whistle and puff past their houses. The sound has been part of their memory since 1881, so much a part of their daily life that the railway authorities had to modify the whistle of the diesel engine to make it sound like a steam engine's.

The train runs on a zig-zag railway track not more than 2 feet wide. Along its way, it crosses tropical mixed evergreen forests and tea gardens (where you get Darjeeling tea from), making the hill railway what many say "a marvel of miniature engineering."

What's fascinating about the toy train is that even after 100 years little seems to have changed about the journey. Along the 86 km-stretch travellers can see magnificent pine trees dotting the Bhutan range, and the Teesta river just below.

On some stretches, the train runs parallel and on the same level as the Hill Cart road and provides a breathtaking view of the tea gardens on either side of the track. But what leaves everyone enchanted as they enter this toy train is the fascinating idea that perhaps the Lilliputian world described in Jonathan Swift's Gulliver's Travels has finally come to life.

Remains of a great empire - Vijayanagar

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The first time most Indians not living within a few hundred miles of Hampi first heard of the site was probably in the late '80s when the group of monuments was added to Unesco's World Heritage list. Both the international body's watch over it, and the lackadaisical approach of Indian tourists still besotted with boating in Ooty or watching the waters meet in Kanyakumari on their trip to South India, have been responsible for letting Hampi 'just be'.

Thankfully. The 14th century ruins - "among the most extraordinary constructions of India," says the Unesco report - nestle within them almost every highlight of classical Indian architecture.

Palaces, temples, marketplaces, watch towers, stables, baths and monoliths lie scattered amidst enormous boulders, which complement the rugged look and historic feel of the place. To complete the calendar look is the Tungabhadra river, its flow providing a much-needed sense of movement in the ambience that has remained frozen in time for long.

Built as the capital of the Vijaynagar empire, Hampi has all the elements that would make any royal proud of his abode. Horses, elephants and dancing girls carved in stone, musical pillars, cusped arches, a lotus-shaped fountain, a stepped water tank, an underground chamber, a massive chariot.

The ruins that speckle about 25 sq km area elicit exclamations after every short distance. The Virupaksha Temple has a nine-tiered 50-metre gopuram. The Vithala temple has 56 stone pillars that produce musical notes when tapped. Then there is the 6.7 mt Narasimha monolith.

The jewels may have been plundered, the city abandoned a couple of hundred years after it was founded, but the grandeur of the last Vijayanagar capital has to be seen to be believed. Even now.

Qutub Minar - The tallest brick minaret in the world

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Qutub Minar (Urdu: قطب منار) is the tallest brick minaret in the world, and an important example of Indo-Islamic Architecture. The tower is in the Qutb complex in South Delhi, India. The Qutb Minar and its monuments are listed as a UNESCO World Heritage Site.

The Qutub Minar is 72.5 metres high (237.8 ft) and requires 399 steps to get to the top, although it had not been possible for visitors to ascend the tower for some years, due to safety reasons (mainly due to the stampede tragedy) ,but now the visitors can reach the top of the tower by paying a fees of 500 INR or about 12$. The diameter of the base is 14.3 metres wide while the top floor measures 2.75 metres in diameter.

Surrounding the building are many fine examples of Indian artwork from the time it was built in 1193. A second tower was in construction and planned to be taller than the Qutub Minar itself. Its construction ended when it was about forty feet tall.

Inspired by the Minaret of Jam in Afghanistan and wishing to surpass it, Qutb-ud-din Aybak, the first Muslim ruler of Delhi, commenced construction of the Qutub Minar in 1193; but could only complete its basement. His successor, Iltutmish, added three more stories and, in 1368, Firuz Shah Tughluq constructed the fifth and the last story. The development of architectural styles from Aibak to Tuglak are quite evident in the minaret. Like earlier towers erected by the Ghaznavids and Ghurids in Afghanistan, the Qutub Mahal comprises several superposed flanged and cylindrical shafts, separated by balconies carried on Muqarnas corbels. The minaret is made of fluted red sandstone covered with intricate carvings and verses from the Qur'an. The Qutub Minar is itself built on the ruins of Lal Kot, the Red Citadel in the city of Dhillika, the capital of the Jat Tomars and the Chauhans, the last Hindu rulers of Delhi.

