A small town, just like any other town in southern India. Dusty, crowded streets buzzing with the street vendors, agriculture shops, tractor showrooms, and some Udupi restaurants surrounding central bus stand. Adjacent to National Highway 73, located on the southern shore of the Yagachi reservoir, Belur is a home of one of the most brilliant architectures ever created in history. Channakeshava Temple.

Hoysala Empire History:

Hoysalas were one of the respectable families in southern India, from a village named Malenadu. Initially, they were serving the Western Chalukya Dynasty during the early 11th century. Taking the advantages of the constant clashes occurring between Chalukyas and Kalachuris in southern India, Hoysala rose to power.
Hoysala dynasty has a rather interesting origin story as per the local folklore. In the 11th century, there was a Jain teacher sage named Sudatta, living in the village of Sosevuru with his few students. Once, a gigantic lion attacked his Ashram while he was teaching. Sudatta ordered his student Sala to slain the lion. Without any hesitation, Sala picked up the sword and after a horrible battle between man and the beast, he killed the lion. In old Kannada, Hoy means to Slay. Hence, the Dynasty Sala established was named as Hoysala. This emblem will be found on stone inscriptions, on the temple walls as well as on the turrets of the temples belonging to the Hoysala dynasty.

Many inscriptions are found praising the Hoysalas, from Solapur to Tanjore and from Kodagu to Arcot. Many brave Kings like Sala, Ballala, Narsimha, and Vishnuvardhana ruled here with honesty, empathy, and wisdom. They fought many wars with Kadambas, Pandyas, and Cholas to expand their territories. Initially, they have capital right here at Belur. Later, they moved it to Halebeedu. For a while, even they tried to stop the Islamic invasion, coming from the north. But after a while, they could not match the brut ferocity of Malik Kafur. in 1311, on his second invasion of South India, he raided the Hoysala Kingdom, looting, Killin, raping and burning anything and everything in his way with a force of a hundred thousand riders. He halted at new Capital Dwarsamudra, for twelve days, so that he can peacefully burn the city and destroy the Halebeedu temples with Hammers. And everything was destroyed as per his satisfaction, he returns to the North.

Legendary Architecture Historian James Fergusson describes Belur as, “It may be probably considered as one of the most marvelous exhibitions of Human Labor, to be found in the patient east. No two facets of the temples are the same, every evolution of every scroll is different. No two canopies in the whole building are alike and every part exhibits joyous exuberance of fancy scorning every mechanical restraint”.

History of Chennakeshava Temple, Belur

As per the various inscriptions, found across Karnataka, within the span of 350 years, Hoysalas built more than 1500 temples. They made Velapuri their capital. Due to their devotion towards Lord Vishnu, Velapuri (Belur) was received admiration as Dakshin (Southern) Varanasi, and Vaikuntha on Earth.
This great monument of medieval art was built by King Bittideva, who called himself Vishnuvardhana. Bettideva initially was following Jainism. But after coming under the influence of Sage Ramanujacharya, he transformed himself as Vaishnav or the one who follows Vishnu. He had glorious military campaigns during his regime fighting alongside his general Punisa. After his spiritual enlightenment, he went on war and had a huge victory over Cholas in the war of Talakadu. To celebrate his victory over the Chola dynasty, he and his beloved queen Santala Devi started the construction of the temple. Hence, this temple is also called as Vijaya Narayana Temple. After 130 years of meticulous construction, this marvel was erected. His grandson, Veerballala II added many sculptures to it, later on, completing this masterpiece.
After the invasion of Malik Kafur, Belur was decimated to the ground. In the 14th century, Vijaynagara kings reconstructed the temple, with some more additions.
In 1433, one Iraqi traveler named Abdul Razaq visited the temple. He was so impressed with the marvelous architecture, he just writes this in his journal: “I dared not attempt any description, or I will be accused of exaggeration”.
Chenna means beautiful. Kesava is one of the thousand names of Lord Vishnu. Chennakesava means Gorgeous Vishnu.

Chennakeshava Temple Architecture

Hoysala temple has some unique distinguishing characteristics. Usually, these temples will be located near a water reservoir. They all will be constructed on elevated platforms, and the walls will be constructed in such a way that the maximum number of sculptures can be added to them. Chennakeshava is not different from it. Hoysala style of architecture is a perfect blend of southern as well as the Northern Indian style of architecture. Best of the two worlds. First, you will be greeted by the Raj Gopuras. As you cross them, flag pole and Garuda in Namaste pose welcome the devotees. Then, you will find yourself in front of the main temple, elevated on a star-shaped platform. This temple has two sides. Front and back. The front side has been called a Jeevatma side, as it represents every day from our normal materialistic life. The entire Jeevatma part of the temple is underscored with beautiful figurines in female form, fixed with brackets on the roof. These women or Madanikas are inspired form queen Shantala.
The backside is referred to as Parmatma or, divine. Brilliantly beautiful sculptures of Gods, Goddesses, and other holy beings are chiseled here.

Gopuram of Chennakeshava Temple:

Temple is surrounded by a huge wall, protecting the temple. By using the same sturdy walls, corridors with small rooms are constructed from within. The entrance is decorated by a huge yellow Gopuram (Tower), which is visible from anywhere within the town. Hoysala king Immadi Ballala built the original Gopura during 1200 AD, but it was destroyed by Bahamani invader sultan Shamshuddin Shaha. The Gopuram and the wall you are seeing are built in 1397 AD by Vijaynagar kings. Hence, this Gopuram resembles the Gopuras from Hampi temples like Vitthal or Virupaksh temples. Remove your foot ware on a stand and enter through the grand entrance. Hire a guide, he will be worth every Rupee. You will find yourself standing in a huge courtyard, keeping ChannaKesava temple in front.

Gopuram structure is the specialty of South Indian temple architecture. Gau means cow, or holy in Sanskrit. Puram means town. Hence, gopuram means Holy Land. You can see two cow horn-like curvey structures are set on the top of the tower, naming the tower as Gopuram. Representing the holiness of the place.
In between two horns, you will find five decorative brass pots or Kalasha like structures. Number five has a special place in Vedic religion. Number five dominates human life in many ways. As per Vedic texts, there are five elements (Panch Bhoota as in earth, water, fire, air, and space), there are five senses (Panchendriyas, as in sound, touch, sight, taste, and smell), five Sacraments (Panchamrut), Five products from Cow (Panch Gavya as in milk, urine, dung, curd, and Ghee), five lamps to be offered to Lord Vishnu (Pancharati), Five Vedas and last but not least, Five Pandavas as well.

Pole of the Garuda

There is a twenty-two-foot brass flagpole, right in the middle of the temple courtyard. During the festival of Brahmotsava, Garuda, the eagle flat is hosted on the top of the pole. The presence of a flag pole with Garuda statue represents the completion of the temple, inviting the devotees.
Garuda idol is kept in front of the pole. Garuda is a demigod, god of all the birds, is standing here in front of Channakeshava, in Namaste position. The statue is loaded with jewelry of exquisite carvings. Lord of birds is wearing arm-bands and wrist bands made up of Cobras, along with a beautiful ornament called Mekhala, under his stomach, adorning his thighs and Hips.
The statue is, however, established a few centuries after the Hoysala Period by the sculpture named Javaracharya.

Temple Surroundings

The main temple is surrounded by several mini shrines, a well-built water tank, one ceremonial hall, one giant gravity pillar, a granary, and roofed corridors with stone pillars running across the fence wall.

Chennakeshava Temple water tank pushkarini — Water Tank

Don’t be in such a hurry to climb those steps to enter the main temple. There are four mini temples on each side of these steps. Tini tiny elephants are carrying these four mini temples on their backs for centuries.

Chennakesava Temple Entrance

Chennakeshava Temple entrance torana — Channakeshava Temple Torana (Door Border)

Before entering the temple, spend some time observing the east-facing entrance. A skillful, ultra minute craftsmanship is ornamenting the entrance. The symmetry is just astonishing. Makar animals, saluting Garuda and Narsimha on top while Kirtidhwaja looking over them. Narsimha is wearing the intestines of HiranyaKashyapu like garlands. Look close enough, you will see ten incarnations of Lord Vishnu hidden inside the circular creeper bordering the Narsimha. Rest is just a stone coming to life, like ripples on calm water. Hoysala kings were Vaishnav (followers of Lord Vishnu) and their clan god was Narsimha. Here, you will encounter this ghastly demon slayer god in many forms.

Chennakeshava Temple entrance — Kama & Ratee Welcoming you…

Kama and Ratee are considered as celestial gods of desire, love, lust, passion, and carnal pleasures. They greet you at the doorsteps of Chennakesava temple, reminding you to get rid of such desires if you want to meet the Parmatma. Leaving the lusty desires outside the temple, you enter the structure.

Entrance Bay

Its dark inside, so be careful not to bump into one of these lathe-turned pillars carrying the main temple. Their edges are sharp like swords. How they have carved them so sharp and accurate? Don’t know.
Each pillar has a different story to tell. Belur temple roof is held on top of 48 pillars. Some of them are smooth circular in shape, some of them have lotus, stars, and umbrella carved on them. But, two of them, stand out the most.

Narsimha Pillar

There is one pillar named Narsimha pillar, which is said to be revolving with the help of ball bearings, once upon a time. as the time passed, the ball bearings inside got damaged. Narsimha pillar portrays the idea of heaven with several floors. Each floor has small pillars, which are hollow from inside. I think these sculptures are just showing off to the gods what they can create with the stones. Different gods, deities, and other celestial creatures have been portrayed on the pillar. The entire pillar is filled with minute craftsmanship, except for one small square. This square represents the almighty God, in his formless characteristic. Some sects in Hinduism believe god does not have shape, size, and any definitive form. This blank square represents the formless god. Guides in the temple believe, that it was left blank intentionally, to challenge the future generation of sculptures.

Mohini Pillar

Same story with the famous Mohini pillar. The female incarnation of Lord Vishnu is beautifully carved here, presenting the perfect female form. She is called Kamakshi, the one with hauntingly beautiful eyes., with a narrow waist (Simha Kati). She has shown wearing a sacred thread- A Janeu, underlining the equality in ancient India, where women had equal rights as men. Her hips are decorated with an ornament called Mekhala, and one garland, which is coming over her shoulder, till her knees is called Vanamala.

Bhuvaneshwari: Decorative Ceiling

Chennakeshava temple inner ceiling — Sculpture must have exclaimed: Oh dear god, thanks for guiding my chisel and hammer!!

Now, comes the best part of the temple. Its roof. Right in front of Sanctum, there is a round platform of six inches height. It is said, that queen Shantala used to perform her dance here on auspicious days, to honor the Keshava. Right above this ancient dance floor, there lies the best roof in the world. Forget the Sistine Chapel from the Vatican, painted by Michelangelo. This is carved over your head. Most intricate design, on the inverted dome, is the silent feature of Hoysala architecture, presented here in the most beautiful manner. This design has an appropriate name as Bhuvaneshwari. These are 52 soapstones, interlocked with each other, without any cementing material.

If you look closely on your head, you will find a small intricate carving of Ugra Narsimha, slaying the demon Hiranyakashipu. Narsimha is tearing the demon’s stomach and wearing his intestines as the garland, around his neck. He has ten hands, and in remaining hands, he is holding various weapons. This Chandelier made up of stone is the highlight of the Belur temple.
The most beautiful, intricate entrance in the world, carved out of black stone, and not from white marble…

Torana (Entrance Border of Sanctorum)

Jay - Vijay Guarding the Entrance — Jay – Vijay Guarding the Entrance

This is perhaps the most intricate stone carving I have seen in my life. On the door border of the Sanctum Sanctorum of Chennakesava Temple. Lord Chennakeshava, is guarded by horrifying Jay-Vijay. They are covered with some seriously minute detailed, laser-cut, exquisite Jewelry. Detailing will just blow your mind. These two doormen of Kesava are loaded with such a finest jewelry that I have not seen before.

chennakeshava temple belur torana — Most Epic Door Border in the world

On the top of the Jay Vijay, you will see some epic craftsmanship indeed. On the crowned heads of Jay and Vijay, you will see Makara animals. These celestial animals are a combination of several ferocious creatures from the animal kingdom. Riding on them, are Varuna and his consort Varuni. The lord of the rains and prosperity. One of the legendary Ashta Digpalas, protecting the west direction. They have tails like a peacock, creating waves on the stones. A border coming out from their mouth is escalating towards another fierce creature called Kirtimukha. These waves have their own fold, and each wave has five folds. On each fold, you will see a fish, a tortoise, Varaha, and so on. Each fold represents the incarnation of Lord Vishnu.
These waves, coming from the mouths of Makara have created an arch-like structure, under which, you can see, Lord Vishnu and Goddess Lakshmi are sitting.
Bellow them, you can see celestial musicians and dancers called Gandharva, doing what they are best-known for-Dancing and singing. Each of them has the body language of their own, all are praising Lord Vishnu with their heavenly music.
Bellow them, you will see five half blossomed inverted lotuses and Lions on their both sides.

Madanikas Surrounding the Dance floor:

Here, you might get that weird feeling that somebody has eyes on you…There is a soft spotlight right in the front of the main Garbha Griha. Once illuminated, you realize, that feeling of being looked was correct indeed. You were indeed surrounded by 4 amorous, beautiful celestial Nymphs, sitting on each pillar, teasing you, out of your reach.

Here, Madanika 1 is trying to dry her long hair. You can see the water droplets accumulated at the bottom of her hair. Her two attendants are helping her to get ready. A creeper behind her is carved with tremendous intricacy. Taking a look closer reveals several monkeys and birds are jumping up and down on those branches of the creeper. At the bottom, you can see an inscription reading “Balligavi Dasoja” who was the sculpture of this beauty.
The second lady is none other than Queen Shantala herself, dancing on the beats of a drummer, presenting in front of Lord Chennakesava. “Chavana” was the name of the sculpture who kept the memory of this legendary queen alive. The sculpture has brilliantly carved the facial expressions, hairstyles, and body language of the queen here.
There are a total of 42 of these gorgeous women, spread across the entire temple. Dancing, singing, hunting, poisoning, drumming, dressing, observing their reflection in the mirror, and whatnot. It is said that they represent an ideal female form. Indeed they do.

Circumambulation of Belur:

chennakeshava temple belur — Belur Courtyard

As mentioned earlier, Hoysala temples are mostly built over a star-shaped platform. Parikrama path around the deity is decorated here, with the highest degree of imagination, devotion, and artistic vision. There are almost 600 sculptures to be found on these walls, out those, 80 are missing.
Once you get out of the main temple and start circumventing, you slowly start to realize something. You have to stop each and every foot. This temple is not to be taken lightly. You need at least 2 days, to absorb the beauty of sculptures, carved on the walls of the main temple itself.

There is not a foot of space left blank on the outer walls. The entire temple is made up of small layers. On the base layer, there are hundreds of -one feet elephants. Lions on top of that, and horse riders on top of those. It is confirmed that not one of these hundred tiny sculptures is repeated anywhere in this temple. Meaning, among these hundreds of elephants, no two elephants are the same. On top of that, there are these poster-sized sculptures of different Avatars of Lord Vishnu, Brahma, and Lord Shiva, overlooking them.
The elephant layer represents the strength and stability of the Kingdom, while the horse layer represents the swiftness of the soldier on the battlefield. In between these two, you will find a layer, made up of lions, representing the valor.
The entire temple is built with soapstone with an interlocking system. No cementing material is what so ever anywhere. This means, the entire temple can be dismantled and can be erected once again, somewhere else.

The sculptures you should not miss at Belur:

Gajasur Samhara

Lord Mahadev, answering the call of his devotee, as he always does, arrived at Kashi and started a war with Gajasur the torment. In the middle of the fight, Gajasur increased his size and swallowed Bholenath. Immigietly, Mahadev started his famous celestial dance – Tandava, inside his stomach, opening the demon from inside. Just before dying, Demon Gajasura apologized to the Bholenath and requested to wear his skin as a cape. Bholenath being Bholenath, accepted the brave demon’s request. What you are seeing here is a brilliant masterpiece. Mahadev is holding many weapons in his hands, while his remaining three hands are holding the heavy elephant skin upwards. He is dancing on the elephant head, while his thin to bone disciples, Gunas, are praising him.

Varaha

Everyone knows how Vishnu in the form of wild boar Varaha, saved the earth from the grasps of Demon Hiranyaksha. Here, in Belur courtyard, it has been depicted rather marvelously. You can see, earth, in the form of Bhu devil, sitting on the strong shoulders of twelve handed Varaha. He has a powerful snout and bore fangs coming out of them. Beneath his feet, you can see demon Hiranyaksha, holding the sword. Due to the enormous weight of Varaha, the demon’s eyes are bulging out. He is shouting in pain with his demon teeth out.

Ugra Narsimha

It’s one of the most ferocious sculpture I have ever seen. Demon Hiranyakashipu is on the lap of Narsimha. The demon is shouting in pain as his stomach is being stored by the sharp nails of Narsimha. Sixteen handed Narsimha is holding various celestial weapons along with his beloved conch, mace, disc, and lotus. His eyes are bulging out with extreme anger. In anger, he has removed the intestines from the stomach of Hiranyakashipu and, he is wearing them like some garland. Beneath his feet, you can see Garuda and Prahlada, saluting him, praising him to calm down. What an imagination.

Brahma and Surya

On left you can see three-headed Brahma, standing on Kirtimukha face. On the right, you will see Surya (Sun), riding on his chariot of seven horses. These seven horses represent seven days of the week. His chariot is being driven by his driver Aruna.

Bheema fighting Bhagadatta

On the walls of Veer Narayana temple, which is at the backside of Chennakesava temple, you will find this brilliant masterpiece. Here, the fight between Bhagadatta and Bheema is sculpted in two steps. In fist, they have shown Bhima is getting trapped in the trunk of the elephant named Supratika of Bhagadatta. After his narrow escape, he is bouncing back, literally, on the Bhagadatta, sitting on the back of his legendary Elephant.

Gowardhan Giridhari

Here, Bhagwan Krishna is holding Govardhan mountain over his head with his left hand. You can see, lifting a mountain is nothing for him, as the way he is standing in a relaxed position. A careful look at the mountain will reveal the tiny details of the sculpture. You will see wild animals and trees, loaded with fruits and flowers on the mountain. Cows are gathering beneath the mountain, seeking the shelter, to be saved from continuous rain on Gokul. Cow herder is standing above the cows, railing on his staff. Residents of Gokul are praising Krishna for saving them from the wrath of Indra.

Saga of Vamana

The Dwarf, The Just King, and One-eyed Sage

This is one of the miniature sculptures I found on my 3rd tour of Hoysalas. On left, you can see Legendary Demon King Bali, the lord of all worlds. He is saluting his teacher sage Guru Shukracharya. Besides Shukracharya, you can see a pot-bellied dwarf named Vamana, holding a long staff.
On right, you will see King Bali, pouring the sacred water from the kettle, officiating the giveaway, in front of Vamana. In the middle, you can see Vamana, in his Trivikrama form, occupying heaven in one step.