According to John Keay's "History of India," 27 previous Hindu and Jain temples were destroyed and their materials reused to construct the minar.[citation needed]

The purpose for building this beautiful monument has been speculated upon, apart from the usual role of a minaret—that of calling people for prayer in a mosque—in this case the Quwwat-ul-Islam mosque to the northeast of minar in AD 1198. It is the earliest extant mosque built by the Delhi Sultans. Other reasons ascribed to its construction are as a tower of victory, a monument signifying the might of Islam, or a watch tower for defence. Controversy also surrounds the origins for the name of the tower. Many historians believe that the Qutb Minar was named after the first Turkish sultan, Qutb-ud-din Aibak but others contend that it was named in honour of Khwaja Qutb-ud-din Bakhtiar Kaki of Ush, a saint from Baghdad who came to live in India who was greatly venerated by Iltutmish. According to the inscriptions on its surface it was repaired by Firuz Shah Tughlaq (AD 1351–88) and Sikandar Lodi (AD 1489–1517). Major R.Smith also repaired and restored the minar in 1829.

The iron pillar in Delhi: A miracle

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In the courtyard of the Quwwatu'l-Islam mosque stands the famous iron pillar, which bears a Sanskrit inscription in Gupta script, assignable to the 4th century. The inscription records that the pillar was set up as a standard or dhvaja of god Vishnu on the hill known as 'Vishnupada', in the memory of a mighty king, named 'Chandra', who is now regarded as identical with Chandragupta II (375-413) of the imperial Gupta dynasty. The base of the pillar is knobby, with small pieces of iron tying it to its foundations, and a lead sheet covers the portion concealed below the present floor-level.

According to the British historian Percival Spear, there was a statue attached to the pillar but he failed to identify it. Dr Munish Chandra, former additional director-general of ASI and noted scholar claims that the attached statue was that of Vishnu which the Muslim invaders destroyed.

The total length of this slightly tapering shaft is 23 feet 8 inches in length and its diameter varies from 12.5 inches at the top to 16.4 inches on the ground. The metal of the pillar has been found to be almost pure malleable iron. Its portion below the ground shows some signs of rusting, but at a very slow rate. The manufacture of such a massive iron pillar, which has not deteriorated much during seventeen hundred years of its existence, is a standing testimony to the metallurgical skill of ancient Indians.

A traditional belief says that the mighty Bheem (the mythological strongman of the Mahabharata) lifted the pillar with his right hand and impaled it in the ground. With this myth is also attached a legend that any one who can encircle the entire column will have their wish granted. However, it is fenced off from tourists so as to avoid any damage.

The Delhi Fort also known as Lal Qil'ah

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The Red Fort was the palace for Mughal Emperor Shah Jahan's new capital, Shahjahanabad, the seventh Muslim city in the Delhi site. He moved his capital from Agra in a move designed to bring prestige to his reign, and to provide ample opportunity to apply his ambitious building schemes and interests. The Red Fort stands at the eastern edge of Shahjahanabad, and gets its name from the massive wall of red sandstone that defines its four sides. The wall is 1.5 miles (2.5 km) long, and varies in height from 60ft (16m) on the river side to 110 ft (33 m) towards the city. Measurements have shown that the plan was generated using a square grid of 82 m.

The fort lies along the Yamuna River, which fed the moats that surround most of the wall. The wall at its north-eastern corner is adjacent to an older fort, the Salimgarh, a defense built by Islam Shah Suri in 1546. Construction on the Red Fort began in 1638 and was complete by 1648. But it is believed that it is The Ancient City of Lal Kot which was captured by Shahjahan since Lal Kot literally means Red(Lal) Fort(Kot). lal Kot was the capital city of Prithviraj Chauhan in the late 12th century

On 11 March 1783 Sikhs entered Red fort in Delhi and occupied the Diwan-i-Am. The city was essentially surrendered by the Mughal wazir in cahoots with his Sikh Allies. This task was carried out under the command of the Sardar Baghel Singh Dhaliwal of the Karor Singhia misl.

(Sardar Baghel Singh Dhaliwal on the third of his 3 campaigns to conquer Delhi.)

The Red Fort was conceived as a whole, and subsequent modifications have not taken away from the overall unity of the scheme. In the 18th century, however, occupiers and looters damaged some sections of the palace. After the Sepoy Mutiny of 1857, when the Fort was used as a headquarters, the British army occupied and destroyed many of its pavilions and gardens. A program for restoring the surviving parts of the fort began in 1903.

The walls of the fort are smoothly dressed, articulated by heavy string-courses along the upper section. They open at two major gates, the Delhi and the Lahore gates. The Lahore Gate is the main entrance; it leads to a long covered bazaar street, the Chatta Chowk, whose walls are lined with stalls for shops. The Chatta Chowk leads to a large open space where it crosses the large north-south street that was originally the division between the fort's military functions, to its west, and the palaces, to its east. The southern end of this street is the Delhi Gate. On axis with the Lahore gate and the Chatta Chowk, on the eastern side of the open space, is the Naqqar Khana ("drum house"), the main gate for the palace, named for the musicians' gallery above it. Beyond this gate is another, larger open space, which originally served as the courtyard of the Diwan-i-Am, the large pavilion for public imperial audiences. An ornate throne-balcony for the emperor stands at the center of the eastern wall of the Diwan, conceived as a copy of the throne of Solomon.

The imperial private apartments lie behind the throne. The apartments consist of a row of pavilions that sits on a raised platform along the eastern edge of the fort, looking out onto the river Yamuna. The pavilions are connected by a continuous water channel, known as the Nahr-i-Behisht, or the Stream of Paradise, that runs through the center of each pavilion. The water is drawn from the river Yamuna, from a tower, the Shah Burj, at the northeastern corner of the fort. The palace is designed as an imitation of paradise as it is described in the Koran; a couplet repeatedly inscribed in the palace reads, "If there be a paradise on earth, it is here, it is here". The planning of the palace is based on Islamic prototypes, but each pavilion reveals in its architectural elements the Hindu influences typical of Mughal building. The palace complex of the Red Fort is counted among the best examples of the Mughal style at its Shah Jahani peak.

The two southernmost pavilions of the palace are zenanas, or women's quarters: the Mumtaz Mahal (now a museum), and the larger, lavish Rang Mahal, which has been remarked for its gilded, decorated ceiling and marble pool, fed by the Nahr-i-Behisht. The third pavilion from the south, the Khas Mahal, contains the imperial chambers. These include a suite of bedrooms, prayer rooms, a veranda, and the Mussaman Burj, a tower built against the fortress walls, from which the emperor would show himself to the people in a daily ceremony. The next pavilion is the Diwan-i-Khas, the lavishly decorated hall of private audience, used for ministerial and court gatherings. This finest of the pavilions is ornamented with floral pietra dura patterns on the columns, with precious stones and gilding. A painted wooden ceiling has replaced the original one, of silver inlaid with gold.

The next pavilion contains the hammam, or baths, in the Turkish style, with Mughal ornamentation in marble and colored stones. To the west of the hammam is the Moti Masjid, the Pearl Mosque. This was a later addition, built in 1659 as a private mosque for Aurangzeb, Shah Jahan's successor. It is a small, three-domed mosque in carved white marble, with a three-arched screen which steps down to the courtyard.

To its north lies a large formal garden, the Hayat Bakhsh Bagh, or 'Life-Bestowing Garden', which is cut through by two bisecting channels of water. A pavilion stands at either end of the north-south channel, and a third, built in 1842 by the last emperor, Bahadur Shah Zafar, stands at the center of the pool where the two channels meet.

Humayun's Tomb

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Humayun's Tomb is a complex of buildings of Mughal architecture located in Nizamuddin east, New Delhi. In time of Slave Dynasty this land was under the KiloKheri Fort which was capital of Sultan Kequbad S/o Nasiruddin(1268-1287 AD). It encompasses the main tomb of the Emperor Humayun as well as numerous others. The complex is a World Heritage Site and the first example of this type of Mughal architecture in India. This style of mausoleum was the same that created the Taj Mahal in Agra.

The tomb of Humayun was built by the orders of Hamida Banu Begum, Humayun's widow starting in 1562. The architect of the edifice was reportedly Sayyed Muhammad ibn Mirak Ghiyathuddin and his father Mirak Ghiyathuddin who were brought in from Herat. It took 8 years to build and had a Chahr Bagh Garden style in its design, the first of its kind in the region.

Restoration work by the Aga Khan Trust for Culture (AKTC) was completed in March 2003, enabling water to flow through the watercourses in the gardens once more. Funding for this work was a gift from the institutions of His Highness the Aga Khan to India. In addition, AKTC is conducting a more significant restoration at Babur's tomb, the resting place of Humayun's father in Kabul.

Akshardham (Delhi)- New architectural Wonder of India

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Akshardham is a Hindu temple complex in Delhi, India. It was inaugurated in November 2005 by the President of India, Abdul Kalam, the Prime Minister, Manmohan Singh, and Pramukh Swami Maharaj, the spiritual leader of BAPS - the organization responsible for the creation of Akshardham. Sitting on the banks of the Yamuna River, adjacent to the proposed Commonwealth Games village, the complex features a large monument, crafted entirely of stone, permanent exhibitions on Bhagwan Swaminarayan and Hinduism, an IMAX cinema, musical fountain, and large landscaped gardens.

The Mandir

The main building at the centre of the complex is a 141ft high monument to Bhagwan Swaminarayan. Designed according to ancient Vedic texts known as the Sthapatya-Shastra, it features a blend of architecutral styles from across India. Within the monument, under the central dome, there is an 11ft high, gilded image of Bhagwan Swaminarayan. He is surrounded by the guru's of the sect. The building itself is constructed entirely from Rajasthani pink sandstone and Italian Carrara marble, and features no steel or concrete. It's height and location on the banks of the Yamuna mean its presence is felt from afar, and its carved details of flora, fauna, dancers, musicians and deities covering its surfaces from top to bottom, leave most visitors in awe.