This idol is holding a mace, disc, lotus, and conch. If you are here with me till now, you know, that this idol belongs to Vishnu. After Bali giveaway three steps of land to dwarf Vamana, Vamana started expanding. In the first step, he occupied the entire heaven. This particular form is called as Trivikrama. Here, Vishnu is ready to take his second step. While doing so, his feet have reached Brahmalok. Brahma is pouring water on his feet, praising him. As Brahma is pouring water, the river is generated, You can see, stream, starting from Vishnu’s feet is getting bigger and bigger. If you look carefully, you will see fish, crocodiles, and turtles swimming in the river.

Sweet Sixteen and the Poison Girl

In the first pic, we can see a man, affectionately holding the hand of a woman, with the head of a donkey. In Sanskrit, there is a saying which goes something like this:
“Prapte Shodashe Varshe Gardhavi Bhavati Sundari”
Which means, sixteen years is a delicate, yet funny age. Even a donkey looks like a beautiful girl when you turn sixteen. This carving depicts a young man, fallen hopelessly in love with a young woman, with the brain of a donkey. But the real donkey is the young man, blinded by his desires.
In the second picture, you can see a beautiful woman, holding king cobras. In ancient times, while playing the game of thrones, often these beautiful Vishakanyas (Poison girls) were set upon to kill the King. That has been beautifully sculpted here.

Exam Ganesh

Students from Belur, pray to this Ganesha for passing grades.
It’s the most popular and busy Ganpati during April exam seasons.

Madanikas of Belur

Ranganayaki Temple

Located in the northwest direction of Kesava temple, Ranganayaki temple is one of the less explored buildings in the Belur courtyard. Unlike Chennakesava, it has a square-shaped platform on which tall walls have been giving support to many interesting sculptures for the last 800 years. This temple wall belongs to every sect of Vedas. Here, you can find sculptures related to Vaishnavism, Shaivism, Jainism, and the artwork belonging to Shaktism as well.

Contribution of temples in Indian Civilization

Even though only Hindu temples pay Taxes in India, many people say, why build temples? why not build schools or hospitals? These questions ignited the curiosity within me, that why these wise and just Kings kept on building larger and larger temples? What was the contribution of these places of worship in past society?
The answer is obvious. They were much more than just places of worship. These temples were symbols of victory, a pride place of the entire village to gather and reunion. It was a source of spirituality.
Often, temples were built during the days of draught and economical depression, to help citizens to earn some food. They were the center of projects like irrigation, land reclamation, and disaster relief, funded by the Kings, queens, merchants, and politicians.
Bruhadeshwar temple in Tanjore has an inscription, dating 1101, that there were about six hundred full-time workers, apart from the priests, working in the temple.
In ancient India, they were the safe-deposit boxes of the royal treasuries. Even, some temples use to function as Banks, lending money to the needy, with very nominal interest. That is one of the reasons, why, Islamic invaders use to plunder temples again and again.
Many schools of many Hindu sects were supported by these temples. A countless number of traditions were kept alive for thousands of years by these schools. Royal patronage would be given to such traditions, through temples.

It was the most sacred podium to present arts and literature, that one has mastered, studying throughout his life. In ancient times, markets were erected, surrounding temples. It uses to be a sanctuary for sages, providing shelters to the travelers passing by. Even now, innumerable temples feed the poor and the homeless.
Temples used to be a place of justice, where village elders use to resolve legal matters in front of the entire village. Even, it uses to be a lace of refuge, during natural disasters or during political turmoil.
Each new temple I see now, I have started to compare it with the Belur temple. To compare it with the outer walls of Belur, only to be disappointed with modern architects. Without having huge machinery, cement concrete, electricity, or programmed computers, we created a masterpiece centuries ago. All we can do is to preserve them.

First, I went there with the KSTDC tour and since then, I have been there at least four times, but yet, I have not seen the entire temple complex with satisfaction. Each time, I will find some intriguing detail, some info, some minute thing I have missed last time and the location keeps attracting me again and again, to mesmerize me, to awe me, to surprise me and to educate me. And I am pretty sure, Belur is not done with me either, it shall call me again, hopefully, sooner.

How to reach Belur?

Belur is 221 kilometers from Bangalore by road. Drive 200 KMs towards Hassan, on MH75, and then take the right turn to reach Belur. From Bangalore, you can reach Belur in about 3 hours on a good highway.
Frequent KSRTC buses are available from the Majestic bus stand, Bangalore to Belur Bus stand.
The nearest Railway station is Hassan, 20 KMs from Belur. From Hassan, you can get plenty of local buses as well as private vehicles.
Nearest Airport is Bangalore Airport, 222 kilometers from Belur.
KSTDC arranges one-day tour buses from Bangalore, covering Shravan Belgol, Belur and Halebeedu, and Back to Bangalore. You can book these tours here.

Places to Stay in Belur

KSTDC Belur Halebeedu — KSTDC Hotel best place to stay in town

There are several hotels nearby to stay in Belur, but the first choice is KSTDC Belur (Hotel Mayura Velapuri). The room charges range from 1599 to 3099 per night. They provide decent food options for breakfast, Lunch, and Dinner.
They also have decent dormitories, Rs.250 per bed per night, which is a fun idea for a large family or solo travelers on a tight budget.
Book Belur KSTDC hotel here.

References:
1. History of Karnataka (History, Administration & Culture), by I. M. Muthanna, Published by Usha Press, Mysore City, 1962
2. Glories of Beluru and Halebeedu, by Dr. Neelkanth
Kote, Published by Dr. Neelkanth Kote.
3. Epigraphica Carnatica, by Benjamin Lewis Rice, Director of the Mysore Archaeological Department, 1894 to 1905, published by Rice, R. Narsimhachar.

Hoysala Empire History:

History of Chennakeshava Temple, Belur

Chennakeshava Temple Architecture

Gopuram of Chennakeshava Temple:

Pole of the Garuda

Temple Surroundings

Chennakesava Temple Entrance

Entrance Bay

Narsimha Pillar

Mohini Pillar

Bhuvaneshwari: Decorative Ceiling

Torana (Entrance Border of Sanctorum)

Madanikas Surrounding the Dance floor:

Circumambulation of Belur:

The sculptures you should not miss at Belur:

Gajasur Samhara

Varaha

Ugra Narsimha

Brahma and Surya

Bheema fighting Bhagadatta

Gowardhan Giridhari

Saga of Vamana

The Dwarf, The Just King, and One-eyed Sage

Sweet Sixteen and the Poison Girl

Exam Ganesh

Students from Belur, pray to this Ganesha for passing grades.
It’s the most popular and busy Ganpati during April exam seasons.

Madanikas of Belur

Ranganayaki Temple

Contribution of temples in Indian Civilization

How to reach Belur?

Places to Stay in Belur

Medevial Indian History is always characterized by many “secular” historians as a chronicle of military disasters. But is India’s history, a series of defeats? NO!! It is a tale of sacrifice, valour and final victory! Dear readers, I now try to bring your attention towards the unparalleled achievements of the Vijayanagar Empire, glorious yet unfortunately forgotten by the sons of this soil.

“Founded in 1336 AD, Vijayanagara would soon grow to be one of the world’s mightiest empires. At its peak, the Vijayanagara Empire covered a size that was larger than the Austrian empire. It was one of the richest empires of its time, which made foreign visitors wonder in awe, be it the architecture, the urban layouts or its immense wealth in diamonds and riches.”

“For three centuries, the Vijayanagara Empire, stood like a mighty bulwark, protecting the Hindu dharma in the South and in the Deccan. It stood like a rock against the Muslim invasions that had ravaged and destroyed large parts of the North. Today it exists only in stones and stories, but its legacy would forever be remembered.”

1) ESTABLISHING AN INDIGENOUS EMPIRE AGAINST UNPARALELLED ODDS

The picture of South India in the first quarter of the 14th century was a miserable one, with practically the whole of the peninsula under foreign Turkish yoke. The hordes of Alauddin Khilji and his general Malik Kafur (a Hindu convert), followed by the Tughlaqs had wiped out ancient Indian dynasties like Kakatiyas of Warangal, Yadavas of Devagiri, and Pandyas of Madurai. Hoysalas of Mysore, though earlier defeated, remained fighting. Thus, it can be rightly considered as one of the darkest periods in Indian History.

The period of Turkish domination of the South, (1320-1336) was one terrible suffering for the people as illustrated in Madhuravijayam. Desecration of temples, forcible conversions to Islam, rape of womenfolk and slavery become common. As soon as the Turkish invasions (both Khilji and Tughlaqs) were over, the people of South India mounted a ferocious counter-attack. Each of the South Indian chiefs began their battles determined to burn down the Tughlaq Empire. This is when two heroes appeared on the scene – Harihara and Bukka.

Differing theories have been proposed regarding the origins of the Vijayanagara Empire. Many historians propose that Harihara I and Bukka, the founders of the empire, were Kannadigas and commanders in the army of the Hoysala Empire stationed in the Tungabhadra region to ward off Turkish invasions from the Northern India. Both of them were taken as captives to Delhi in 1327 and were converted there to Islam. Later on being pleased with their behavior and exceptional ability, the Sultan Muhammad Bin Tughlaq sent them both, entrusting the task of suppressing South Indian kings who rose against the Turks. Sultan hoped that they would be loyal to him just like Malik Kafur was to Alauddin, but both Harihara and Bukka had other plans.

As per their plan, they met Shankaracharya Vidyaranyaswami who reconverted these brothers back to Hinduism. They raised an army with the help of other Indian leaders in the south, and established an independent sovereign kingdom on the banks of the river Tungabhadra with Harihara as the first emperor in 1336.

2) THE GLORIOUS AIM – PROTECTION OF INDIC WAY OF LIFE

Harihara and Bukka along with Swami Vidayaranya had decided that the aim of founding a strong Indic kingdom was for the protection of Hindu dharma and way of life in the south. This can be seen from the fact that they had no qualms in returning to their ancient faith and establish a kingdom which had the flag of Bhagwa, the symbol of renunciation, service to mankind and Glory to God.

Unification of South India under Hindu umbrella

The Vijayanagar Emperors slowly expanded their territory throughout the peninsular region south of Krishna river and formed a strong bulwark against Turkic invaders, both Sultan in Delhi and Bahmani Sultanate in Maharashtra. This can be seen from the fact that Harihara had earned the title of Purvapaschima Samudradhishavara ("master of the eastern and western seas"). Deva Raya II is also noted by famous traveler Abdul Razzaq as the overlord of kings of Burma and Sri Lanka too.

In fact, The Vijayanagara Empire created an epoch in South Indian history that transcended regionalism by promoting Hinduism as a unifying factor. Most of the wars they fought were against foreign powers like Bahamani kingdom in Maharashtra.

Delivering the people of deep south from Turkish tyranny

One of the most important achievements of Vijayanagar Kings was the destruction of Madurai Sultanate in 1371. This Turkish dynasty was infamous for inhuman atrocities on the people and for religious persecution of Hindus. The Sanskrit poem Madhuravijayam by Princess Gangadevi depicts that the glorious victory of her husband Kamparaya (the elder son and general of Bukka) over the cruel Sultans which put a complete end to the dynasty.

“The army which looked like the grand confluence of seven oceans began its orderly march with great uproar.” Verse 44, Fourth Canto, Madhuravijayam.

After liberation of Madurai, the Vijayanagar kings also worked towards restoring a traumatilized society. It should be noted that Emperor Bukkaraya was given the title “ Vedamarga Prasthapika” i.e., the re-establisher of the Vedas for his untiring efforts in healing the scars inflicted on the Indian society by the frequent Turkish invasions. His patronage revived the old systems of learning which had fallen into decay in a half century of warfare.

“The rulers of Vijayanagar restored worship in the temples, repaired old temples and towers, settled disputes amongst the temple servants and made extensive endowments in the shape of jewels, lands, taxes and other income.”

- Tamil country under Vijayanagar (Dr. A. Krishnaswami)

3) ALWAYS ON THE OFFENSIVE

An important peculiarity of the Vijayanagar kings was that they were always on the offensive. It is astonishing fact that during invasion of Alauddin on the south, the Indian kingdoms in peninsular India were caught off guard and was destroyed completely. But in contrast, the kings of this Empire were able to hold out not just against Sultans of Delhi, Bahamanis and also Portuguese.

Another peculiar feature of Vijayanagar military was the concept of total war which they employed on the enemy population. They aimed at exterminating the enemy, not just defeating him. This can be amply proved by the conquest of Madurai where the whole Turkish dynasty was obliterated and not even a trace was left behind. The ferocity of the Madura war can be easily understood from Maduravijayam.

“The soldiers of Kamparaya with anger ( caused by the enemies evil deeds) avoiding the shower of enemy arrows with their shields, moved unobserved and simultaneously hacked the bodies of enemy horses along with their riders.” Verse 1, Ninth Canto, Madhuravijayam.

“The bow men severed the trunks of enemy elephants with half moon faced arrows.They (trunks of elephants) fell down into pools of blood like serpents in the sacrificial fire of King Janmejaya.” Verse 3, Ninth Canto, Madhuravijayam.

This principle was followed by the later kings like Krishnadevaraya who defeated five Deccan Sultanates (both of Turkic and indigenous origin) and instilled a sense of mortal fear in the minds of their enemies. If not for the defeat in Battle of Talikota in 1565, the Vijayanagar kings might have been able to make an attempt to liberate the north.

Krishnadevaraya, the greatest king of Vijayanagar Empire (1509-1530)

4) GOOD GOVERNANCE

The rulers of Vijayanagar Empire maintained a well-functioned administration, modeled after the methods of ancient dynasties before them. King was ultimate authority, assisted by a cabinet of ministers (Pradhana) headed by the prime minister (Mahapradhana). Other important titles recorded were the chief secretary (Karyakartha or Rayaswami) and the imperial officers (Adhikari). All high-ranking ministers and officers were required to have military training.

The Vijayanagar kings, especially Krishnadevaraya under whom the Empire reached its peak, was very fond of architecture and sculpture. Numerous forts, temples, monasteries etc were built during this age. The thousand-pillared mantapas and the raya-gopurams, which characterize the countryside in South India was built during the reign of Krishna Deva Raya.

The emperors like Krishnadevaraya maintained personal contact with the people to understand their grievances. They also made it a point to construct tanks and canals for irrigation purposes which led to expansion of agriculture. The capital city of Vijayanagar had an excellent water-distribution system which ensured water in these semi-arid regions of South India. Tenant farmers were given ownership of the land, which can be considered as an attempt to ensure socio-economic equality.

Invincible Military Strength of Vijayanagar

The Vijayanagar military was an excellent war machine which was divided into two types: king’s personal army directly recruited by the empire and the feudal army under each feudatory. King Krishnadevaraya's personal army consisted of 100,000 infantry, 20,000 cavalrymen and over 900 elephants. This number was only a part of the army numbering over 1.1 million soldiers, a figure that varied as an army of two million has also been recorded along with the existence of a navy as evidenced by the use of the term Navigadaprabhu (commander of the navy).

Another important which contributed in the astonishing victories of Vijayanagar military was excellent generalship. Vijayanagar kings especially Krishnadevaraya, Harihara and Bukka were great generals who knew how to win victories in most discouraging circumstances. Another major feature was the devotion and attachment of the soldiers who were willing to go to the jaws of death for the cause of Indic way of life and protection of Dharma.

Vijayanagar Empire had a flourishing trade with various countries like China in the East and Venice in the west, aided by a number of ports like Mangalore, Honavar, Bhatkal, Calicut, Cochin etc. The security of merchandise was guaranteed and the Empire was a principal exporter of pepper, ginger, cinnamon, cardamom, myrobalan, tamarind timber, anafistula, precious and semi-precious stones, pearls, musk, ambergris, rhubarb, aloe, cotton cloth and porcelain, which ensured the cash-in-flow and prosperity.

“The city is such that eye has not seen nor ear heard of any place resembling it upon the whole earth. It is so built that it has seven fortified walls, one within the other.”

- Abdul Razzaq, Timurid chronicler (1413-1482)

5) ALL AROUND REVIVAL OF INDIC CULTURE AND GOLDEN AGE OF LITERATURE

The kings of Vijayanagar used titles such as Gobrahamana Pratipalanacharya (literally, "protector of cows and Brahmins") and Hindurayasuratrana (lit, "upholder of Hindu faith") that testified to their intention of protection of Hindu dharma. They made grants to various temples and religious institutions. Bhakti movement was also active during this time.

Most Sanskrit works were commentaries either on the Vedas or on Ramayana and Mahabharata epics, written by well known figures such as Sayana and Vidyaranya that extolled the superiority of the Advaita philosophy over other rival Hindu philosophies. Other writers were famous Dvaita saints of the Udupi order such as Jayatirtha (earning the title Tikacharya for his polemicial writings), Vyasatirtha who wrote rebuttals to the Advaita philosophy and of the conclusions of earlier logicians, and Vadirajatirtha and Sripadaraya both of whom criticised the beliefs of Adi Sankara. Apart from these saints, noted Sanskrit scholars adorned the courts of the Vijayanagara kings and their feudal chiefs. Some members of the royal family were writers of merit and authored important works such asJambavati Kalyana by King Krishnadevaraya, and Madura Vijayam by Princess Gangadevi, a daughter-in-law of King Bukka I. Also known as Virakamparaya Charita, the book dwells on the conquest of the Madurai Sultanate by the Vijayanagar Empire.

6) RELIGIOUS TOLERANCE

Vijayanagar kings were tolerant of all religions as proved by the accounts of the foreign visitors. In an age marked by bigotry and fanaticism, special reference must be made to the policy of tolerance adopted by Vijayanagar kings. Emperor Bukka had issued an edict which proclaimed all religions as equal and entitled to the patronage of the State. This policy was followed by all his successors. This led all religious communities including Muslims, Chrsitians and Jews look up to the Vijayanagar kings as the guardian of their right to worship.

7) AN INSPIRATION FOR FUTURE

The glorious history of Vijayanagar was an inspiration to many freedom fighters and great rulers as a role model of an Indic kingdom. It can be noted that Shivaji’s Hindavi Swaraj was inspired a lot by the tale of Vijayanagar Empire and its uncompromising fight against the foreign invaders. Only difference was that Vijayanagar saved South India from Muslim invaders while Shivaji and his Maratha Empire led to the final defeat of the alien Muslim power in Delhi and the liberation of whole India from foreign rule. It must be also noted that Shivaji’s administrative model, like Ashta Pradhans bore a lot of similarities with the Vijayanagar.

But unfortunately, many seems to have forgotten this glorious epoch. I hope to rekindle the pride in our countrymen about our past through my humble effort.

Vande Mataram!

REFERENCES

1) Six Glorious Epochs of Indian History by Veer Savarkar.