The Exhibitions

Hall 1, named 'Sahajanand Pradarshan', features life-like robotics, dioramas, and incidents from Bhagwan Swaminarayan's life, portraying his message of peace, harmony, humility, service to others and devotion to God. The hall features the worlds smallest animatronic robot in the form of Ghanshyam Maharaj, the child form of Bhagwan Swaminarayan.

Hall 2, named 'Nilkanth Kalyan Yatra', houses Delhi's first and only large format screen. The theatre shows a movie specially commissioned for the complex that shows the journey Bhagwan Swaminarayan made during his teenage years across the length and breadth of India. An international version of the film was released in 2005 at IMAX and Giant Screen cinemas worldwide under the title 'Mystic India'.

Hall 3, named Sanskruti Vihar, takes visitors on a journey through 10,000 years of Indian history in 10 minutes. Visitors sit in specially designed peacock boats that make their way around an artificial river, passing the worlds first university, chemistry laboratories, ancient hospitals and bazaars, finally ending with a message for the future of India.

The Yagnapurush Kund

The Yagnapurush Kund is India's largest step well. It features a very large series of steps down to a traditional 'yagna kund'. During the day, these steps provide rest for the visitors to the complex and at night, a musical fountain show representing the circle of life is played to an audience which is seated on the same steps.

The Bharat Upavan

The Bharat Upavan, or 'Garden of India', has lush manicured lawns, trees and shrubs, dotted with bronze sculptures of contributors to India's culture, including Children of India, Women of India, and Heroes of India.

The Yogi Hraday Kamal

This sunken garden, shaped like a lotus when viewed from above features large stones engraved with quotes from world luminaries ranging from Shakespeare and Martin Luther King, to Swami Vivekananda and Bhagwan Swaminarayan.

Creator

Swaminarayan Akshardham was created by Pramukh Swami Maharaj, the current spiritual leader of BAPS Swaminarayan Sanstha (BAPS). It was created under his guidance after his guru Yogiji Maharaj expressed a wish for the construction of the complex. As well as Swaminarayan Akshardham, New Delhi, he has created international cultural complexes like Swaminarayan Akshardham, Ghandhinagar (India), The Shri Swaminarayan Mandir in London (England) (Popularly known as the Neasden Temple), and similar temples in Houston TX, Chicago IL, Atlanta GA, Los Angeles CA, Toronto (Canada)and Nairobi (Kenya). His role as spiritual leader means he constantly travels and meets people throughout the world with an aim to helping them lead better lives.

Upon the opening of the complex in November 2005, Pramukh Swami Maharaj expressed the following wish:

“In this Akshardham, may one and all find inspiration to mould their lives and may there lives become divine. Such is my prayer to God.” ~Shastri Narayanswarupdas (Pramukh Swami) Inspirer and & Creator of Akshardham.

BAPS Swaminarayan Sanstha (of whom Pramukh Swami Maharaj is the leader) is an international social, spiritual and charitable NGO affiliated with the United Nations. Through its 9000 centers, 750 sadhus (or monks), 55,000 volunteers and over 1,000,000 followers, BAPS performs over a 160 humanitarian activities. Akshardham is a part of BAPS's culture and educational activities to promote Indian art, culture, and values. BAPS also has a charitable arm, known as BAPS Car

The Mahabodhi Temple (Literally: "Great Awakening Temple")

The Mahabodhi Temple (Literally: "Great Awakening Temple") is a Buddhist temple in Bodh Gaya, the location where Siddhartha Gautama, the Buddha, attained enlightenment. Bodh Gaya is located about 96 km (60 miles) from Patna, Bihar state, India. Next to the temple, to its western side, is the holy Bodhi tree. In the Pali Canon, the site is called Bodhimanda, and the monastery there the Bodhimanda Vihara.
Buddhist legends concerning the site of the Mahabodhi Temple

The site of the Bodhi tree at Bodhigaya is, according to the Buddhist commentarial scriptures, the same for all Buddhas. According to the Jatakas, it forms the navel of the earth, and no other place can support the weight of the Buddha's attainment.

When no Bodhi tree grows at the site, the Bodhimanda (ground round the Bodhi-tree), for a distance of one royal karīsa, is devoid of all plants, even of any blade of grass, and is quite smooth, spread with sand like a silver plate, while all around it are grass, creepers and trees. None can travel in the air immediately above it, not even SakkaJ.iv.232f.

In the case of Gautama Buddha, his Bodhi tree sprang up on the day he was born.