2) Tamil country under Vijayanagar (Dr. A. Krishnaswami)

3) History and Culture of Indian People, by R.C. Majumdar, Vols. 6 and 7.

4) A forgotten empire, by Robert Swell.

5) South India and her Muhammadan invaders; S.K.Aiyangar.

6) Social and Political Life in the Vijayanagara Empire, B.A.Saletore,Vol I & II

Fort Sajira, Tamil Nadu - Drifter Adwait

Adwait Karajagi

8–10 minutes

Welcome to my travel blog, where I take you on a journey to Fort Sajira in Tamil Nadu, India. This lesser-known fort of Chhatrapati Shivaji Maharaj holds a special place in history, but unfortunately, not many people in South India are aware of its significance. Despite this, Amruta (partner in crime) and I decided to celebrate the special occasion of Shiva Jayanti on this unique fort. Little did we know, we were in for quite an adventure.

As we arrived at our destination, we quickly realized that not even the locals knew much about this historic fort. From the hotel owners to the temple priests and even the people in charge at the Vellore ASI museum, no one seemed to recognize the names Sajira and Gojira. With no other options, we turned to our trusty friend Google maps to guide us through this unknown territory.

What followed was a hilarious and unforgettable experience that I can’t wait to share with you. Join me as I recount our journey to Fort Sajira, where we navigated our way through the unknown and discovered a hidden gem in the heart of Tamil Nadu.

Dakshin Digvijay of Chhatrapati Shivaji Maharaj:

On an auspicious day of Dasra, dating 6th October 1676, Chattrapati Shivaji Maharaj marched out of the Raigad Fort, accompanied by 25000-foot soldiers and a cavalry of 40000, with his legendary Sword Bhavani, pointed towards Southern India. Reaching to Adilshahi region, he divided his army, giving one part to his Chieftain Hambir Rao Mohite, who attacked Adilshahi. After few days, out of nowhere, Chhatrapati Shivaji emerged near Bhaganagar with half of the Army and crossing the Adilshahi region in between. Till this date, no one knows, nor is a documented evidence for how exactly he traveled with so many men without being noticed.

Staying for one month in Bhaganagar, enjoying the hospitality of Kutubshaha, he made a deal with Kutubshaha concerning the distribution of the area to win over. Kutubshaha helped him with his most advanced artillery support along with four thousand foot soldiers and one thousand strong cavalries.

Just like a hot knife cutting through butter, this invincible army started winning over the southern region, winning the most impregnable fortress in India – the fort of Ginji. After winning over Ginji, this army surrounded the legendary fortress of Vellore.

Krushnaji Anant Sabhasad was a contemporary of Chhatrapati Shivaji Maharaj, working in the Maratha courts, who has written detailed accounts on the life of Chhatrapati Shivaji. While writing on the siege of Vellore, he writes, ‘there is no other fort like the Vellore on this entire earth. A treacherous trench of overflowing water surrounds it. The water is unfathomable and contains more than then thousand crocodiles. The core of the fort has been protected with four layers of thick fortified walls. Outermost fortification is so wide, that two carts side by side, can easily go along on that wall.’

Ramachandra Neelkanth Bawadekar, also known as Ramachandra Panta Amatya was Imperial Regent to the Maratha court who was renowned as one of the greatest civil administrators, diplomats, and military strategists of the Maratha Empire. During his times, he has written a famous code of civil and military administration, called Adnyapatra. It has the same importance, value, and genius, as that of Kautilya’s Arthashastra.

In the 8th chapter of Adnyapatra, while underlining the importance of forts, he explains, ‘the region where there are no forts, the king should build the forts using a sheer blunt force. And with the help of newly built forts, one must conquer the adjacent kingdoms, and one should expand his territory.”

The best example of this strategy will be the forts Sajira and Gojira.
Around 23rd March 1677, Vellore was besieged by the Marathas. Abdullah Khan, an Abyssinian fort keeper, was a Bijapur chief of great courage, along with five hundred Hashams. Seeing that Vellore doesn’t surrender, Chhatrapati decided to build two forts around Vellore. The forts named Sajira and Gojira in the Tamil region started spitting fire towards Vellore.
Seeing that the siege is consuming precious time, The Chhatrapati appointed a commander named Narhari Rudra along with two thousand cavalries and five thousand infantry under him, to continue with the siege. Handing over the charge of siege to Narahari Rudra, The Chhatrapati went ahead.

Brave Abdullah Khan fought for fourteen months and eventually surrendered on 21 August 1678. Amongst the five hundred soldiers, only a hundred were alive.

We decided to celebrate the special occasion of Shiva Jayanti on this unique fort. The main problem was the Indians’ distaste for history. The history of the Marathas is seen from a different perspective in South India. So not only the hotel owners, temple priests, and the locals out there, but even the people in charge at the Vellore ASI museum were unaware of the names Sajira(Smart)-Gojira(Cute). So there was no choice but to rely on Google maps.

Making our way through the slums of Vellore, jumping through open drainage systems, we reached the base of the fort. At the foot of the hill was a temple of Mariamma, and from there, the road leading to the fort was blocked by the locals with acacia branches. While visiting the temple, I came to know that the fort is closed due to looting and robberies going on the hill.

shiva temple, start of the Fort Sajira, Tamil Nadu trek — Temple at the base of the hill

But being the real insane Marathas, we went ahead anyway. With the name of Shivaprabhu, and ignoring the temple priest, putting aside the fear of snakes and robbers, we both entered the crevices. Throughout the year, except for robbers and some unfortunate souls who were robbed, no one has roamed here. So, there was grass everywhere up to our chest. With the help of on and off-trail, dried up streams, and walking on the slippery boulders, somehow, we managed to reach the cliff. The fort was completely immersed in the thick vegetation.

hill Fort Sajira — Naammam Malai hill and Sajira fort on top

The boulders on the top of the hills looked like someone has deliberately placed them on one another. The Sajira fortification was resembling the Vijayanagarer era walls, with brick construction on it, protecting the archers. Special narrow windows are provided to fire guns. Rectangular door, and holes to block the doors. Few dilapidated buildings and some of the towers were depicting the testament to the heroism of the Marathas. There is a strongly built square-shaped well for the fort, providing water at some time, but now, it was all dried up. From the west bastion, one can keep a close watch on Vellore Fort, the twisting Palar River, and the city. A small but graceful fort.

entrance of Fort Sajira — Sajra Fort Entrance

Being alone in that fort with the constant fear of being looted, we decided to descent the fort as soon as possible. While occasionally slipping, missing the road, searching for the dried-up streams, we managed to reach the foothills of Sajira in one piece.

Vellore Fort has a legendary history. It was the home of the first ever-larger scale sepoy mutiny(started on 10th July 1806), 50 years before the first freedom war of 1857. Records show, that Sajra being the strongest hill fort in that area with an abundant water supply, was manned by British troops in 1806 which provided a much-needed strategic depth to British troops, to overcome the mutiny.

The poor condition of the fort was the only thought in my mind while descending. From here, Chhatrapati Shivaji Maharaj must have made plans to expand his Swarajya. Fort’s condition is very bad indeed today. The towers are crumbling and the thick vegetation has conquered the entire fort. Very few people have an idea about the glorious past of the fort, but very few amongst them turn up to see the fort, due to the fear of being looted. It has become imperative for the Maharashtrian tribe to come together and conserve this fort. Conserving this fort will be a true homage to the King who believed that ‘Forts are the essence of the state’.

References:

Adnyapatra, Written by Ramachandra Panta Amatya, collected by Ramachandra Chintaman Dhere, Padmagandha Publications
Raja Shivachhatrapati, Volume 2, By Babasaheb Purandare, Purandare Prakashan
Sabhasad Bakhar, written by Krishnaji Ananta Sabhasad
The Vellore Mutiny, the first Major uprising of the Indian soldiers of the East India Company’s Army, Paper by Hemant Sane.

Bhuleshwar Temple, Yawat - Drifter Adwait

Adwait Karajagi

9–11 minutes

Bhuleshwar Temple, Yawat — Bhuleshwar three towers

Pune has been blessed with the places of utmost historical importance. As the city grew, these places were shadowed by the giant shopping mall buildings or were just forgotten, as city pushed these places on its outskirts. Now, one a year, devotees will gather here to remember and celebrate their gods, and the places will be deserted again for rest of the year. Bhuleshwar temple in Yawat, near Pune is one of these places.
After having two (Just two for me) super tasty Vitthal Vadas in Vitthal Kamat restaurant which is located 45 kilometers from Pune, on Solapur highway, we took a right turn on Malshiras- Yawat road, scenery changed quickly. Busy roadside shops were replaced by nurseries and flower beds on both ends. As it was a returning monsoon, weather was rather brilliant, not too sunny, just perfectly overcast, with breezes flowing through our hairs and lush green everywhere. Road condition was superb, smoothly passing through few tiny villages, we reached temple in no time.

Bhuleshwar Temple, Yawat Mangalgad — Mangalgad Remains

Bhuleshwar temple is located on a hilltop, 400 meters above sea level from where, someone can keep a watch on things going on around. It seems a better location to built a fort, and rather it was. Fort Mangalgad or fort Daulat Mangal was built here, by Adilshahi prime minister Murar Jagdev in 1629 to keep an eye on Pune region. Now all that remained is few scattered walls, few more half broken bastions and Bhuleshwar temple standing tall, on its highest point.

As you drive closer to the temple, you start to see three temple towers surrounded by stone wall. Largest tower was painted in off white color odding it out of the rest two. I don’t understand why ASI who don’t even allow travelers to take the photos inside temples, allow this to do? It looks so out of place, hiding all of its authentic rustic beauty for which someone in past must have spent his entire life creating. Temple tower seems to be mosque styled dome, built with bricks, signifying the re construction of the temple in 17th century era.

Tower domes are surrounded by thin pillars with the domes with same design. Anyhow, leave your wheels at the parking lot and start walking towards the structure. Entire building is on the top of a strong platform, taller than usual temples. As you climb the stairs, you will find beautiful doorkeepers on both sides of the stairs. These broken keepers look out of the place, as they must have been lying somewhere, and later during the re built, they must have been used there as decorations. Leaving them behind, go ahead and reach the bell tower facing the temple entrance.

Ring that heavy brass bell to let Bhuleshwar know that you have arrived to his steps to seek his blessings. On quiet enough morning, you can here echoes of the bells you just rang, in the valley bellow.You can enter the main temple from three sides as the temple has three narrow doors, made up of strong black basalt stone.

Bhuleshwar Temple, Yawat entrance — Facing the gods

Bhuleshwar Temple, Yawat Nagarkhana — Facing the gods

On top of this entrance room, there is a Nagarkhana, or drum room where in earlier days, drums use to play in the morning and before the sunset. This room seems to be relatively new, as it is built with red bricks instead of stone. Nagarkhana towers are adorn with Ganesh, Parvati, Vishnu resting on five headed Shesh and much more. There are stairs on each side of the entrance hall, from outside, from where you can climb inside the Drum Chambers. As soon as you climb on the stairs, there is a small window to peep inside temple where you can get the first glimpse at Vigraha or the Shiva Lingam, all the way inside sanctum, 20-25 meters ahead. This is cleaver architecture arrangement was done to manage heavy crowd during auspicious days of year. Instead of getting in line and waiting, you can get a quick glimpse at god, and can make way so other devotees can get the Darshana as well. Quick and easy, suitable for the 5G age we live in. But we are not in hurry, so get inside the entrance hall.

you get inside, the entrance hall has small Hanumaan idol welcoming you to the temple. Entrance to the Vigraha is decorated by a decorative door frame with Shalabhas, heavenly Swans and kirti Mukhas. If you stand straight facing the Hanumaan , it seems the temple has ended, its time to go home. But when you step inside the Hanumaan room, two stairs go upwards on both hands, leading you to the main temple.

Bhuleshwar Temple, Yawat Nandi — Real temple begins

As you climb the stairs, first thing you see are the many beautifully carved pillars on which the temple towers have been erected. As you get use to the darkness, you came to know, almost all of the building space have been efficiently used to do some brilliant carvings. Carvings portray some known and many unknown stories from Puranas, Ramayna and Mahabharata.Next to the hidden stairs, there is a Nandi mantapa (Pillared pavilion) with some ornate pillars.

Nandi is a main door keeper of Mahadev, who is sitting there, focusing all of his attention to the lord. He is teaching us how one should focous on Parmeshwar, with all the dedication. Here, in the Bhuleshwar temple, the monolith Nandi is ornated with some serious jewelry works, competing with the pillars under which it is resting.

Bhuleshwar Temple, Yawat Garbhagriha — Kirtimukh on Pillar

Bhuleshwar Temple, Yawat Arbha Mandapa — Kirtimukh on Pillar

There is ArdhaMandapa or half pavilion in between Nandi and sanctum. Here, along with the pillars, even roof is packed with carvings. Yaksha are holding the roof, seating on the pillars. Brahma Vadinis, or celestial musicians are carved and elegantly place on the dome. Most of them are destroyed, but what is remained gives you the idea of their beauty. You can see Kirti Mukhas carved on pillars. A giant copper trishul (Trident), a weapon worthy only to gods, is kept in corner, ready to be wielded by Mahadev. As you cross this sub pavilion, few steps downwards take you to main Sanctum.

Door frame is carved out of black stone where Sapta matrika, Ganesha and apsaras are gathered, to greet Mahadev. Intricate design in between these gods fill up the remaining space of the frame. Bow your head, and enter through that narrow passage. Over the frame, you can see five sages, standing atop, with turrets over their heads adding an incredible symmetry to the whole door frame. Actual sanctum is plane simple room, without any carvings. It helps you focus on the god without any distractions. Shiva in Lingam form stays here, with an giant five headed cobra coiled around it. Khandoba, being one of the incarnation of Lord Shiva is also present here, in the mask form.

Parikrama Marg bhuleshwar — Parikrama Marg

Ram temple and hidden pathway — Parikrama Marg

Get the lord’s blessing and get out of the room, walk towards circumambulation path around three towers. There is a gap in between pradakshina path and outer wall of sanctum, where open skies and sun plays the game of shadows on the beautiful carvings on the walls. Pathway of the Bhuleshwar temple is made up of the similar stones, with roof, pillars, few smaller size shrines of other deities, stone mesh windows in between and all of that with brilliant carvings. Outside of sanctums are decorated with deities, handsome Aandharvas and gorgeous Apsaras. Apsaras, expert in the art of dancing and singing, have been carved here with elegance, radiating with their youthful energy. Few interesting and rare idols like Vainayaki, or Gamesh in female form can be seen over here.

Mahabharat on circumambulation path, bhuleshwar — Mahabharat

circumambulation path, bhuleshwar — Mahabharat

How can someone destroy something so beautiful? exclaimed my sister in law. After a while, from being lost in past, I recollected and dragged myself to present to this question. May be that is the problem with Abrahamic religions. “My religion is the only true religion and rest of the people either should follow me or be ready to die” is the biggest curse to humanity, its creativity and imagination, I thought. Sister in law was right. I mean, just look at the imagination, efforts, artistry, planning, resources it must have taken to create this marvel of such elegance. Even if you don’t agree with the particulate way of worshiping, can’t you just appreciate this human miracle? Just as a stunningly graceful art form, maybe? But no. Invaders went ahead anyhow, and destroyed each and every ‘infidel’ face on these walls that their hammers reached to. In 1528, Babari mosque was erected by Mir Baqui, after the destruction of Shri Ram temple. As I am writing this, the final verdict on Ayodhya Ram Janma Bhoomi has arrived, and my lord’s temple has to be rebuilt. I could not be more happy and thrilled. As I compare two temples, I wish, let this victory be the beginning of reclaiming our lost heritage, Indic pride and unification. I am praying to Shri Bhuleshwar, please grant us the strength to do this…

Remnants of fort Mangalgad — Fort Mangalgad

Pradakshina Path, Bhuleshwar — Brick towers

Parvati Hill, Pune - Drifter Adwait

Adwait Karajagi

18–23 minutes

Welcome, architecture aficionados and history buffs! Today, we’re taking a trip to Parvati Hill in Pune, a place so majestic that even the clouds bow down in admiration. This hill is not just any old hill – it’s a treasure trove of ancient wonders that will leave you gasping for air. And if you do run out of breath, don’t worry, because the panoramic views from the top will take your breath away anyway. From stunning temples to rock cut caves, and an impressive museum, Parvati Hill has it all. So buckle up and get ready to be transported back in time, because we’re about to embark on a journey that’s as epic as a Bollywood movie, but with better acting (we hope).

Shiv temple, parvati, pune — Parvati Fortification

The Hill-Top Temple

After unnumbered steps of a hill-stair
I saw upon earth’s head brilliant with sun
The immobile Goddess in her house of stone
In a loneliness of meditating air.
Wise were the human hands that set her there
Above the world and Time’s dominion;
The Soul of all that lives, calm, pure, alone,
Revealed its boundless self mystic and bare.
–Sri Aurobindo, 1902, Parvati, Pune

Marathas are eccentric breeds. They are relentless warriors, ferocious on the battleground, but sweet and soft from inside, like jack fruit. Unlike extravagant north Indians, they like to keep a very low profile, even after doing many legendary things.
Since the dawn of time, they are living on this rocky, patchy, hilly, jungle, area right in the middle of India called Maharashtra. Occasionally, they can be found wandering on the plateau as well, fighting. Fighting alongside, fighting with each other, fighting for foreigners, and mostly fighting against invaders. Looking back in history, these guys are fighting for a long time. There is no wonder, that their modesty, sturdiness and fighting spirit reflects into whatever they have created, intentionally or unintentionally. Whether it may be their sports, their way of speaking, their attitude or in their Temples as well. These people adore hills, and so do their gods. And hence, most of their gods, live on Hills. Such a hillock can be found right in the Pune city named Parvati Hill.

Entrance, Parvati Hill, Pune — Parvati Entrance

Being a proud member of this weird clan, me, my partner in crime Amruta, and my senior citizen parents were climbing 103 stairs Parvati hill, on one fine dawn of Dipawali. We were joined by a few more, to remember the fallen heroes of Panipat on the auspicious day of Padwa. After the deep lightning, we had a heritage walk to know more about the history of this hillock and its significance in history.

Find a spot, or if you are late, make a parking spot for your bike and start climbing. The rocky stairs are of uneven height as well as of uneven length. You can see this feature on many forts in Maharashtra as well. This arrangement is not mere negligence towards aesthetics, but to reduce the speed of attacking horse riders and elephants.

Completely ignorant of this feature, one genius tried climbing this hillock on an elephant. The result was nothing but predicatively hilarious, as the riders ended up ‘royally’ falling on the ground, besides the fallen elephant on which they were riding. The visionary rider was none other than his Majesty Prince of Wells, who was visiting India to meet his poor, hungry loyal citizens. Here is the newspaper cutting dating December 18, 1885.

Palanquin Stop, Parvati Hill, Pune — Palanquin Stop

After you start climbing, the path turns to the right and then immediately left. There is a small shrine-like structure where you will find senior citizens taking a breather. This platform was considered as a stop for palanquins climbing the Parvati Hill. Bhois or palanquin carriers use to shift here while carrying someone to the top. Nowadays, it is a favorite spot for teenage couples to sit there and enjoy the view of Pune city bellow.

Parvati Hill Caves:

way to Parvati caves, Parvati Hill, Pune — Parvati cave Path

Approaching the temple, take a few more steps until you reach a sharp right turn in the stairway. At this point, veer away from the stairs and head towards the nearby woods. After walking a short distance, you’ll encounter an ancient rock wall that you need to cross. Beyond the wall lies the lesser-known rock cave of Parvati, a site unfamiliar to many residents of Pune.

Parvati is historically significant as it contains the earliest evidence of human habitation in the form of carved caves. Among these caves is a small-sized hall measuring 45 by 30 feet, with three pillars, all carved out of a single monolith. These remarkable carvings are believed to date back to the Rashtrakuta period, although the exact origins of the cave remain unknown. Like the Pataleshwar caves, this site was also seemingly abandoned midway through its creation.

Devdeveshwar (Parvati):

As you approach the temple, you’ll notice a tall wall encircling the shrine. Before entering, kindly remove your footwear and leave them outside under the watchful eye of Bhadra, the guardian of the temple. Proceed through the entrance beneath the Drum chamber, and you’ll find yourself facing the magnificent Devdeveshwar or Parvati temple.

To your left, there is a small shrine dedicated to the goddess Parvati, accompanied by a lion, making it the oldest shrine on the hill. On the opposite side, you’ll see a Nandi shrine, positioned in front of the mighty Mahadev, sheltered by a stone canopy. To the left of Mahadev, there is also a shrine dedicated to Lord Ganesha.

If permitted, I highly recommend ascending to the Drum chamber or Nagarkhana. From this elevated vantage point, you’ll be treated to an awe-inspiring view of Pune city’s true beauty. Regardless of the time you visit, the view from the top never fails to mesmerize.

Peshwe Museum at Parvati:

Museum, Parvati Hill, Pune — Peshwe Museum

The Peshwe Museum, situated on Parvati Hill, is a hidden gem often overlooked by visitors, but it’s an absolute must-see. Upon purchasing a ten-rupee ticket and leaving your shoes outside, step inside this two-storied building that houses a treasure trove of artifacts, paintings, weapons, utensils, clothing, and more, all dating back to the 17th and 18th centuries. The collection even includes a fascinating display of coins, spanning from the Vijayanagara Empire to modern times. This museum offers a captivating glimpse into the history of this hillock during its golden era.

Leaving the Peshwe Museum on your right, stroll past the well-maintained garden, and you’ll find yourself at an intersection. On the left side, you’ll encounter the Nanasaheb Peshwe Samadhi, a site of historical significance. Directly in front of you, you’ll come across the names of the brave Maratha leaders who sacrificed their lives in the 3rd Battle of Panipat. Adjacent to Nanasaheb Peshwe Samadhi, there’s the Kartik Swami Temple, and behind it stands a shrine dedicated to Lord Vishnu, adding to the spiritual ambiance of the area.

Nanasaheb Peshwe Smarak:

Nanasaheb peshwe smarak, Parvati — Nanasaheb Peshwe

This monument pays homage to the great Peshwa, who played a crucial role in elevating the Maratha state to the status of a kingdom. Under his leadership, the Marathas achieved a significant victory against an Islamic invasion, marking a proud moment when the Indian flag flew atop the fort of Lahore, almost nine hundred years later.

However, the Marathas faced a devastating blow in the third battle of Panipat, resulting in the loss of countless lives, touching every household in Maharashtra. The emotional toll was particularly profound for Nanasaheb Peshwa, who mourned the loss of his beloved cousin, Sadashiv Rao Bhau, on this very hill of Parvati. In his grief, Nanasaheb famously said, “All the riches are worthless, without Bhau.”

As you approach the monument, two cannons greet you, and yet, you’ll immediately sense the tranquility that pervades the surroundings. The marble floor features an eight-sided platform where Nanasaheb Peshwa breathed his last. A simple wooden canopy shelters his picture, while depictions of all the Peshwas adorn the walls around him. These walls are also adorned with paintings depicting battles from the Peshwe era, scenes of Ganapati visarjan, and other cultural aspects, creating an immersive experience into the historical context of the time.

Kartik Swami temple at Parvati:

Kartikeya Temple, Parvati, Pune — Kartik Swami Temple

Peshwas were the commander of Maratha Chhatrapati. So, it makes a perfect sense to have a Kartikeya – Commander of the god’s temple on Parvati. The temple has a mixed style of architecture, consisting of the Vedic and Mughal era. Temple is surrounded by a brick wall of canopies, decorated with paintings. Usually, women are not allowed to meet him, but on the day of Tripura Purnima or Kartik Purnima, the temple is open for everyone for 24 hours. For other days, it is very calm and uncrowded.

Vishnu Temple Parvati:

The final stop on our tour is the Vishnu Temple, a fascinating blend of Mughal and Indian architectural styles. Inside, you’ll find a magnificent four-foot-tall Lord Vishnu statue, gracefully adorned with a Conch, mace, Chakra, and Lotus. This brilliant sculpture was meticulously crafted from a carefully chosen stone sourced from the river Gandaki in Nepal, lending it an exquisite aura.

Flanking Lord Vishnu on either side are half-foot-tall statues of Narad and Tumbar, singing heavenly praises to their revered lord. Additionally, a three-hundred-year-old Ram Panchaytan idol is placed beside the Vishnu Vigraha, adding to the temple’s historical significance.

Lord Vishnu stands gracefully beneath an oak canopy, surrounded by a silver border called Mahirap, adorned with intricate Kirtimukha, Makar animals, and parrot designs. As an active temple, daily Arati is performed twice here, enhancing the spiritual ambiance.

Remarkably, this temple holds special historical associations. The revered freedom fighter turned spiritual leader, Sri Aurobindo Ghosh, had divine experiences here, marked by his sakshatkar (audiences with God). In fact, he penned a poem dedicated to Parvati titled “The Hill Top Temple.”

Moreover, this temple also holds the idols of Ram, Lakshman, and Sita, once worshiped by the 18th-century Chief Justice of the Maratha empire, Ramashastri Prabhune. Known for his unwavering integrity and his strict judgment in the death penalty case against Raghoba Dada for the murder of his nephew Narayarao Peshwe, Ramashastri remains a respected symbol of justice even today. These same idols he prayed to can still be seen at the temple, connecting the past and present in a meaningful way.

History of Parvati:

Parvati was a favorite deity of the Peshwas, and numerous historical documents mentioning her can be found in the Peshwe archives. Although there are caves on Parvati hill dating back to the Rashtrakoot period, the earliest documented records of Parvati can be traced back to the Nizamshahi papers.

Originally, there was a small temple dedicated to goddess Parvati on the hill, which was granted as a prize (Inam) by the Nizam to a Brahmin named Mahadbhat Bin Mudgalbhat Purandare. The ownership of the temple continued through the times of Malik Ambar and Shahaji Raje. However, after the death of Dadaji Kondadev in 1647, the revenue for the temple was discontinued.

Chhatrapati Shivaji Maharaj inquired about the matter and reinstated the temple’s revenue. Since then, it is well-known that the Purandare family served the nation with unwavering dedication and strength. They supported Balaji Vishwanath in his early days, and when he later became the Peshwa, Ambaji Purandare became his Deewan (administrator). The Purandare family fought alongside the Peshwas in numerous battles for generations, and to this day, they continue to serve the nation with utmost commitment.

One of the illustrious names from the Purandare family is the legendary historian Babasaheb Purandare, whose contributions to historical research are highly regarded.

Back wall and foundation of the temple Parvati — Solid foundation

The enchanting tale of Parvati begins with Kashibai, the wife of the legendary Bajirao Peshwe, who suffered from a chronic sore leg. Despite Nanasaheb Peshwe, Bajirao’s son, trying every possible remedy, Kashibai found no relief. Turning to the hill goddess Parvati in prayer, Kashibai’s ailment miraculously vanished. In gratitude, Nanasaheb Peshwe decided to erect a grand temple in her honor.

The foundation ceremony took place in 1748, and within a year, the sturdy temple was completed on 11th April 1749. According to historical records, elaborate religious ceremonies were conducted over four days, from 7th to 10th April 1749, with Nanasaheb Peshwe spending Rs 4,320 from his account for these sacred rituals. During the ceremonies, a remarkable silver idol of Mahadev weighing 78.5 kilograms (yes, you read that right!) was placed alongside a pure gold idol of Parvati weighing 14.5 kilograms and an 8-kilogram gold idol of Ganesh.

Nanasaheb Peshwe’s devotion to the temple was profound. He would ride from Shaniwar Wada to Parvati Hill every day for Puja. In 1755, his devotion led to the construction of a Wada or Palace on the hill itself. On auspicious occasions, he would personally perform the Puja.

In 1760, in an expression of unwavering reverence, Nanasaheb adorned the temple with gold spires weighing 11.8 kilograms. However, the temple faced turbulent times, particularly during the Marathas’ difficult year of 1761, following the tragic events of the Battle of Panipat. Heartbroken by the devastating blow in Panipat, Nanasaheb retreated to Parvati Wada, where he later passed away. His son, Madhavrao Peshwe, continued his father’s deep devotion to the temple and its beloved goddess, Parvati.

Nanasaheb initiated a remarkable tradition known as “Ramana,” wherein substantial donations were bestowed upon deserving Brahmin scholars who traveled from all corners of India to the vicinity of Parvati Hill on an auspicious day. The tradition commenced in 1736 when a sum of 16,354 Rs was distributed to the recipients. As the years passed, Ramana grew exponentially, reaching astonishing heights in 1752, with donations amounting to a staggering Rs. 6,28,353 being granted to the candidates (as per Peshwe records).

The allure of Ramana attracted scholars from across India, transforming Pune into a cultural and religious hub during the Peshwe era. Pundits and learned individuals journeyed from places as far as Shringeri, Tanjore, Rameshwaram in the south, and Gwalior, Banaras, Kanoj, and Mathura in the north, seeking the patronage of the Peshwas. Among them were Vaidikas, Grammarians, Astrologers, Pandits, Poets, Vedantists, Logicians, Ascetics, doctors, and many others, all enriching the intellectual landscape of the city.

In 1779, Captain Moor visited Parvati and meticulously recorded the details of the Ramana ceremony in his account. Over time, the tradition thrived, with donations reaching up to ten lakhs by the time of Bajirao II. However, following the decline of the Maratha empire in 1818, the British authorities halted the patronage to these Indian learning systems (Gurukul) and diverted the funds towards other purposes. Despite this, the legacy of Ramana and its significant impact on Pune’s intellectual heritage remained deeply etched in history.

Vitthal Mandir at Parvati — Vitthal Rakhumai Temple, Parvati

In 1821, Mount Stuert Elphinstone made interesting observations about these donations. He mentioned that a specific class of individuals was supported, dedicating their time to cultivating their intellect. While their learning might have been perceived as obscure and perhaps less refined, it still held some resemblance to genuine science, which he believed could be refined and improved over time. The sentiment he expressed, in essence, questioned the value of such learning compared to what he considered true science.

Interestingly, as a side note, I recently came across information indicating that in the present day, a significant number of British women, approximately 75%, opt for some form of Yoga or Ayurvedic treatment each year. This observation raises an interesting point: what may have been deemed as less significant or “degenerate” by Mr. Stuert in the past now holds considerable importance and relevance in the present era.

Nevertheless, as time progressed, the focus on supporting scholarship in the study of Sanskrit literature and philosophy gradually diminished. However, a smaller scholarship program called the Dakshina Fellowship or Dakshina Prize Fund emerged later, aiming to popularize and preserve these fields of knowledge.

Parvati is a jewel of Pune. Early morning, people gather here for exercise. Some will pace, some will climb it backward, some will do push-ups, some will jump a rope, few will bird watch and the rest will just be there to catch fresh air. As the sun comes up, it will get deserted, and you will find college-going couples hanging there till evening. When shadows elongate, again, Parvati calls senior citizens, devotees and fitness enthusiasts, and they will answer the calls of this ancient goddess, the true pride of Pune. Parvati has seen good, bad and ugly days. When it was just a hillock, she must have witnessed an amusing childhood of Chhatrapati Shivaji the great. His mother was the one, who started developing the Pune in the real sense. During the golden days of the Maratha empire, she has witnessed grandiose Ganapati visarjan ceremonies, epic Dassra military parades, Ramana donations and fireworks reflecting in the lake. She must have suffocated in the fumes coming out of burning Shaniwar Wada in 1828, announcing the end of the Maratha empire.
Now, Parvati is surrounded by slums, tall buildings, bridges, and a web of roads. Like an old man’s forehead, Parvati’s tree line is getting faded as the years pass by. During the evenings, Parvati gets smothered by the pollution from nearby industrial towns. Like an old grandmother, she must be feeling alone, as her ancient companions- old Wadas and Mahals in Pune are being demolished, getting converted into shopping malls and residential apartments. The footfall of devotees has massively reduced. Many come to exercise, but very few actually remove their footwear and step in. Sometimes, few history buffs, ornithologists, astronomers, tree planters come here, she becomes lively again and blesses them with what they want. Whether it might be good health, mental peace, fresh air, birds in the morning and stars at night or just a brilliant view.

References:
1. Poona in Bygone days: By Rao Bahadur D. B. Parasnis, The Times Press, 1921
2.The Complete Works of Sri Aurobindo– Set in 37 volumes.- Volume 2.- Collected Poems.- Pondicherry: Sri Aurobindo Ashram, 2009.- 751 p.
3. Marathi Riyasat, Set in 8 volumes, G. S. Sardesai, Popular Prakashan, 2017
4.Wash drawing by Henry Salt (1780-1827) of a view of Pune in Maharashtra, with the river in the foreground, dated October 1804. This is the original drawing for ‘Poonah’, plate 13, of Henry Salt’s ‘Twenty Four Views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia, and Egypt’.

Offbeat Hampi - Drifter Adwait

Adwait Karajagi

16–20 minutes

Welcome, fellow wanderers and design enthusiasts, to the architectural adventure you never knew you needed! Brace yourselves for a journey through the whimsical and utterly offbeat Hampi. Trust us, this is not your average travel blog. We’re here to unveil the hidden treasures and mind-boggling structures that make Hampi a veritable playground for architectural nerds (in the most endearing way possible).

Hampi is a UNESCO world heritage site, famous for its history and architecture. Virupaksh temple, Vitthala Temple, Mustard Ganesha, Matuga Hill, Anjaneya hill, ancient water systems, and musical pillars. But Hampi is not just about that. This ruined city has its own rhythm, and if you can catch the tune, you will have a brilliant experience here. While Hampi has its own shades each month of the year, the best time to visit Hampi will be from August to March to do these adventures.

So, fasten your seatbelts, and get ready to explore Hampi, where the ordinary becomes extraordinary and architectural dreams are brought to life… with a side of whimsy. Let’s dive into this magical realm where buildings have personalities and the stones themselves seem to tell enchanting stories. Welcome to Offbeat Hampi, where architecture meets history, and exploring becomes the ultimate souvenir.

Cycle across the ruined Hampi city:

Picture this: a land where boulders play hide-and-seek with lush green banana plantations, and where ruins older than your great-great-great-grandma dot the landscape. Welcome to the extraordinary realm of Hampi, where cycling takes on a whole new level of adventure and architectural exploration!

Pedaling through this offbeat wonderland is like stepping into a whimsical time machine. Forget about traffic jams and car honks, because here you’ll find yourself gliding through the cleanest, crispiest air imaginable, with the occasional breeze caressing your face like a mischievous architectural spirit.

The roads of Hampi are not just any roads; they’re the stuff that cycling dreams are made of. Smooth as butter, they invite you to pedal your heart out while giggling at the sheer brilliance of your surroundings. And fear not, for the people of Hampi are as friendly as can be, ready to greet you with a warm smile and maybe even a silly joke or two.

Oh, and speaking of hydration, there’s no better way to quench your thirst than with not one, but two of those delicious roadside coconuts. Sip on their sweet nectar as you take in the historical wonders that surround you, feeling like a true explorer in search of architectural enlightenment.

So hop on your trusty steed (aka your bicycle) and get ready for a ride like no other. Hampi awaits, with its offbeat charm, architectural marvels, and a coconut-sipping adventure that will leave you thirsting for more. This is Offbeat Hampi, where cycling, comedy, and history collide in the most delightful and refreshing way possible.

Coracle ride in Hampi:

Walk through pillars of Hampi Bazaar, towards Kodanda Rama temple. Follow the cobblestone pavement that cuts through boulders where you will reach Kodanda Rama temple. In front of that, you have to catch the Coracle ride. The small bowl-shaped boats made up of Bamboo will take you on some of the least explored islands in Tungabhadra river. Simply majestic.

As you step aboard these buoyant wonders, get ready for a majestic experience that will leave you in awe. Float along the gentle currents, marveling at the architectural wonders that line the riverbanks. From ancient ruins peeking through the foliage to whimsical structures seemingly defying the laws of gravity, each island unveils a new surprise that will make you laugh, gasp, and appreciate the offbeat charms of Hampi.

So put on your explorer hat, pack your sense of humor, and prepare to be swept away on a Coracle ride like no other. Hampi’s architectural treasures await, and these unconventional vessels are your ticket to unlocking the secrets of the Tungabhadra. This is Offbeat Hampi, where history, hilarity, and Coracles collide to create an adventure you’ll be reminiscing about for years to come.

Sunset from Matunga hill:

At the end of Hampi Bazaar, there sits a huge monolith Nandi. Matunga trek starts from there. The climb is easy, but for the last few meters, it’s just slippery boulders. I almost turned back but my wife pushed me forward. Thanks to her, I witnessed one of the most brilliant sunsets of my life.

As the sun gracefully descends on the western horizon, it paints the sky with vibrant hues of orange, bidding farewell to Hampi and casting its warm glow upon the flowing Tungabhadra river. It’s a magical moment, my friend, where time seems to stand still, and you find yourself enveloped in a tranquil twilit zone that soothes your soul.

So, heed the call of the slippery boulders, embrace the unexpected, and get ready to lose yourself in the serene embrace of an offbeat Hampi sunset. It’s a journey filled with history, architectural marvels, and a touch of romance, all wrapped up in the warm glow of the disappearing sun. This is Offbeat Hampi, where slippery slopes lead to unforgettable sunsets and memories that will last a lifetime.

Sunrise from Anjaneya hill:

Birthplace of Lord Hanuman, is located on the other side or Hippie Island. It will be easy if you are living there, as you have to climb a few hundred steps to reach there. But climbing in the dark has its own rewards.