Rise of Buddhism

Traditional accounts say that, around 530 BC, Gautama Buddha, wandering as a monk, reached the sylvan banks of Falgu River, near the city of Gaya, India. There he sat in meditation under a peepul tree (Ficus religiosa or Sacred Fig), which later became known as the Bodhi tree. According to Buddhist scriptures, after three days and three nights, Siddharta attained enlightenment and the answers that he had sought. Mahabodhi Temple was built to mark that location.

The Buddha then spent the succeeding seven weeks at seven different spots in the vicinity meditating and considering his experience. Several specific places at the current Mahabodhi Temple relate to the traditions surrounding these seven weeks:

* The first week was spent under the Bodhi tree.
* During the second week, the Buddha remained standing and stared, uninterrupted, at the Bodhi tree. This spot is marked by the Animeshlocha Stupa, that is, the unblinking stupa or shrine, which is located on the north-east of the Mahabodhi Temple complex. There stands a statute of Buddha with his eyes fixed towards the Bodhi tree.
* The Buddha is said to have walked back and forth between the location of the Animeshlocha Stupa and the Bodhi tree. According to legend, lotus flowers sprung up along this route, it is now called Ratnachakarma or the jewel walk.

In approximately 250 BC, about 250 years after the Buddha attained Enlightenment, Buddhist Emperor Asoka visited Bodh Gaya with the intention of establishing a monastery and shrine. As part of the temple he built, the diamond throne (called the Vajrasana), attempting to mark the exact spot of the Buddha's enlightenment, was established. Asoka is considered the founder of the Mahabodhi Temple.

Buddhism declined when the dynasties patronizing it declined, following White Hun and the early Islamic invasions such as that of Muhammad bin Qasim. A strong revival occurred under the Pala Empire in the northeast of the subcontinent (where the temple is situated). Mahayana Buddhism flourished under the Palas between the 8th and the 12th century. However, after the defeat of the Palas by the Hindu Sena dynasty, Buddhism's position again began to erode and became nearly extinct in India. During the 12th century AD, Bodh Gaya and the nearby regions were invaded by Muslim armies. During this period, the Mahabodhi Temple fell into disrepair and was largely abandoned. During the 16th century, a Hindu monastery was established near Bodh Gaya. Over the following centuries, the monastery's abbot or mahant became the area's primary landholder and claimed ownership of the Mahabodhi Temple grounds.

In the 1880s, the-then British government of India began to restore Mahabodhi Temple under the direction of Sir Alexander Cunningham. A short time later, in 1891, the Sri Lankan Buddhist leader Anagarika Dharmapala started a campaign to return control of the temple to Buddhists, over the objections of the mahant. The campaign was partially successful in 1949, when control passed from the Hindu mahant to the state government of Bihar, which established a temple management committee. The committee has nine members, a majority of whom, including the chairman, must by law be Hindus. Mahabodhi's first head monk under the management committee was Anagarika Munindra, a Bengali man who had been an active member of the Maha Bodhi Society.

Mahabodhi Temple's central tower rise to 55 meters, and were heavily renovated in the 19th century. The central tower is surrounded by four smaller towers, constructed in the same style.

The Mahabodhi Temple is surrounded on all four sides by stone railings, about two metres high. The railings reveal two distinct types, both in style as well as the materials used. The older ones, made of sandstone, date to about 150 BC, and the others, constructed from unpolished coarse granite, are believed to be of the Gupta period (300 CE – 600 CE). The older railings have scenes such as Lakshmi, the Hindu goddess of wealth, being bathed by elephants; and Surya, the Hindu sun god, riding a chariot drawn by four horses. The newer railings have figures of stupas (reliquary shrines) and garudas (eagles). Images of lotus flowers also appear

Mahabodhi Temple is claimed as property of state government of Bihar, part of India. Under the terms of the Bodh Gaya Temple Act of 1949, the state government makes itself responsible for the protection, management, and monitoring of temple and its properties. The Act also has provisions for a Temple Management Committee, along with an advisory Board, which consists of the governor of Bihar state and twenty to twenty-five other members, half of them from foreign Buddhist countries.

The Temple Management Committee is the executive body for management of the Mahabodhi Temple and certain adjoining areas. The TMC functions under the supervision, direction, and control of the state government of Bihar.

In June 2002, the Mahabodhi Temple became a UNESCO World Heritage Site, specifically nominated for the international World heritage program.

All finds of religious artifacts in the area are legally protected under the Treasure Trove Act of 1878.

Agra Fort

2010-04-10T17:09:00.001-07:00

Agra Fort is a UNESCO World Heritage site located in Agra, India. The fort is also known as Lal Qila, Fort Rouge and Red Fort of Agra. It is about 2.5 km northwest of its much more famous sister monument, the Taj Mahal. The fort can be more accurately described as a walled palatial city.