As the first rays of the sun peek over the horizon, a breathtaking sight unfolds before your eyes. Each moment reveals a new layer of Hampi’s architectural wonders, as if the sun itself is an eager archaeologist unveiling each and every boulder that adorns this magical land. The river, too, seems to awaken from its slumber, shimmering with newfound radiance as if it’s been waiting for this exact moment.

And let’s not forget our feathered friends. The birds of Hampi, still groggy from their avian slumber, stretch their wings and take flight, creating a majestic spectacle against the waking sky. It’s a symphony of nature and architecture, where even the boulders seem to yawn and stretch, coming alive with a vibrant energy that courses through the very heart of offbeat Hampi.

Scootying Hippie island:

This is the age of heavy CC motorcycles with Royal Enfields and KTMs. While we torque our self in life with eyes on the road ahead, sometimes it feels good to slow it down. Riding 90 cc TVS moped is just the speed you need to take you to the wonderland of rice paddy fields, tiny villages hidden in the corners of giant boulders and around ancient ruins. Take the ferry across the Tungabhadra (Or just jump across the river rocks. Yes, we did that to save 15 rupees), and hire a moped and hop on, for one of the most scenic rides of your life.

Ancient Anegundi:

Anegundi Potholes, Hampi — Anegundi Potholes

Offbeat Hampi territory holds a special place in the hearts of die-hard Ramayana fans, like myself, as it offers a nostalgic journey through mythological marvels and architectural wonders. Chintan Gumha is located on the Hippy island of Hampi, hidden in the giant boulders.

Step into the hallowed halls of Chintan Gumpha, the cave where legends were forged. Here, Shri Ram and Sugriva, the valiant Vanara king, had their fateful encounter. Let your imagination transport you back to that extraordinary moment, as you stand in the very spot where destiny unfolded and the greatest alliance of Humans and Vanaras was forged.

Next, prepare to witness the echoes of a mighty battle. Follow the footsteps of Bali and Sugriva to the site where their legendary fight took place. Let the air carry the whispers of their struggle and immerse yourself in the rich tapestry of myth and history. Just besides the Chintan Gumpha, you will see a tree from where, Shri Ram shot his arrow in the mighty chest of Bali.

But the adventure doesn’t stop there. As you make your way to Padmanabh Tirtha, be sure to keep an eye out for the intriguing potholes that grace the river’s surface. These natural formations are not just ordinary indentations; they hold secrets and stories of their own. Feel the pulse of the river as you contemplate the forces of nature that have shaped this sacred land.

Chill out in Mango tree hotel:

Hotel mango tree is, a hidden gem that embodies the very essence of the spirit of offbat Hampi. it’s the institution femous as any other ancient ruins in the area. Welcome to the most famous eatery in town, where floor sitting, free WiFi, and a laid-back rustic ambiance create an atmosphere that captures the soul of Hampi’s earthy lifestyle and the essence of its hippie heritage.

Under the shelter of a cozy tent, you’ll find yourself transported to a different time and space. The floor setting invites you to embrace the relaxed vibe, allowing you to unwind and connect with the authentic spirit of this extraordinary place. Whether you’re embarking on a day of exploration or you’ve reached the point of exhaustion from your adventures, this eatery has got you covered.

Immerse yourself in the vibrant flavors of the brilliant food served here, a true reflection of Hampi’s culinary prowess. Each bite tells a story, connecting you to the rich tapestry of the region’s history and cultural heritage. It’s a feast that not only satisfies your hunger but also nourishes your soul.

Make friends with Lakshmi elephant:
Apart from huge towers, brilliant wall paintings and beautiful craftsmanship of Virupaksha temple, you should meet one of the permanent residents of the temple there-Lakshmi elephant. You can feed her in the temple, and also in the early morning, you can accompany her to the River for a bath. Its pure fun.

Stargaze on the bank of Tungabhadra:

Tungabhadra river, Hampi — Tungabhadra, just before the Sunset

There is nothing much to do in Hampi outdoors at night. So, after a heavy dinner in the Mango tree, take a stroll towards Ghat. Climb on top of one of those ancient structures and listen to Tungabhadra flowing. Rest your back on the platforms to gaze some stars on a clear sky, with water flowing in background and imagine this ancient city coming back to life. Pure magic.

Rock climbing in Hampi:

Giant boulders scattered all over Hampi makes it perfect for Rock climbing, or, Bouldering. Many shops and hotels on the other side provide assistance, gear on rent and even provide a guide for the climb. You can rent crash mats, chalk powder, and shoes here, and if you are staying in one of these hotels, they will provide these for free in your package. Goan corner, Tom and Jerry’s and Sunny’s Bouldering school are one of the many service providers.

Have breakfast at Mowgli:

Sitting on the floor, right in the middle of lush green paddy fields while the river flows in front of you. You tend to eat more than you need in such conditions. And then, killer tasty food makes you order some more. There are some super laid back, tasty food serving restaurants on the other side as well. Mowgli, Laughing Buddha, and many more are ready to serve you, while you relax.

Shopping in Hampi Bazaar:

Let your inside hippie out here, and buy yourself some colorful pants, chappals, earrings, neckless, Oam printed t-shirts or some gypsy styled Lambani handbags. If you are planning to switch on the Kumbaya mode, you can buy musical instruments to play around your bonfire as well. As a memento, you can have some brass artifacts replicating Hampi ruins, gods or some animals. As you make your selections, let each item serve as a cherished memento, a tangible reminder of the memories and experiences woven into the fabric of your offbeat Hampi adventure.

Cliff Jumping:

Hop on the ferry to the other side, hire a moped and drive towards Sanapur Lake, keeping ancient aqueduct on your back. There will be crocodile signs in this area, but you can go ahead and have a blast while swimming. Hampi weather is decent, year around. But summers are harsh, swimming definitely will take down a notch. Get that adrenaline rush, with your sole attention, is on just one thing, living in the moment until you touch the waters. As you land safely, your fear turns into satisfaction, until you climb the cliff again, to jump.

Explore Virupaksha temple:

It’s the only live temple in Hampi, with the tallest structure that can be seen from miles. This seventh-century temple has seen many good bad and ugly days. Spend some time here, observe the devotees sitting in the temple courtyard. Attend Arati in the evenings which starts after Lakshmi parades in the courtyard.

Hampi from Watchtower:

From King’s balance, stroll towards Kodanda Rama temple, and you will come across Anjaneya temple, dedicated to Lord Hanuman. Behind the temple, there is a two-storied watchtower, from where you can see a panoramic view of the place. It is the best place to spend your hot afternoon. very few go there as Yantroddharak Anjaneya temple has few steps to climb.

Musical pillars in Vitthala temple:

Vitthala temple is the most iconic spot in Hampi constructed in 1554. Take a guide, he will be worth every penny. Apart from stone chariot, he will explain you the significance of many things that you will ignore otherwise, and musical pillars or SaReGaMa pillars are just one of them. Queen use to perform dance here, while music being played with the beat of Sandal sticks on those pillars.

History lesson in Hampi museum:

After the queens bath, most of the people will take u turn to come back to Hampi, but do not forget to check out Hampi Archaeological museum or Kamalapur Museum, located in outskirts of Hampi. Consider this museum a mandatory prerequisite for any serious explorer. Here, you’ll embark on a captivating journey through time, delving deep into the mythological, architectural, and historical tapestry of Hampi. Marvel at the exquisite sculptures that adorn the galleries, each one a testament to the incredible craftsmanship of the bygone era.

But the true masterpiece that awaits you is the topographical model of Hampi, a marvel of intricate detailing and craftsmanship. This miniature replica brings the entire city of Hampi to life before your eyes, showcasing its grandeur and scale in a way that words alone cannot capture. From the majestic temples to the sprawling ruins, every nook and cranny of Hampi is beautifully recreated, allowing you to immerse yourself in its rich history and architectural splendor.

So, fellow explorers, do not miss the opportunity to expand your knowledge and deepen your understanding of this offbeat Hampi paradise.

Bare feet on the slopes of Hemakoota hill:

Afternoons are very very hot in Hampi. So, if you are extra adventures, remove your sandals and try to walk bare foot on that hot monolith near Virupaksha temple. While villagers are walking easily, without any footwear and problems, us, the city folks dance here like Basanti, dancing on broken glass in front of Gabbar.

Explore underground temples of Hampi:
Hampi is well known for its tall towers and specious courtyards, there are few temples, hidden underground. Prasanna virupaksha temple is one of them. Chill there during noon time and you wont even feel a scorching sun on your head. Close your eyes, and just be in piece. While in peak monsoon season, temple gets flooded, according to locals, it has outlet, which straight goes to Tungabhadra river.

Chill out in Elephant stables:
Another unique structure of Hampi is, Elephant Stables. And everyone knows- A cool elephant is happy elephant. It is said, that water use to be circulated through the walls of this building to keep the elephants cool. Also, do not forget to check out Mahut cabins besides the stables.

What not to do in Hampi:

Rave. Hampi is the lost glory of India. It has immensely rich heritage, culture and religious value. Its the place where two brothers took a stand, establish an empire to fight foreign invaders. But, as our bad habit of following white folks blindly, we the people, have started behaving like Hippies (Who don’t know any better). Alcohol, weed and other drugs have made their place in Hampi, in the form of rave parties on Hippie Island, straight from Goa. My request is, do whatever you want, but with keeping the appropriate respect to the place.
And one more thing,
Do not forget to send postcard to your family from there.

For detail information, please visit my Hampi Log:
https://drifteradwait.wordpress.com/hampi-travelogue/

The Legend of Astika: A Tale of Snakes, Sages, and Salvation

Adwait Karajagi

13–17 minutes

यो जरत्कारुणा जातो जरत्कारी महायशाः ।
आस्तीकः सर्पसत्रे वः पन्नगान् योऽभ्यरक्षत ।
तं स्मरन्तं महाभागा न मां हिंसितुमर्हथ ।।

“He who was born of Jaratkaru and Jaratkaru, the noble Astika who halted the serpent sacrifice – I remember him now. O blessed serpents, do not harm me.”

Long before antiseptic sprays and anti-venom vials, protection from snakebite in rural India often came in the form of a mantra—murmured under the breath, passed down through generations. It was not a spell of fear but a chant of memory and reverence.

In villages, particularly in Maharashtra, this protective snakebite mantra was recited while walking through thick undergrowth, tall grasses, or while grazing cattle. Its roots run deep into the soil of Hindu mythology, anchored in a dramatic saga of betrayal, divine intervention, cosmic duty, and the power of a single child to change destiny.

But who was Astika, and why does the very memory of his name keep snakes at bay?

Let us journey into one of India’s most powerful and rarely told legends.

The Tale Begins: A Horse, A Lie, and a Terrible Curse

The story begins not in war or chaos, but in a petty household argument—between Kadru and Vinata, two wives of the ancient sage Kashyapa, and mothers of celestial beings.

One day, as the two watched a divine horse graze in a field, a strange debate arose.

Kadru claimed that the horse’s tail was black.

Vinata insisted it was white.

Their egos tangled quickly, and they wagered:

“The one who is proven wrong shall become the other’s slave.”

To win, Kadru hatched a deceitful plan. She instructed her sons—the serpent nagas—to go and hang on the horse’s tail, making it appear black.

But many of the serpents, noble in spirit and unwilling to lie, refused.

And so Kadru, their own mother, cursed them.

Her words burned through the heavens:

“You shall perish in the great Sarpa Satra – the serpent sacrifice that shall be performed by a king of the Kuru dynasty. You shall be cast into sacred flames, and none shall survive.”

Among these cursed nagas was Vasuki, who would one day be king of serpents—and the future brother-in-law of a certain sage named Jaratkaru.

The Cosmic Churning: Vasuki Endures for the Universe

Years rolled by, and the world moved toward another grand event—Samudra Manthan, the churning of the ocean of milk. The gods and demons, needing a rope strong enough to churn the vast ocean, turned to none other than Vasuki.

He was wrapped around Mount Mandara, used as the churning rope itself.

मन्धानं मन्दरं कृत्वा तथा नेत्रं च वासुकिम् । देवा मधितुमारब्धाः समुद्रं निधिमम्भसाम् ।।
अमृतार्थे पुरा ब्रह्मस्तथैवासुरदानवाः । एकमन्तमुपाश्लिष्टा नागराज्ञो महासुराः ।।
विबुधाः सहिताः सर्वे यतः पुच्छं ततः स्थिताः ।।
-Thus, in ancient times, the gods and demons came together to churn the cosmic ocean in search of Amrit—the nectar of immortality. They used Mount Mandara as the churning rod and the mighty serpent king, Vasuki, as the rope. The asuras (demons) grasped Vasuki firmly by the head, while the devas (gods) took their position at his tail, each side pulling with immense force in this grand, divine endeavor. –(Mahabharat, Adiparva)

With great pain, Vasuki endured being pulled back and forth, vomiting poison and withstanding agony—all for the well-being of the universe. From this divine act emerged the Amrita, the nectar of immortality, along with celestial gems, beings, and Lakshmi herself.

Vasuki’s contribution, while painful, was pivotal to the cosmic order.

A Plea for Mercy and a Prophecy of Hope

After the churning, Vasuki, along with other cursed serpents and the devas, approached Brahma. They bowed and pleaded, telling him of Kadru’s curse and the fiery sacrifice destined to wipe out their kind.

Brahma listened.

And then he spoke words that would echo through time:

“Do not fear. A savior shall be born. From parents who both bear the name ‘Jaratkaru,’ a child of wisdom and virtue will arise. He alone shall stop the destruction and rescue the righteous among you. But only those among you who perform good deeds shall be spared.”

Hope flickered.

And so the serpents waited.

The Forest Encounter: Jaratkaru and the Suffering Ancestors

In a thick forest, where sunlight barely kissed the earth, an elderly ascetic named Jaratkaru was wandering alone. One day, he came across a surreal and haunting vision:

A group of frail, ghostly men were hanging upside down from a tree, suspended by a single thread of grass, their heads dangling over a yawning pit.

Moved by the sight, the sage asked who they were.

Their answer stunned him:
“We are your ancestors, O Jaratkaru. Because you have taken the path of renunciation and have no offspring, no one performs our ancestral rites. We are doomed to this torment.”

The sage was shaken. Despite his vow of celibacy, he offered them hope. “I shall marry,” he declared, “but only if I find a woman who shares my name. And I shall not bear the burden of her upkeep.”

The Serpent Princess: Jaratkaru Meets Jaratkaru

Fate smiled.
In the kingdom of serpents, Vasuki had a sister named Jaratkaru—a maiden as wise as she was noble. Vasuki brought her to the sage and agreed to his conditions.

Thus was forged a most unusual union: a human sage and a serpent princess, joined in destiny and prophecy.

From this marriage was born a child—a child destined to stop a fire that could consume the world.

अस्तीत्युक्त्वा गतो यस्मात् पिता गर्भस्थमेव तम् । वनं तस्मादिदं तस्य नामास्तीकेति विश्रुतम् ।।
-The child was still in his mother’s womb when his father, Sage Jaratkaru, departed once again for the forest. As he left, he uttered a single word — “Asti” — meaning “he exists.” From that word, the child came to be known as Astika, and by that name, he became renowned throughout the world.
-Mahabharat, Astikparva

Astika’s Youth: The Fire Within

Raised under the guidance of Sage Chyavana, Astika was no ordinary boy. He mastered the Vedas and shone like fire in his intellect and spirit. His presence brought peace; his words commanded attention.

But as Astika grew, so did the storm brewing in the royal halls of Hastinapur.

The Tragedy of King Parikshit and the Rise of Janamejaya

King Parikshit, the grandson of Arjuna, once insulted a meditating sage by placing a dead snake around his neck. The sage’s son, enraged, cursed him:

“You shall die in seven days, bitten by the serpent Takshaka.”

And so it happened.
Takshaka, the mighty naga, bit Parikshit, killing him instantly.
The king’s son, Janamejaya, was devastated—and vengeful. He swore vengeance not just on Takshaka, but on the entire serpent race.

The Sarpa Satra Begins: A Yagna of Vengeance

Janamejaya summoned his priests and began the Sarpa Satra—an immense ritual meant to annihilate every serpent on earth.
Priests chanted mantras that pulled serpents into the sacrificial fire. Millions of snakes—innocent and guilty alike—were dragged screaming into the flames.

Takshaka, fearing for his life, sought refuge in Indra’s heavenly palace.
But Janamejaya’s priests invoked a terrifying mantra:
“Indraya Takshakaya Swaha!”
Even Indra couldn’t withstand the power of the ritual. He fled, abandoning Takshaka, who began falling toward the fire.
The serpent race teetered on the edge of extinction.

Astika Intervenes: The Boy Who Stopped the Fire

Just as Takshaka was about to fall into the flames, Astika arrived.

Draped in humility, his voice calm, he approached Janamejaya and praised his strength, lineage, and righteousness. The king, pleased, offered to grant him a boon.

Astika made a simple request:
“O King, stop the Sarpa Satra.”

A gasp rippled through the court.
But Janamejaya was a man of dharma. Bound by honor and his own promise, he agreed.
The fire died. The chants ended.

The serpent race was saved.

Vasuki’s Blessing and the Power of Remembrance

Vasuki, overwhelmed with gratitude, appeared before Astika and declared:
“Whoever remembers your name, O Astika, shall never be harmed by any serpent.”

यो जरत्कारुणा जातो जरत्कारी महायशाः । आस्तीकः सर्पसत्रे वः पन्नगान् योऽभ्यरक्षत ।
तं स्मरन्तं महाभागा न मां हिंसितुमर्हथ ।।
“He who was born of Jaratkaru and Jaratkaru, the noble Astika who halted the serpent sacrifice – I remember him now. O blessed serpents, do not harm me.”

सर्पापसर्प भद्रं ते गच्छ सर्प महाविष । जनमेजयस्य यज्ञान्ते आस्तीकवचनं स्मर ।।
O venomous serpent, begone! May blessings be upon you—now take your leave. But before you go, remember the vow you made to Astika at the conclusion of King Janamejaya’s great yagna. Honor your word.

आस्तीकस्य वचः श्रुत्वा यः सर्पो न निवर्तते । शतधा भिद्यते मूर्ध्नि शिंशवृक्षफलं यथा ।।
“The serpent who dares not retreat even after hearing Astika’s sacred oath—its hood shall shatter into a hundred pieces, like the bursting pod of a Shisham tree.”

And thus, the Astika mantra was born—an eternal shield passed down through generations.

The Legend in Stone and Bronze: Ancient Sculptural Depictions

This story, rich in symbolism, found its way into art and sculpture across India:

1. Bengal, 11th Century – Pala Period

This exquisite stone sculpture from the Pala dynasty era (11th century) showcases the serpent princess Jaratkaru, sister of the Naga king Vasuki, seated gracefully upon a lotus throne (kamalasana)—a classic symbol of purity and divine presence in Indian art.

Above her head arches a seven-hooded serpent, forming a protective naga chhatra (serpent canopy), signifying her celestial lineage. In her lap rests a small naga, representing the surviving Naga lineage that was spared from extinction due to her sacrifice and the heroic actions of her son. The small snake bears a nagamani (serpent gem) on its hood—a traditional symbol of power, wisdom, and spiritual awakening.

To her right stands Sage Jaratkaru, shown emaciated with an ascetic’s thin frame, matted hair (jata) tied in a topknot, and a yogapatta (meditation band) strapped around his legs, identifying him clearly as a forest-dwelling renunciate.

To her left stands their son Astika, marked unmistakably by a cobra hood over his head, a symbol of both his divine heritage and his future role as the savior of the serpents.

This composition beautifully captures the triadic power of sacrifice, dharma, and redemption embodied by this legendary family.

2. Bhubaneswar, 10th Century

This rare and intimate stone relief from 10th-century Bhubaneswar presents a reversal of typical iconography found in divine or sage depictions.

Here, Sage Jaratkaru, with a well-sculpted beard and moustache, is seen resting on the lap of his wife, the serpent maiden Jaratkaru, who sits serenely upon a lotus pedestal. Her clothing and jewelry are carved in exquisite detail, showcasing the fine craftsmanship of Odisha’s medieval artisans.

Beneath the throne, a devotee is seen making an offering, possibly in a basket, hinting at continued veneration of the naga lineage or the goddess form of Jaratkaru.

To the left of the composition, there is a carved serpent bearing the ‘naganasha’ (serpent destroyer) symbol—perhaps a visual reminder of the threat the Naga race faced during Janamejaya’s serpent sacrifice.

The unique reversal in this sculpture—where the sage rests on the lap of his wife rather than the common iconography of goddesses resting on male deities—is a striking expression of feminine grace, support, and the equality (or even primacy) of spiritual strength in the female figure. This inversion is both rare and symbolically powerful.

3. Bronze Kamandalu, Bihar

This bronze kamandalu (water vessel) from Bihar is a masterpiece of metalcraft and storytelling. Crafted with exquisite detail, the vessel features finely carved figures of Jaratkaru (the sage), Jaratkaru (the serpent maiden), and their son Astika—collectively presented as “Jaratkaru and Sons”, in a composition that fuses familial unity with divine mission.

The miniature reliefs are rendered with astounding precision—from the texture of clothing to the expressions on their faces. Despite the small scale, the artists have managed to convey layered meanings and emotion through posture, symbolism, and proportion.

This artifact stands as a testament to the refined artistic sensibilities of early medieval Bihar, and to the reverence this myth commanded in religious and household contexts.
To behold such an object is to stand in awe not only of its beauty but of the ancestral devotion and mythological memory it enshrines in every curve.

From Serpent Princess to Goddess: The Rise of Manasa Devi

In later centuries, some traditions evolved.
Scholars suggest that Jaratkaru, the serpent princess, became worshipped as Manasa Devi—a goddess who protects against snakebites and grants fertility.
She is still worshipped in Bihar and Bengal, especially during Shravan, when the monsoon brings snakes into the open.

Did You Know? Mahabharata Was First Narrated at This Yagna

A little-known fact: The Sarpa Satra yagna where Astika stopped the fire was also where Sage Vaishampayana first narrated the Mahabharata to King Janamejaya.
Thus, from the flames meant to destroy life came forth India’s greatest epic.

Conclusion: The Eternal Legacy of Astika

The legend of Astika is not just a myth—it is a mirror reflecting themes of compassion, destiny, dharma, and redemption. It reminds us that even in a world driven by vengeance, a single voice of reason and courage can halt destruction.

So the next time you hear the mantra whispered:
“Astika, born of Jaratkaru and Jaratkaru, protector of serpents – I remember him now…”

…know that you’re echoing a tale that once saved a race, stopped a fire, and changed the fate of the world.

Manasa, 9th cent, bronze, British museum

References:
1. Mahabharat Volume 1, Geeta Press, India.
2. Mohapatra, Ratnakar. “Iconography of Fifteen Sculptures from the Khordha District of Odisha.” ShodhKosh: Journal of Visual and Performing Arts, KISS Deemed to be University, https://doi.org/10.29121/shodhkosh.v[n].i[n].[ArticleID].

Indology Granthalaya: A Treasure Trove of Indology Resources - Drifter Adwait

Adwait Karajagi

15–19 minutes

During my two-year journey studying Indology at Tilak Maharashtra Vidyapeeth (TMV) – Department of Indology, I had the honor of learning under some truly exceptional scholars. These dedicated Gurus not only imparted timeless wisdom but also guided us toward a wealth of rare reference books, academic texts, and Indology research material that shaped our learning deeply.

Throughout the course, our professors often shared recommended reading lists, handpicked book links, and digital archives — covering everything from Vedic literature, Indian philosophy, Sanskrit grammar, and ancient Indian history, to epigraphy, numismatics, and cultural studies.

I’ve carefully saved and now organized all those Indology book links — and I’m sharing them here so that fellow Indology students, researchers, and enthusiasts can benefit from this curated collection.

The best part? All of these Indology books are free to download.

Many come from public domain archives, open-access university libraries, and digital collections made possible by the efforts of scholars and institutions dedicated to preserving India’s intellectual heritage.

We owe immense gratitude to those who have spent lifetimes researching, translating, digitizing, and sharing these invaluable resources — making them accessible to learners like us.

This list is my humble contribution to that tradition — a way to circulate free Indology resources, make them more accessible, and support the global community of Indology students.

Whether you’re preparing for UGC NET in Indology, working on your thesis, or exploring ancient Indian texts out of passion — feel free to explore, download, and share.

May your journey into the depths of Indian civilization, thought, and culture be enlightening and fulfilling.

Vande Mataram.

How to Download or Read the Books
Here’s a quick and easy guide to help you access the books listed on this page:
-Click the link next to the book title.
It will open a new page where the book is hosted.
-You can either:
Read the book online, OR
Download it to read offline or print later — whatever works best for you.

To download:
-Scroll down a little on the book page.
-On the right side, you’ll see a section titled “Download Options.”
-Click on “PDF” (or any other format you prefer, like EPUB or plain text).
-Your download will begin instantly. That’s it!

Pro Tip: Most of these books are hosted on trusted public archives like Internet Archive (archive.org), so they’re safe, free, and open for educational use.

Happy reading and exploring the world of Indology!

LITERATURE

Vedas-Sanskrit to Hindi
Rigved- https://archive.org/details/rigved_202305
Atharvaved- https://archive.org/details/20200426_20200426_0846
Yajurved- https://archive.org/details/wg847
Samaved- https://archive.org/details/wg846

Mahabharat-Geeta Press-Sanskrit to Hindi
Volume 1- https://archive.org/details/02.-mahabharata-volume-2/01.Mahabharata%20Volume%201/
Volume 2- https://archive.org/details/02.-mahabharata-volume-2/02.Mahabharata%20Volume%202/
Volume 3- https://archive.org/details/02.-mahabharata-volume-2/03.Mahabharata%20Volume%203/
Volume 4- https://archive.org/details/02.-mahabharata-volume-2/04.Mahabharata%20Volume%204/
Volume 5- https://archive.org/details/02.-mahabharata-volume-2/05.Mahabharata%20Volume%205/
Volume 6- https://archive.org/details/02.-mahabharata-volume-2/06.Mahabharata%20Volume%206/

Mahabharat Bhandarkar Oriental Research Institute Critical Edition
Volume 1- https://archive.org/details/in.ernet.dli.2015.485484/page/n7/mode/2up
Volume 2- https://archive.org/details/in.ernet.dli.2015.485485
Volume 3- https://archive.org/details/in.ernet.dli.2015.485482
Volume 4- https://archive.org/details/in.ernet.dli.2015.485486

संस्कृत साहित्य का इतिहास
https://archive.org/details/uma-shankar-sharma-sahitya-itihasa-ocr/mode/2up?q=%E0%A4%B8%E0%A4%82%E0%A4%B8%E0%A5%8D%E0%A4%95%E0%A5%83%E0%A4%A4+%E0%A4%B8%E0%A4%BE%E0%A4%B9%E0%A4%BF%E0%A4%A4%E0%A5%8D%E0%A4%AF+%E0%A4%95%E0%A4%BE+%E0%A4%87%E0%A4%A4%E0%A4%BF%E0%A4%B9%E0%A4%BE%E0%A4%B8

V.S. Sukthankar Collection
Critical Studies In The Mahabharata- https://archive.org/details/wg610
The Mahabharata- https://archive.org/details/in.ernet.dli.2015.486148/page/1403/mode/1up
Prolegomena to the Critical Edition of Adi-Parva of Mahabharata- https://archive.org/details/Sukthankar_Prolegomena_Mahabharata_Critical_Edition
Constructive survey of Upanishadic philosophy by Ranade, R. D.- https://archive.org/details/in.gov.ignca.3684

राम कथा (उत्पत्ति और विकास), फादर कामिल बुल्के- https://archive.org/details/wg988

हर्षचरित: एक सांस्कृतिक अध्ययन, Agraval V- https://ia801404.us.archive.org/24/items/in.ernet.dli.2015.478316/2015.478316.Harsh-charit.pdf

A History Of Indian Literature, Winternitz, M.
Volume 1- https://archive.org/details/in.ernet.dli.2015.97551/page/n3/mode/2up
Volume 2- https://archive.org/details/Winternitz-HistoryOfIndianLiterature3vols/Winternitz_A%20history%20of%20indian%20literature%20v1_1927/
Volume 3- https://archive.org/details/Winternitz-HistoryOfIndianLiterature3vols/Winternitz_A%20history%20of%20indian%20literature%20v3_1985/

Vedic mythology, by Macdonell, Arthur Anthony- https://archive.org/details/vedicmythology00macduoft

Jan Gonda Collection
Change And Continuity In Indian Religion Jan Gonda- https://archive.org/details/changeandcontinuityinindianreligionjangonda_202003_284_J
Remarks Of Similes In Sanskrit Literature- https://archive.org/details/remarksofsimilesinsanskritliteraturejangonda
Selected Studies Volume 2- https://archive.org/details/selectedstudiesvolume2jangonda_618_z
Die Religionen Indiens- https://archive.org/details/diereligionenind0003gond
The Vedic God Mitra- https://archive.org/details/vedicgodmitra0000gond
Ancient Indian kingship from the religious point of view- https://archive.org/details/ancientindiankin0000gond
Viṣṇuism and Sivaism : a comparison- https://archive.org/details/viuismsivaismcom0000gond/page/n5/mode/2up

Rice and barley offerings in the Veda- https://archive.org/details/ricebarleyofferi0000gond/page/n5/mode/2up

कौटिलीय अर्थशास्त्र, सटीप मराठी भाषांतर, कंगले र. पं.- https://sahitya.marathi.gov.in/ebooks/%E0%A4%95%E0%A5%8C%E0%A4%9F%E0%A4%BF%E0%A4%B2%E0%A5%8D%E0%A4%AF%20%E0%A4%85%E0%A4%B0%E0%A5%8D%E0%A4%A5%E0%A4%B6%E0%A4%BE%E0%A4%B8%E0%A5%8D%E0%A4%A4%E0%A5%8D%E0%A4%B0.pdf

Hanuman Natak- https://archive.org/details/in.ernet.dli.2015.325912/page/n19/mode/2up

पालि साहित्य का इतिहास
https://www.jainfoundation.in/JAINLIBRARY/books/Pali_Sahitya_ka_Itihas_010624_std.pdf

Tagare Collection
The Pratyabhijna Philosophy- https://archive.org/details/EfyF_the-pratyabhijna-philosophy-g.-v.-tagare/page/n7/mode/2up
Shaiva Darshan G V Tagare ( Marathi)- https://archive.org/details/ShaivaDarshanGVTagareMarathi
Epigraphy, Historical Grammar Of Apabhramsha- https://archive.org/details/epigraphyhistoricalgrammarofapabhramshagajananvasudevatagare_673_W
Saivism Some Glimpses- https://archive.org/details/saivismsomeglimpsestagareg.v.d.k.printworld_202003_762_h
Kundkundachary Krut Pravachansar- https://archive.org/details/in.ernet.dli.2015.447795

ARCHEOLOGY

पुरातत्वविद्या (ढवळीकर)- https://sahitya.marathi.gov.in/scans/Puratatvavidya.pdf

Hundred years of archaeology- https://archive.org/details/in.gov.ignca.10227

James Burgess Collections
History Of Indian And Eastern Architecture Illustrations Vol I- https://archive.org/details/in.ernet.dli.2015.552575
History Of Indian And Eastern Architecture Illustrations Vol Ii- https://archive.org/details/in.ernet.dli.2015.552531
The Cave Temples Of India- https://archive.org/details/in.ernet.dli.2015.55666
A Guide Elura Cave Temples- https://archive.org/details/guideeluracavete033102mbp
The chronology of modern India for four hundred years from the close of the fifteenth century : A.D. 1494-1894- https://archive.org/details/b31354506/page/n5/mode/2up
The transliteration of oriental alphabets- https://archive.org/details/transliterationo00burg

James Fergusson Collection
Illustrations of the Rock-Cut Temples of India- https://archive.org/details/pli.kerala.rare.12946
Indian and eastern architecture- https://archive.org/details/dli.ministry.03084
Tree and serpent worship : or illustrations of mythology and art in India in the first and fourth centuries after Christ- https://archive.org/details/dli.ministry.27330
On the Rock-Cut Temples of India- https://archive.org/details/jstor-25207602
Illustrations Of The Rock Cut Temples Of India- https://archive.org/details/in.ernet.dli.2015.536353
Rude Stone Monuments in All CountriesTheir Age and Uses- https://archive.org/details/rudestonemonumen54620gut

On Yuan Chwang’s travels in India (629-645 A.D.), by Watters, Thomas- https://archive.org/details/onyuanchwangstra0000watt/page/n7/mode/2up

Alexander Cunningham Collection
Complete Works of Alexander Cunningham: Inscriptions of Asoka Vol I- https://archive.org/details/dli.ministry.25520
The Bhilsa topes, or, Buddhist monuments of central India- https://archive.org/details/cu31924022980571
Mahâbodhi, or the great Buddhist temple under the Bodhi tree at Buddha-Gaya- https://archive.org/details/cu31924008747788
Report of a tour in Bihar and Bengal in 1879-80, from Patna to Sunargaon- https://archive.org/details/bub_gb_gW8IAAAAQAAJ
The Stupa of Bharhut : a Buddhist monument ornamented with numerous sculptures illustrative of Buddhist legend and history in third century B.C.- https://archive.org/details/stupaofbharhutbu00cunn
The Periplus of the Erythraean Sea : travel and trade in the Indian Ocean, by Schoff, Wilfred Harvey, 1874-1932- https://ia801309.us.archive.org/10/items/cu31924030139236/cu31924030139236.pdf
Megasthenis Indica, by Schwanbeck, F.a.- https://archive.org/details/in.ernet.dli.2015.107452

HISTORY

प्राचीन चरित्रकोश, द्वारा सिद्धेश्वरनाथ शास्त्री- https://archive.org/details/in.ernet.dli.2015.482764

सातवाहन आणि पश्चिमी क्षत्रप यांचा इतिहास आणि कोरीव लेख- https://sahitya.marathi.gov.in/ebooks/%E0%A4%B8%E0%A4%BE%E0%A4%A4%E0%A4%B5%E0%A4%BE%E0%A4%B9%E0%A4%A8%20%E0%A4%86%E0%A4%A3%E0%A4%BF%20%E0%A4%AA%E0%A4%B6%E0%A5%8D%E0%A4%9A%E0%A4%BF%E0%A4%AE%20%E0%A4%95%E0%A5%8D%E0%A4%B7%E0%A4%A4%E0%A5%8D%E0%A4%B0%E0%A4%AA%20%E0%A4%86%E0%A4%A3%E0%A4%BF%20%E0%A4%A4%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%82%E0%A4%9A%E0%A5%87%20%E0%A4%95%E0%A5%8B%E0%A4%B0%E0%A5%80%E0%A4%B5%20%E0%A4%B2%E0%A5%87%E0%A4%96%E0%A4%83.pdf

History Of Ancient And Early Medieval India From The Stone Age To The 12th Century- Upendra Singh- https://archive.org/details/history-of-ancient-and-early-medeival-india-from-the-stone-age-to-the-12th-century-pdfdrive

The History And Culture Of The Indian People
( 11 Vol. Set) By R. C. Majumdar, J. N. Chaudhuri, G. S. Sardesai
Set contains:
Volume 1: The Vedic Age
Volume 2: The Age Of Imperial Unity
Volume 3: The Classical Age
Volume 4: The Age Of Imperial Kanauj
Volume 5: The Struggle For Empire
Volume 6: The Delhi Sultanate
Volume 7: The Mughal Empire
Volume 8: The Maratha Supremacy
Volume 9: British Paramountcy And Indian Renaissance, Part 1
Volume 10: British Paramountcy And Indian Renaissance, Part 2
Volume 11: Struggle for Freedom
Link- https://archive.org/details/the-history-and-culture-of-the-indian-people-11-vol.-set-by-r.-c.-majumdar-j.-n.