It is the most important fort in India. The great Mughals Babur, Humayun, Akbar, Jehangir, Shah Jahan and Aurangzeb lived here, and the country was governed from here. It contained the largest state treasury and mint. It was visited by foreign ambassadors, travellers and the highest dignitaries who participated in the making of history in India.

This was originally a brick fort and the Chauhan Rajputs held it. It was mentioned for the first time in 1080 AD when a Ghaznavide force captured it. Sikandar Lodi (1487-1517) was the first Sultan of Delhi who shifted to Agra and lived in the fort. He governed the country from here and Agra assumed the importance of the 2nd capital. He died in the fort in 1517 and his son, Ibrahim Lodi, held it for nine years until he was defeated and killed at Panipat in 1526. Several palaces, wells and a mosque were built by him in the fort during his period.

After Panipat, Mughals captured the fort and a vast treasure - which included a diamond that was later named as the Kohinoor diamond - was seized. Babur stayed in the fort in the palace of Ibrahim. He built a baoli (step well) in it. Humayun was coronated here in 1530. Humayun was defeated in Bilgram in 1530. Sher Shah held the fort for five years. The Mughals defeated the Afghans finally at Panipat in 1556.

Realizing the importance of its central situation, Akbar decided to make it his capital and arrived in Agra in 1558. His historian, Abdul Fazal, recorded that this was a brick fort known as 'Badalgarh' . It was in a ruined condition and Akbar had it rebuilt with red sandstone. Architects laid the foundation and it was built with bricks in the inner core with sandstone on external surfaces. Some 4000 builders worked on it for eight years, completing it in 1573.

It was only during the reign of Akbar's grandson, Shah Jahan, that the site finally took on its current state. The legend is that Shah Jahan built the beautiful Taj Mahal for his wife, Mumtaz Mahal. Unlike his grandfather, Shah Jahan tended to have buildings made from white marble, often inlaid with gold or semi-precious gems. He destroyed some of the earlier buildings inside the fort in order to make his own.

At the end of his life, Shah Jahan was imprisoned by his son, Aurangzeb, in the fort, a punishment which might not seem so harsh, considering the luxury of the fort. It is rumored that Shah Jahan died in Muasamman Burj, a tower with a marble balcony with an excellent view of the Taj Mahal.

This was also a site of one of the battles during the Indian rebellion of 1857, which caused the end of the British East India Company's rule in India, and led to a century of direct rule of India by Britain.

The Agra Fort has won the Aga Khan Award for Architecture in the year 2004 and India Post has issued a Stamp to commemorate this prestigious award on 28.11.2004.

The fort has a semi-circular plan, its chord lying parallel to the river. Its walls are seventy feet high. Double ramparts have massive circular bastions are regular intervals as also battlements, embrasures, machicolations and string courses. Four gates were provided on its four sides, one Khizri gate" opening on to the river.

Two of the gates are called the 'Delhi Gate' and the 'Lahore Gate' (sometimes called Amar Singh Gate).

The Delhi Gate is considered the grandest of the gates and leads into an inner gate called the Hathi Pol (Elephant Gate). Due to the fact that the Indian military (the Parachute Brigade in particular) is still using the northern portion of the Agra Fort, the Delhi Gate cannot be used by the public. Tourists enter via the Lahore Gate. Lahore Gate is named so because it faces Lahore, now in Pakistan.

The site is very important in terms of architectural history. Abul Fazal recorded that five hundred buildings in the beautiful designs of Bengal and Gujarat were built in the fort. Some of them were demolished to make way for his white marble palaces. Most of the others were destroyed by the British between 1803 and 1862 for raising barracks. Hardly thirty Mughal buildings have survived on the south-eastern side, facing the river. Of these, the Delhi Gate and Akbar Gate and one palace - "Bengali Mahal" - are representative Akbari buildings.

The Delhi gate faces the city. A draw-bridge and a crooked entrance make it impregnable. Two life sized stone elephants with their riders were placed on its inner gate which was called "Hathi Pol". The Delhi gate was monumentally built as the king's formal gate.

Akbar Gate was renamed "Amar Singh Gate" by the British. The gate is similar in design to the Delhi gate. Both are built of red sandstone.

The Bengali Mahal is also built of red sandstone and is now split into "Akbari Mahal" and "Jehagiri Mahal".

Some of the most historically interesting mixing of Hindu and Islamic architecture reside there.

Goa Velha

2010-04-10T17:07:00.000-07:00

The Churches and Convents at Velha (Old) Goa owe their existence to the Portuguese rule in this part of the western coast of India.

The most comprehensive group of churches and cathedrals built during 16th to 17th century AD at Old Goa comprise of the following:

Se' Cathedral, Church and Convent of St. Francis of Assisi, Chapel of St. Catherine, Basilica of Bom Jesus; Church of Lady of Rosary; Church of St. Augustine.