An Indian Ephemeris by Pillai L.d Swamikannu
Volume 1- https://archive.org/details/in.ernet.dli.2015.470172/2015.470172.An-Indian-1/
Volume 2- https://archive.org/details/in.ernet.dli.2015.470172/2015.470172.An-Indian-2

R.C. Majumdar Collection
An Advanced History Of India- https://archive.org/details/in.ernet.dli.2015.281795
Hindu colonies in the far east- https://archive.org/details/hinducoloniesinf0000rcma/page/n5/mode/2up
प्राचीन भारत- https://archive.org/details/r.-c.-majumdar
Vakataka – Gupta Age- https://archive.org/details/vakatakaguptaage0000rcma
Ideas of History in Sanskrit Literature- https://archive.org/details/ideas-of-history-in-sanskrit-literature-r.-c.-majumdar
Nationalist Historians- https://archive.org/details/nationalist-historians-r.-c.-majumdar
Arab Invasion of India- https://archive.org/details/arab-invasion-of-india-r.-c.-majumdar
Corporate life in ancient India jayaswal- https://dn790001.ca.archive.org/0/items/corporatelifeina00majurich/corporatelifeina00majurich.pdf

Sarthwah by Dr. Motichandra- https://archive.org/details/in.ernet.dli.2015.321332/page/n91/mode/2up

Trade and Trade Routes in Ancient India by Chandra- https://archive.org/details/dli.pahar.3507

State & Government In Ancient India – A. S. Altekar- https://archive.org/details/state-government-in-ancient-india-a.-s.-altekar

Jain Shilalekh Sangrah by Joharapurkar, Vidhyadhar- https://archive.org/details/in.ernet.dli.2015.341455

Sanskrit In Indonesia By J. Gonda 1952 Nagpur International Academy Of Indian Culture- https://archive.org/details/ZGTs_sanskrit-in-indonesia-by-j.-gonda-1952-nagpur-international-academy-of-indian-culture

Dathavansa –https://archive.org/details/dathavamsalawb.c.buddhastoothrelicmlbdn8376………………………._39_v/page/n5/mode/2up

TEMPLE ARCHTECTURE AND ICONOGRAPHY

मयमतम् Mayamatam Part 1- https://archive.org/details/mayamatam/%E0%A4%AE%E0%A4%AF%E0%A4%AE%E0%A4%A4%E0%A4%AE%E0%A5%8D%20Mayamatam%20Shailja%20pandey%201/
मयमतम् Mayamatam Part 2- https://archive.org/details/mayamatam/%E0%A4%AE%E0%A4%AF%E0%A4%AE%E0%A4%A4%E0%A4%AE%E0%A5%8D%20_Mayamatm%20Shailja%20Pandey%202/

Architecture Of Manasara, by Acharya, Prasanna Kumar- https://archive.org/details/in.ernet.dli.2015.31240

The art of ancient India : Buddhist, Hindu, Jain by Huntington, Susan L- https://archive.org/details/artofancientindi0000hunt

The Monuments Of Sanchi, Vol. 1, John Marshall; Alfred Foucher; N. G. Majumdar- https://archive.org/details/monumentsofsanch01john

The Monuments Of Sanchi, Vol. 2, John Marshall; Alfred Foucher; N. G. Majumdar- https://archive.org/details/monumentsofsanch02john

The Monuments Of Sanchi, Vol. 3, by John Marshall; Alfred Foucher; N. G. Majumdar- https://archive.org/details/monumentsofsanch03john

The Severn Valley Railway by John Marshall- https://archive.org/details/isbn_0946537496/page/8/mode/2up

Sadhanamala by B.j.sandesara- https://archive.org/details/in.ernet.dli.2015.495240

The Indian Buddhist Iconography, by Benoytosh Bhattacharyya- https://archive.org/details/aes.indianbuddhistic0000beno_q0q0/page/n7/mode/2up?q=sadhanamala

Maitreya The Future Buddha Alan Sponberg- https://archive.org/details/maitreyathefuturebuddhaalansponbergouparticles_317_o/page/n8/mode/1up

Coins, P L Gupta- https://ia802905.us.archive.org/12/items/in.ernet.dli.2015.107500/2015.107500.Coins.pdf

Percy brown Collection
Indian Architecture (Islamic period) by Brown, Percy- https://archive.org/details/in.gov.ignca.18429/page/n7/mode/2up
Indian Painting by Brown,percy- https://archive.org/details/in.ernet.dli.2015.215223
Indian Painting Under The Mughals by Brown, Percy- https://archive.org/details/in.ernet.dli.2015.189231/page/n55/mode/2up
Heritage Of India Indian Painting by Brown, Percy- https://archive.org/details/in.ernet.dli.2015.69804
Indian architecture: (Buddhist and Hindu periods) by Brown, Percy- https://archive.org/details/dli.csl.8666

Stella Kramrisch Collection
The Hindu Temple Part 1 by Stella Kramrisch- https://archive.org/details/hindu-temple-kramrisch/cu_pub639/page/n3/mode/2up
The Hindu Temple Part 2 by Stella Kramrisch- https://archive.org/details/dli.calcutta.10729/page/n3/mode/2up
Indian Sculpture by Stella Kramrisch- https://archive.org/details/in.ernet.dli.2015.174676
Dravida And Kerala in the Art of Travancore by Stella Kramrisch- https://archive.org/details/dravidakeralaina0000stel
Art of Nepal by Stella Kramrisch by Stella Kramrisch- https://archive.org/details/ArtOfNepalByStellaKramrisch

Much maligned monsters : history of European reactions to Indian art by Mitter, Partha- https://archive.org/details/muchmalignedmons0000mitt

The Development Of Hindu Iconography, by Banerjea Jitendra Nath- https://archive.org/details/in.ernet.dli.2015.29087

RELIGION

A Religious History Of Ancient India by Goyal S.r- https://archive.org/details/in.ernet.dli.2015.69211

Riddles in Hinduism, BR Ambedkar- https://ia801500.us.archive.org/4/items/riddles-in-hinduism/Riddles%20in%20Hinduism.pdf

Buddhist Monks And Business Matters Chapter I II III IV Gregory Schopen, by Lakshmana Contractor- https://archive.org/details/buddhistmonksandbusinessmatterschapteriiiiiiivgregoryschopen_202003_998_w

The Mauryan Period of Ancient India: Art, Architecture, and Imperial Legacy - Drifter Adwait

Adwait Karajagi

6–7 minutes

The Mauryan Empire (321 BCE – 185 BCE) stands as a landmark in ancient Indian history, marking the beginning of centralized political rule and state-sponsored monumental art in the subcontinent. Founded by Chandragupta Maurya after the defeat of the Nanda Dynasty, the Mauryas unified vast regions of India under a single administration and left behind a powerful legacy of architecture, sculpture, and inscriptions.

This blog explores the Mauryan period’s contributions to Indian art and architecture, with a special focus on Indological insights, archaeological evidence, and cultural significance.

The Mauryan Dynasty: A Turning Point in Indian Civilization

The Mauryas were one of the most influential dynasties in ancient Indian history. Under rulers like Chandragupta Maurya, Bindusara, and especially Ashoka the Great, the empire expanded over nearly the entire Indian subcontinent. This period is considered vital in Indian art history, due to its early use of monumental architecture, imperial inscriptions, and a strong cultural association with Buddhism.

Architectural Marvels of the Mauryan Period

1. Built Architecture: Royal Palaces of the Mauryas

One of the most awe-inspiring aspects of Mauryan architecture is its palatial structures, especially in the capital city of Pataliputra (modern-day Patna).

The Greek historian Megasthenes described the Mauryan palaces as “among the greatest creations of mankind.”
The Chinese traveler Fa Hien called them “gifts from the gods”.

Although wood was the primary construction material, causing many structures to perish over time, archaeological evidence from sites like Kumrahar reveals glimpses of their grandeur.

Example: Chandragupta Maurya’s Palace – Kumrahar, Patna

Excavations uncovered base stones of 80 monolithic pillars, each 9.75 meters high, carved from black-spotted stone.
Seven wooden platforms, likely steps, were found south of the hall.
Additional discoveries included copper coins, jewelry, terracotta figurines, and pottery.

Some scholars believe this palace was inspired by the Achaemenid palaces of Persepolis (Iran), indicating cross-cultural architectural influences.

2. Mauryan Rock-Cut Caves: Barabar and Nagarjuna Hills

The Barabar Caves in Bihar represent the earliest rock-cut caves in India, showcasing the technical skill and artistic vision of Mauryan artisans.

Located 24 km north of Gaya, these caves are carved from granite and display the Mauryan polish technique, giving walls a mirror-like finish.
The inscriptions mention “Raja Piyadasi” (Ashoka) in Barabar and “Devanampiya Dasharath” (Ashoka’s grandson) in Nagarjuna caves.
These caves typically contain two rooms and were donated to ascetic communities.

A notable example is the Lomash Rishi Cave, with a facade carved to resemble a thatched hut, reflecting earlier wooden architectural traditions.

3. Mauryan Pillars and Animal-Crowned Capitals

Mauryan Ashokan pillars are some of the most iconic symbols of ancient Indian art and statecraft. These monolithic sandstone columns, standing up to 12 meters high, are found across India in:

Sarnath, Sanchi, Gotihawa, Prayagraj (Allahabad), Vaishali, Rampurva, Sankisa, Lumbini, and Delhi.

The pillars were made from Chunar sandstone (Uttar Pradesh), and feature:

Intricate capitals of lions, bulls, elephants, and horses.
Many pillars contain Ashokan inscriptions or Stambha Lekhas, written in Brahmi script and Prakrit language.

Example: Ashoka Pillar at Vaishali, Bihar

Known for its realistic animal sculptures.
Each figure conveys natural posture and emotion—e.g., lions exude strength, bulls represent stability.
The Dharma Chakra is frequently carved on the capitals, symbolizing righteous rule and Buddhist values.

4. Mauryan Stupas: Sacred Buddhist Monuments

During Ashoka’s reign, stupas were built and expanded to enshrine Buddhist relics and spread the message of Dhamma (righteousness).

After Buddha’s Mahaparinirvana, 8 stupas were erected over his relics.
Ashoka redistributed these relics into multiple new stupas across his empire.

Key Mauryan stupa sites:

Sarnath (Uttar Pradesh)
Vaishali (Bihar)
Bairat (Rajasthan)
Kushinara (Bihar)
Sanchi (Madhya Pradesh)

Some were discovered through excavation, others were modified by the Shunga and Satavahana dynasties.

Example: The Great Stupa at Sanchi

Originally built by Ashoka.
Later enlarged with stone railings and gateway additions.
Although the original design is obscured, early stupas likely featured mud-brick construction and wooden railings.
Mauryan stupas used aniconic symbolism: Buddha’s footprints, trees, wheels, and miniature stupas.

5. Pillar Inscriptions: Ashoka’s Moral Messages

Ashokan pillar inscriptions offer a profound look into the philosophy and governance of the Mauryan empire.

Found at Sarnath, Delhi, Vaishali, and other locations.
Written in Brahmi script and Prakrit language.
Focused on moral principles, including:
- Peace and non-violence
- Respect for all life
- Kindness and tolerance
- Ethical governance
- Buddhist teachings

These edicts served as public proclamations urging citizens to lead lives of truth, compassion, and duty, while advising officials to act justly and ethically.

Conclusion: The Cultural and Artistic Legacy of the Mauryan Empire

The Mauryan period was not just a political turning point in Indian history—it was a cultural renaissance that laid the foundation for Indian imperial architecture, sculpture, and ethical governance.

From royal palaces and cave temples to monolithic pillars and sacred stupas, the Mauryas created a visual language that reflected their imperial vision, spiritual values, and artistic excellence. Their enduring legacy continues to influence South Asian art and archaeology, standing as a testament to India’s ancient civilizational depth.

Decoding the Mysteries of Sadashiva -

Adwait Karajagi

17–22 minutes

When medieval foreign travelers first encountered Hindu idols, they were often bewildered. These intricately designed deities—with multiple heads, hands, and animalistic features—seemed incomprehensible to those unfamiliar with India’s spiritual depth. Some even misunderstood these divine forms, labeling Hindus as “monster worshipers” and depicting the gods in grotesque ways through an Abrahamic lens.

However, as they delved deeper into Indian customs and philosophies, many began to appreciate the profound symbolism behind these forms. The multiple heads and hands are not mere artistic choices but expressions of divine attributes and cosmic principles.

One such deity is Sadashiva, the five-headed form of Shiva, embodying five aspects of existence and creation. This is the story of Sadashiva’s origins and the profound spiritual philosophy behind this iconic representation.

Sadashiva Iconography

Sadashiva, LCMA, Himachal Pradesh, Nurpur, 1696

Before we dive into the fascinating story of five-headed Shiva, let’s pause and talk about his iconography. Why does he have five heads? What do they represent? At first glance, it might seem purely artistic or mythological, but every detail of Sadashiva’s form is packed with deep symbolism. Understanding this can give us a clearer picture of the profound philosophy behind his depiction.

Sadashiva, the five-headed form of Lord Shiva, is not just about aesthetics—it’s a representation of the entire cosmos and the principles that govern it. Each head has its own significance: Ishana represents supreme consciousness, Tatpurusha symbolizes the individual soul, Aghora stands for destruction and transformation, Vamadeva embodies preservation, and Sadyojata signifies creation. Together, these five aspects tell the story of life, death, and everything in between—reminding us how interconnected all existence is.

If you’ve ever seen artistic depictions of Sadashiva, you might have noticed his serene expressions. Each face looks in a different direction, symbolizing omnipresence. And there’s more—his heads align with the five elements: earth, water, fire, air, and space, showing Shiva’s role as the ultimate cosmic balancer. The central head wears a towering crown, emphasizing his authority, while his meditative pose radiates tranquility. Through this form, Sadashiva encourages us to look beyond the material world and recognize the unity of the divine within ourselves and the universe.

Mukhalinga as per the Roop Mandan:

Mukhalingam, Norton Simon Museum, 9th cent India

मुखलिङ्गं त्रिवक्त्र वा एकवक्त्रञ्चतुर्मुखम् । सम्मुखं चैकवक्त्र स्यात्त्रिवक्त्र पृष्ठतो नहि ॥
पश्चिमास्यं स्थितं शुभ्रं कुङ्कुमाभं तयोत्तरम् । याम्यं कृष्णं करालं स्यात् प्राच्यां दोप्ताग्निसन्निभम् ॥
सद्यो वामं तथाऽघोरं तत्पुरुष चतुर्थकम् । पञ्चमञ्च तथेशानं योगिनामथ (प्य) गोचरम् ॥
The Mukhalinga should be depicted with one, three, or four faces.
One-faced Linga: The face should be positioned at the front.
Three-faced Linga: The faces should be arranged so that none face the back.
Four-faced Linga: Each face should reflect a distinct characteristic:The face on the back should be white.The face on the north should be red.The face on the south should be black and fearsome.The face at the front should radiate like a blazing fire.
The faces correspond to the divine aspects: Sadyojata, Vamadeva, Aghora, and Tatpurusha, respectively. The fifth aspect, Ishana, is transcendent and beyond ordinary perception, known only to the most accomplished yogis.

Brahma, Aihole 7th Cent, Currently in CSMVS, Mumbai

Long ago, in the lineage of the fearsome demon Hiranyakashipu, there lived a mighty king named Nikumbh, a being of unparalleled radiance and power. Nikumbh had two sons, Sunda and Upasunda, who were as terrifying as they were formidable. These brothers were no ordinary beings—they shared an inseparable bond, so deep that it seemed like one soul had been split between two bodies. Their thoughts, actions, and desires were perfectly aligned, making them a force to be reckoned with.

As the brothers grew, their ambition matched their strength. They craved ultimate dominion, not just over their own kind, but over the entire three worlds—heaven, earth, and the netherworld. Driven by this insatiable desire, the two demons, alongside their father Nikumbh, reached a pact. They sought the guidance of a guru, received initiation, and retreated to the towering Vindhya Mountains to undertake a penance so severe that it shook the realms.

The brothers’ focus was unyielding. Days turned into years, and their austerity grew so intense that the Vindhya Mountains themselves began to smolder, emitting thick clouds of smoke—a marvel that struck fear into the hearts of gods and men alike. The celestials, alarmed by this growing power, tried every trick in the book to break their resolve. Tempting heaps of shimmering gems were sent to entice them, followed by the allure of celestial maidens renowned for their beauty. Yet Sunda and Upasunda, unwavering in their purpose, resisted every distraction with remarkable discipline.

Finally, their unrelenting penance compelled Lord Brahma, the creator and benefactor of all worlds, to descend from his celestial abode. Standing before the two brothers, whose power now radiated like fire, Brahma said, “Great are your efforts, and unwavering your devotion. I am pleased. Ask for a boon—anything you desire, and it shall be granted.”

Brahma, Elephanta Caves, 7th Century, Currently in CSMVS, Mumbai

ततः सुन्दोपसुन्दौ तौ भ्रातरी दृढविक्रमी । दृष्ट्वा पितामहं देवं तस्थतुः प्राञ्जली तदा ।।
ऊचतुश्च प्रभुं देवं ततस्तौ सहितौ तदा । आवयोस्तपसानेन यदि प्रीतः पितामहः ।।
मायाविदावस्त्रविदौ बलिनौ कामरूपिणौ । उभावप्यमरी स्यावः प्रसन्नो यदि नौ प्रभुः ।।(आदिपर्व, महाभारत)
As Lord Brahma stood before them, his radiant presence illuminating the smoky peaks of the Vindhya Mountains, the mighty brothers Sunda and Upasunda bowed low in reverence. Their towering forms, hardened by years of relentless penance, now bore an air of restrained triumph. With folded hands, they spoke in unison, their voices deep and unwavering, echoing across the mountains like thunder.

“Lord Brahma,” they began, their eyes gleaming with ambition, “if our penance has pleased you, we humbly seek your blessings. Grant us mastery over all illusions, knowledge of every weapon, unparalleled strength, and the power to assume any form at will.” They paused, their tone growing bolder, the weight of their final wish hanging in the air. “And above all, bless us with immortality—the power to live unchallenged, untouched by time or death.”

ऋतेऽमरत्वं युवयोः सर्वमुक्तं भविष्यति । अन्यद् वृणीतं मृत्योश्च विधानममरैः समम् ।।
त्रिषु लोकेषु यद् भूतं किंचित् स्थावरजङ्गमम् । सर्वस्मान्नो भयं न स्यादृतेऽन्योन्यं पितामह ।।
यत् प्रार्थितं यथोक्तं च काममेतद् ददानि वाम् । मृत्योर्विधानमेतच्च यथावद् वा भविष्यति ।।
Lord Brahma, with a calm yet resolute tone, replied, “You shall receive everything you have asked for—knowledge of illusions, mastery over weapons, immense strength, and the ability to assume any form. But immortality is beyond my power to grant. Instead, I can offer you a law of death that will make you as secure as the gods themselves. State your wish.”

Hearing this, Sunda and Upasunda bowed and said in unison, “As you decree, O Lord! Then bless us with this: that we shall have no fear of death from any living or non-living being in the three worlds. Let the only danger to our lives come from each other.”

Brahma smiled knowingly and said, “So be it. Your boon is granted as per your penance. The fate of your death shall unfold exactly as you have chosen.” With these words, he disappeared, leaving the brothers to celebrate their newfound invincibility—unaware of the destiny they had unknowingly set in motion.

Sunda-Upasunda’s Tyranny

The two demon brothers, Sunda and Upasunda, intoxicated by their newfound powers, set their sights on domination. With the ability to travel anywhere at will, they leaped into the skies and headed straight for the celestial realm. Their arrival at the gates of Indraloka struck terror among the gods, who, knowing the power of the boon granted by Lord Brahma, abandoned heaven and fled to Brahmaloka for refuge.

Seizing control of Indraloka, the brothers unleashed chaos. They slaughtered and tormented the Yakshas, Rakshasas, and other celestial beings without mercy. From the eastern shores of the ocean, they commanded their armies to wreak havoc across all realms. With cruel determination, they began attacking indiscriminately, spreading destruction wherever they went.

Their cruelty knew no bounds. Sometimes they took the form of lions or tigers, sometimes they turned invisible, hunting down sages who had retreated into forests. Their reign of terror brought life on earth to a standstill. Yagyas ceased, Vedic studies were abandoned, and sages and Brahmins were slaughtered. Festivals, weddings, and rituals vanished entirely. Fields lay barren as agriculture and cattle rearing came to an end.

Cities and ashrams were left in ruins, littered with bones and skeletons. The earth itself seemed to reflect the horror, its once-thriving lands now transformed into a wasteland of desolation and fear. It was a time of utter darkness—a terrifying chapter in the history of the three worlds.