The Church of St. Cajetan is modelled on the original design of St. Peter's Church in Rome. The Church of Bom Jesus with its facade decorated with Ionic, Doric and Corinthian pilasters, shows the application of the Classical order. The Se' Cathedral which was begun as a small chapel built of mud and straw under the order of Alfonso Albuquerque after his conquest of Goa is yet another example of Renaissance with its Tuscan exterior, the Corinthian columns at its portals, the raised platform with steps leading to the entrance and the barrel-vault above the nave. The principal chapel is large and ornamented with engraved pillars and pilasters. The images of Senhora d’Esperanca (Our Lady of Hope), Christ crucified and St. Catherine standing in the centre with statues of St. Peter and St. Paul on either side.

The paintings in the churches were done on wooden borders and fixed between panels having floral designs as in the chapels housing the tomb of St. Xavier, the arches above the altars in the transept of the Se' Cathedral and in the nave on either side of the main altar in the Church of St. Francis of Assisi. Excepting a few which are in stone, the statues are mostly in wood delicately carved and painted to adorn the altars. They depict mostly the saints, Mother Mary and Jesus on the cross.

Bom Jesus is said to be one of the grandest Churches to be raised in Asia vast and magnificent with ornaments suited to its greatness. Made of black granite, it part Doric and part Corinthian façade is elaborately carved. The ceiling is highly decorated. Sarcophagi of illustrious Portuguese who were connected with the religious life of Goa are very interesting. Its high and broad altar is dedicate to the figure of infant (Bom) Jesus.u

2010-04-10T17:06:00.000-07:00

Bhimbetka rock shelters

The Bhimbetka rock shelters compose an archaeological site and World Heritage Site located in the Indian state of Madhya Pradesh. The Bhimbetka shelters exhibit the earliest traces of human life in India; its Stone Age rock paintings are approximately 9,000 years old, making them among the world's oldest.

The name Bhimbetika comes from the mythological association of the place with Bhima, one of the Pandavas (The five sons of king Pandu and the queens Kunti and Madri) in the Hindu epic Mahabharata.The Rock Shelters of Bhimbetaka lie 45 km south of Bhopal at the southern edge of the Vindhyachal hills. South of these rock shelters are successive ranges of the Satpura hills. The entire area is covered by thick vegetation, has abundant natural resources in its perennial water supplies, natural shelters, rich forest flora and fauna, and bears a significant resemblance to similar rock art sites such as Kakadu National Park in Australia, the cave paintings of the Bushmen in Kalahari Desert, and the Upper Paleolithic Lascaux cave paintings in France.
As reported in the UNESCO citation declaring the Rock Shelters of Bhimbetka as a World Heritage Site, Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site, based on information gathered from local adivasis. Later, as V. S. Wakankar was traveling by train to Bhopal he saw some rock formations similar to those he had seen in Spain and France. He visited the area along with a team of archaeologists and discovered several prehistoric rock shelters in 1957.[1] Since then more than 700 such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha Juar group. Archeological studies revealed a continuous sequence of Stone Age cultures (from the late Acheulian to the late Mesolithic), as well as the world’s oldest stone walls and floors. The earliest paintings on the cave walls are believed to be of the Mesolithic period. A broad chronology of the finds has been done, but a detailed chronology is yet to be created. The caves have evolved over time into excellent rock-shelters, ideal sites for aboriginal settlements. The smooth shape of the rocks has led some scientists to believe that the area was once under water. The rocks have taken on incredible shapes in several stunning hues and textures. Apart from the central place the aboriginal drawings have in human history, the caves themselves offer interesting material for a study of the earth's history.The rock shelters and caves of Bhimbetka have a number of interesting paintings which depict the lives and times of the people who lived in the caves, including scenes of childbirth, communal dancing and drinking, and religious rites and burials, as well as the natural environment around them. One rock, popularly referred to as “Zoo Rock”, depicts elephants, sambar, bison and deer. Paintings on another rock show a peacock, a snake, a deer and the sun. On another rock, two elephants with tusks are painted. Hunting scenes with hunters carrying bows, arrows, swords and shields also find their place in the community of these pre-historic paintings. In one of the caves, a bison is shown in pursuit of a hunter while his two companions appear to stand helplessly nearby; in another, some horsemen are seen, along with archers. It is a marvel that the paintings have not faded even after thousands of years. It is believed[vague] that these paints were made of colored earth, vegetable dyes,[dubious — see talk page] roots and animal fat. Brushes were made of pieces of fibrous plants. Because of the natural red and white pigments the artists used, the colors have been remarkably well preserved. The oldest paintings are believed[vague] to be 12,000 years old, but some of the geometric figures date to as recently as the medieval period. The colours used are vegetable colours which have endured through time because the drawings are generally made deep inside a niche or on inner walls. The presence of the figure of a horse, which is supposed to have come into India in relatively recent times, indicates that some of the drawings date back a few thousand years but there are other drawings which have been established as of the paleolithic age by archaeologists, using carbon dating techniques.

vaah taj!

2010-04-10T17:05:00.000-07:00

What can be said about the Taj Mahal that hasn't already been said? Ever since it was unveiled to the world, almost four centuries ago, praise for the marbled wonder has never ceased.

Shah Jahan, himself, in his Badshahnama, wrote that the sight of its beauty 'creates sorrowing sighs and makes the sun and moon shed tears from their eyes.'

Other poets, writers and artists too outdid themselves, when it came to speaking about the Taj. Rabindranath Tagore, for instance called it 'a tear drop upon the cheek of time.'

The British painter Hodges compared it to 'a perfect pearl on an azure ground - with an effect so dazzling that no other work of art can ever produce.' Even the otherwise reticent Rudyard Kipling found it to be 'an embodiment of all things pure.'

So, what makes the Taj so universally appealing? When Shah Jahan conceptualised it, he wanted his monument to be unique. And, his architects did not let him down. The main marble tomb stands on a square plinth, with four minarets on each corner of the plinth, giving it a symmetrical design.

The minarets, in fact, have been so designed that in an earthquake, they will fall away from the tomb and not on it. The surface of the tomb has been extensively decorated with exquisite calligraphs.

However, what adds to Taj's beauty, many feel, is not just its physical perfectness but also the story behind it - of Shah Jahan and Mumtaz, which gives that extra touch of romance to the monument. Maybe it is this diversity, in which lies the beauty of Taj — to be different things to different people, yet still be beautiful to all.

AGRA FORT

2010-04-10T16:57:00.000-07:00

Agra, at 171 metres on the banks of the Yamuna River, was mentioned in the epic Mahabharata when it was called Agrabana, or Paradise. Ruled by Sikandar Lodi in the year 1506, it achieved fame as the capital of the Mughal emperors from 1526 to 1658 and keeps many magnificent monuments of the Mughal-era, including the Taj Mahal, the Agra Fort and Fatehpur Sikri, all three listed in the UNESCO's World Heritage Site List.

"THE AGRA FORT, a walled palatial city also known as Lal Qila, is the most important fort in India, having been the residence of the great Mughals Babur, Humayun, Akbar, Jehangir, Shah Jahan and Aurangzeb, who governed the country from here"

"WALLS - Originally a brick fort, Akbar had it rebuilt with bricks in the inner core and sandstone on external surfaces"

"AMAR SINGH GATE, also known as the Lahore Gate, was originally known as «Akbar Darwaza» and was reserved for the emperor. Shah Jahan renamed it after Rao Amar Singh of Jodhpur, who, according to the legend, slew Salabat Khan, the chief treasurer of Shah Jahan, in front of the emperor and leapt with his horse over the high walls. The horse died and Amar was arrested and put to death. However, his courage won the admiration of the emperor and the gate was renamed in his honour"

"JAHANGIRI MAHAL, the principal palace for women, used mainly by the Rajput wives of Akbar, is the most noteworthy building inside the Fort. Built in red sandstone between 1565 and 1569, it has an impressive façade facing an open court to the west, an arched portal, a series of ornamental arches and an octagonal tower on its either side. The eastern verandas have a beautiful view towards the river and the Taj Mahal"

"GEM MOSQUE - The «Nagina Masjid», built between 1631-40, is made up of pure white marble and was meant for the personal use of the emperor"

KHAS MAHAL - Built by Shah Jahan between 1631 and 1640 for his two favourite daughters, it has a beautiful tank in front with fountains, white marble pavilions and open courts"

"DIWAN-I-AAM - The Hall of Public Audience was the result of Shah Jahan's love for marble. Constructed between 1631 and 1640, the assembly hall has an arcade façade with nine arches and the hall is divided into three aisles. Though constructed in red sandstone, it had been plastered with white shell plaster to resemble white marble"

"JOHN RUSSEL COLVIN, lieutenant-governor of the North-West Provinces of British India during the mutiny of 1857, died of cholera during the peak of the Indian Rebellion of 1857. His body could not be carried out of the Agra Fort..."

"MUSAMMAN BURJ - The Octagonal Tower seems to have been built by Shah Jahan as a marble tower inlaid with precious stones for his beloved queen Mumtaz Mahal. It served also as his residence for the last years of his live, since his son Aurungzeb imprisoned him till his death. It offers exotic views of the Taj Mahal. The most ornate building of the entire fort is the small pavilion known as Shah Burj"

"PORTAL"

"DECORATION"