Tilottama’s Birth

Heartbroken by the devastation caused by Sunda and Upasunda, the sages sought refuge in Lord Brahma’s wisdom. They arrived at his celestial abode, where Brahma sat surrounded by gods and revered sages, including Mahadev, Vayu, Agni, Indra, and others. With humility, they narrated the horrors unleashed by the demon brothers—the plundering, destruction, and relentless slaughter of innocent lives.

Brahma listened intently, his face etched with concern. After deep contemplation, he devised a plan to end the tyranny. Calling upon Vishwakarma, the divine architect, Brahma gave a profound command: “Create a young woman of such beauty that she will enchant all who see her, drawing even the strongest into her spell.”

Following Lord Brahma’s command, Vishwakarma, the celestial architect, bowed respectfully and set to work. After deep contemplation, he crafted a divine woman, pouring all his skill and artistry into her creation. Drawing from the essence of every visible object across the three worlds—both animate and inanimate—he wove her form with unparalleled precision.

Her body was adorned with the brilliance of countless gems, each carefully embedded to enhance her celestial allure. Every part of her radiated an ethereal glow, as if she were a goddess descended from the heavens. Her beauty transcended mortal comprehension, making her a marvel unique among all the women of the three realms.

So extraordinary was her form that no gaze could wander away; every inch of her figure seemed designed to capture and mesmerize. Those who looked upon her found their eyes and minds captivated, entranced as if she were an incarnation of Lakshmi herself—a living embodiment of divine charm and irresistible allure.

तिलं तिलं समानीय रत्नानां यद् विनिर्मिता तिलोत्तमेति तत् तस्या नाम चक्रे पितामहः ।।
Her body parts were created by taking tiny bits (Til) of the finest gems, so Brahma named her ‘Tilottama’.

तथा देवनिकायानां महर्षीणां च सर्वशः । मुखानि चाभ्यवर्तन्त येन याति तिलोत्तमा ।।
कुर्वत्या तु तदा तत्र मण्डलं तत् प्रदक्षिणम् । इन्द्रः स्थाणुश्च भगवान् धैर्येण प्रत्यवस्थितौ ।।
द्रष्टुकामस्य चात्यर्थं गतया पार्श्वतस्तया । अन्यदञ्चितपद्माक्षं दक्षिणं निःसृतं मुखम् ।।
पृष्ठतः परिवर्तन्त्या पश्चिमं निःस्तं मुखम् । गतया चोत्तरं पार्श्वमुत्तरं निःसृतं मुखम् ।।
As Tilottama began her graceful circumambulation of the divine assembly, her enchanting presence drew the undivided attention of the gods and sages. Wherever she moved, their gazes followed, captivated by her celestial beauty. Yet, among them, Indra and Lord Shiva remained composed, seated in tranquil poise, though even they were not untouched by her allure.

Sadhashiv, 10th cent MP, Currently in CSMVS, Mumbai — Sadhashiva, 10th cent MP, Currently in CSMVS, Mumbai

When Tilottama moved to the southern side, a remarkable transformation occurred. Driven by the desire to see her, a new face manifested on the southern side of Lord Shiva’s head, its lotus-like eyes gazing at her with serene curiosity. As she passed behind him, another face emerged on the western side, watching her departure. When she moved to the north, yet another face appeared, each one a reflection of Shiva’s infinite nature and his acknowledgment of her extraordinary beauty.

Tilottama’s divine radiance revealed not only her unparalleled charm but also the boundless aspects of Lord Shiva’s form, embodying his omnipresence and divine equilibrium.

महेन्द्रस्यापि नेत्राणां पृष्ठतः पार्श्वतोऽग्रतः । रक्तान्तानां विशालानां सहस्रं सर्वतोऽभवत् ।
एवं चतुर्मुखः स्थाणुर्महादेवोऽभवत् पुरा । तथा सहस्रनेत्रश्च बभूव बलसूदनः ।
In a similar display of divine transformation, thousands of large, radiant eyes with crimson corners manifested all over Indra’s form—on his front, back, and sides. Each eye seemed to burn with the brilliance of a sun, a testament to his celestial power and heightened perception.

Thus, in that sacred moment, the indestructible Lord Mahadev revealed his four faces, symbolizing his all-encompassing presence, while Indra, the wielder of the thunderbolt, was adorned with a thousand eyes, signifying his vigilance and omniscience. These divine manifestations reflected their immense power and the awe-inspiring response evoked by Tilottama’s celestial beauty.

As Tilottama prepared to leave, the gods and sages watched her retreating figure, their hearts filled with assurance. Her unmatched beauty had captivated them all, and they were certain that their mission was on the verge of success. Collecting delicate oleander flowers from the riverbank, Tilottama moved gracefully toward the lair of the two demon brothers, Sunda and Upasunda.

The demons were seated comfortably, having indulged in a potent intoxicating elixir that left their eyes tinged with redness and their minds dulled by desire. But the moment they caught sight of Tilottama, her mesmerizing beauty pierced through their drunken stupor like lightning. Consumed by overwhelming lust, they forgot everything else.

Driven mad by her allure, both demons rose from their seats and hurried toward her, unable to resist the pull of her charm. Their minds clouded with obsession, they began to plead fervently for her love, each insisting that she become his wife.

In that moment, the seeds of their downfall were sown, as Tilottama’s beauty became the spark that would ignite the flames of discord between the two inseparable brothers.

Tilottama with Sunda Upasunda, Bante Seri, Combodia, Currently Guimet Museum, France. WikiSource.

दक्षिणे तां करे सुभ्रू सुन्दो जग्राह पाणिना । उपसुन्दोऽपि जग्राह वामे पाणौ तिलोत्तमाम् ।।
Sunda grasped Tilottama’s delicate right hand, his gaze fixed on her enchanting face with its beautifully arched eyebrows, while Upasunda seized her left hand, equally captivated by her divine allure.

Drunk with power from their rare boon, intoxicated by their natural strength, and blinded by their wealth, gems, and liquor, Sunda and Upasunda’s arrogance knew no bounds. When they saw Tilottama, their lust overcame all reason.

Sunda, consumed by desire, declared, “She is my wife! To you, she is like a mother.” Not to be outdone, Upasunda retorted, “No, she is my wife! To you, she is like a daughter-in-law.” Their words quickly turned into a violent clash as their greed and lust for Tilottama boiled over.

Grabbing their massive, terrifying maces, the brothers attacked each other with deadly force. “I will have her first!” shouted Sunda. “No, I will!” cried Upasunda. The battle between them was fierce, each blow fueled by their obsession.

In the end, both demons succumbed to their injuries. Their blood-soaked bodies fell to the ground like two blazing suns crashing from the heavens to the earth. The sight struck terror into the hearts of the demon community, who fled in fear and sorrow, retreating to the underworld.

With the brothers vanquished, Lord Brahma appeared, accompanied by the gods and sages, all singing praises of Tilottama for her role in the demons’ demise. Pleased with her devotion and beauty, Brahma joyfully granted her a boon.

“Tilottama,” Brahma said with a pure heart, “you will be free to roam as you wish across all the worlds where the Sun moves. Your radiance will be so brilliant that no one will be able to look upon you, not even with their eyes closed.”

Having bestowed this divine blessing, Brahma entrusted Indra with the protection of the three worlds and returned to Brahmaloka, leaving behind a world freed from the terror of Sunda and Upasunda.

Naradji addressed Yudhishthira with wisdom and concern, saying, “O Yudhishthira, observe the fate of Sunda and Upasunda. Though united and harmonious in all matters, their bond was shattered by their anger and desire for Tilottama, leading to their mutual destruction. Let this be a lesson for you and your brothers.”

He continued, “O leaders of the Bharat dynasty, I urge you with affection to ensure that no division arises among you over your beloved Draupadi. Take steps to preserve your unity and harmony, for that is the foundation of your strength. May you all be blessed with wisdom and foresight.”

Heeding Naradji’s words, the Pandavas devised a rule to maintain peace and fairness among themselves. Each brother would spend twelve months exclusively with Draupadi. If any other brother disturbed the one with her during this time, he would voluntarily undertake a twelve-year pilgrimage as penance.

This rule not only preserved their bond but also demonstrated their respect for one another and for Draupadi, ensuring their unity remained intact despite the challenges of sharing a single wife.

Lakshmi Nrusimha Temple Mukhalingam,
Dhom, Mahabaleshwar

Mahakuteshwar Mukhalingam,
Badami, Karnataka

Sadashiva, Pateshvar,
Satara, Maharashtra

Five-Headed Shiva, 10th cent. Combodia,
Currently in MET Museum.

Ref: Aadiparva, Mahabharat, Geeta Press. Gorakhpur (273005), Uttar Pradesh, India

The Cursed Brothers and the Divine Garuda - Drifter Adwait

Adwait Karajagi

16–20 minutes

Garuda, Tortoise and Elephant, Virupaksha Temple, Pattadakal, Karnataka

Discernment – a rare and powerful virtue. It can even instill fear in those who are deemed wise and learned. This is the story of two such brothers, well-versed in philosophy and wisdom, who, despite their vast knowledge, met a tragic end due to the lack of discernment.

Once, there was a fiery sage named Vibhavasu, known for his short temper. His younger brother, Supratik, was also a devoted ascetic. Supratik constantly demanded the division of their shared wealth, but Vibhavasu warned him:

“Brother, attachment to wealth causes division, turning brothers into enemies. Divided, they grow vulnerable, and others exploit their rift. Such separation leads only to ruin. Saints never praise this path.”

But Supratik was stubborn. Finally, angered by his insistence, Vibhavasu cursed him, “You will be reborn as an elephant, blinded by your greed.”

Enraged, Supratik retaliated, “And you will become a tortoise, weighed down by your anger!”

Thus, bound by their curses, they were reborn as a colossal elephant and a mighty tortoise, their hatred enduring. In a vast lake, whenever the elephant trumpeted on the shore, the tortoise emerged, churning the waters into fury. Their battles shook the earth, their pride and past enmity keeping them locked in eternal combat.

Only the divine intervention could end their cursed strife.

In another sacred corner of Bharatvarsha, a mighty force was about to take flight—Garuda, the celestial eagle, was born. His arrival was no ordinary event; his destiny carried the weight of dharma and love for his mother, Vinata. She was bound in servitude to her sister, Kadru, and her serpent sons. To free her, Garuda had to undertake a mission that seemed beyond even the gods’ reach: retrieving the divine amrit, the nectar of immortality, guarded fiercely by the devas in Swarga.

But before this epic journey began, Garuda faced another challenge—his insatiable hunger. As his wings stretched wide and his power grew, so did his appetite. He devoured thousands of Nishadas, the forest-dwelling hunters, yet his hunger remained unfulfilled. This was no ordinary hunger; it was a test of his strength and purpose.

Confused and restless, Garuda sought guidance. He turned to his father, the wise sage Kashyap. With patience and wisdom, Kashyap illuminated the path forward, teaching Garuda to harness his strength, align his mission with dharma, and prepare for the celestial journey ahead.

इदं सरो महापुण्यंदेवलोकेऽपि विश्रुतम् । षडुच्छ्रितो योजनानि गजस्तद्विगुणायतः।।
कूर्मस्त्रियोजनोत्सेधो दशयोजनमण्डलः । तावुभौ युद्धसम्मत्ती परस्परवधैषिणौ ।।
उपयुज्याशु कर्मेदं साधयेप्सितमात्मनः ।।
महाभ्रघनसंकाशं तं भुक्त्वामृतमानय । महागिरिसमप्रख्यं घोररूपं च हस्तिनम् ।।
Sage Kashyap spoke: “My son, this is a sacred and revered lake, renowned even in the celestial realms of Devlok. Within its waters, you will encounter a colossal elephant and an enormous tortoise. The elephant stands six yojanas tall and stretches twelve yojanas in length, while the tortoise measures three yojanas in height and ten yojanas in circumference. Both creatures are locked in a perpetual state of intoxicated aggression, driven by an unrelenting desire to destroy each other.

Vishnu with Dwarf Garuda, Aihole, Karnatana

You must act swiftly—use them both as sustenance to fulfill your mission. The tortoise resembles a massive chunk of the earth, and the elephant looms as fearsome as a towering mountain. Devour them both and retrieve the nectar.

Upon hearing this, Garuda soared to the resplendent lake without delay.”

अपश्यन्निर्मलजलं नानापक्षिसमाकुलम् । स तत् स्मृत्वा पितुर्वाक्यं भीमवेगोऽन्तरिक्षगः ।।
नखेन गजमेकेन कूर्ममेकेन चाक्षिपत् । समुत्पपात चाकाशं तत उच्चैर्विहंगमः ।।
Garuda observed that the lake’s waters were crystal clear, and birds of various species filled the air with their melodious chirping. Recalling his father’s instructions, Garuda, swift and majestic in flight, descended into action. With one powerful claw, he seized the massive elephant, and with the other, he grasped the enormous tortoise. Then, the king of birds ascended into the sky, soaring higher and higher.

Witnessing this extraordinary display of valor, a celestial Kalpavriksha—the wish-fulfilling tree—extended an invitation to the King of Birds. It said,

यैषा मम महाशाखा शतयोजनमायता । एतामास्थाय शाखां त्वं खादेमौ गजकच्छपौ ।।
ततो द्रुमं पतगसहस्रसेवितं महीधरप्रतिमवपुः प्रकम्पयन् ।।
खगोत्तमो द्रुतमभिपत्य वेगवान् बभञ्ज तामविरलपत्रसंचयाम् ।।
The Banyan tree addressed the King of Birds: “O mighty Garuda! This is my largest branch, stretching over a hundred yojanas. Rest upon it and feast on the elephant and tortoise.”

The swift and majestic Garuda, whose body was as vast as a mountain and who was revered as the greatest among birds, promptly perched on the branch. His immense presence caused the mighty tree, home to thousands of chirping birds, to tremble. However, the sheer force of his weight, combined with his unstoppable speed, caused the colossal branch adorned with dense, verdant leaves to snap and break apart.

तां भङ्क्त्वा स महाशाखां स्मयमानो विलोकयन् । अथात्र लम्बतोऽपश्यद् वालखिल्यानधोमुखान् ।।
After the massive branch broke, Garuda gazed at it with a smile. As he observed it closely, his eyes fell upon a group of sages known as the Valkhilyas. They were hanging upside down from the same branch, their small forms swaying gently as they clung to it.

ऋक्षयो ह्यत्र लम्बन्ते न हन्यामिति तानृषीन् । तपोरतान् लम्बमानान् ब्रह्मर्षीनभिवीक्ष्य सः॥
हन्यादेतान् सम्पतन्ती शाखेत्यथ विचिन्त्य सः । नखैर्दृढतरं वीरः संगृह्य गजकच्छपौ ।। सतद्विनाशसंत्रासादभिपत्य खगाधिपः । शाखामास्येन जग्राह तेषामेवान्ववेक्षया ।।
Seeing the sages, deeply immersed in penance, hanging from the branch of the banyan tree, Garuda thought to himself: “These sages are clinging to the branch. I must not let them come to harm. If this branch falls, it will surely bring their destruction.”

With this thought, the valiant King of Birds tightened his grip on the elephant and tortoise in his powerful claws. Determined to save the sages, he swiftly caught the falling branch in his beak. In this extraordinary act of both strength and compassion, Garuda performed an impossible feat, solely to ensure the safety of the sages.

Garuda with Sumukh Naga, Halebidu, Karnataka

अतिदैवं तु तत् तस्य कर्म दृष्ट्वा महर्षयः । विस्मयोत्कम्पहृदया नाम चकुर्महाखगे ।।
गुरुं भारं समासाद्योड्डीन एष विहंगमः । गरुडस्तु खगश्रेष्ठस्तस्मात् पन्नगभोजनः ।।
ततः शनैः पर्यपतत् पक्षैः शैलान् प्रकम्पयन् । एवं सोऽभ्यपतद् देशान् बहून् सगजकच्छपः ।।
Witnessing Garuda’s supernatural feat—one that even the gods could not accomplish—the great sage was filled with astonishment and reverence. Awe stirred within his heart, and trembling with admiration, he bestowed upon the mighty bird his name, Garuda. The sage explained, “This great bird, who roams the skies and devours serpents, has flown with an immense burden. Thus, according to the etymology ‘gurum aadaya uddin iti garudah’ (one who flies carrying a heavy load), he shall be known as Garuda.”

Thereafter, Garuda began to fly slowly, his immense wings creating powerful gusts of wind that made great mountains tremble in his wake. Carrying the massive elephant and tortoise in his claws, Garuda soared across countless lands, his might and grace a spectacle to behold.

As Garuda soared through the skies, his compassionate heart turned toward the tiny yet radiant Valkhilya sages. These ascetics, no taller than a thumb, drew their energy from the sun’s rays through deep penance. Out of respect for their immense tapasya, Garuda avoided resting anywhere, determined not to disturb them. His journey brought him to the magnificent Gandhamadan mountain, its peaks shimmering with divine energy.

Seeing his son burdened by the weight of a massive branch, Kashyap Ji approached with words of caution. “My son, be careful! Do not act rashly, for the Valkhilya sages’ power is immense. If their wrath is invoked, they could reduce you to ashes with their spiritual fire.”

Garuda from Jataka Tale, Gandhara Style, 2nd Cent AD

Kashyap Ji then folded his hands in reverence and addressed the sages with humility. “O revered ascetics! Garuda’s mission is no ordinary one. It is for the greater good of all beings. He seeks to achieve a feat of dharma and glory. I humbly request your blessings for his endeavor.”

The Valkhilya sages, moved by Kashyap Ji’s sincerity and understanding the divine purpose of Garuda’s task, relinquished their position on the branch. They retreated to the sacred Himalayas, the abode of peace and penance, to continue their austerities.

With the sages gone, Garuda, still clutching the massive branch in his beak, turned to his father and asked, “Revered one, where shall I place this branch? Guide me to a land devoid of human habitation, where it may rest without harm.”

Kashyap Ji directed his son to a distant, uninhabited mountain. With a single powerful stroke of his immense wings, Garuda flew to the desolate peak and released the branch. As it fell, the earth shook, and the mountain trembled. A thunderous sound echoed through the land, and the trees on the mountain swayed wildly. Yet amidst this chaos, nature responded with grace. From the broken trees, flowers cascaded like a celestial rain, spreading beauty in the wake of Garuda’s immense power.

ततस्तस्य गिरेः शृङ्गमास्थाय स खगोत्तमः । भक्षयामास गरुडस्तावुभौ गजकच्छपौ ।।
तावुभौ भक्षयित्वा तु स तार्थ्यः कूर्मकुञ्जरौ । ततः पर्वतकूटाग्रादुत्पपात महाजवः ।।
Afterward, the King of Birds, Garuda, perched upon the peak of the same mountain and devoured both the elephant and the tortoise. Once he had consumed his meal, the swift Garuda spread his wings and ascended into the sky, soaring upwards from the mountain peak, making his way toward the heavens.

Depiction 1:

This very story is beautifully depicted on the walls of the Virupaksha Temple in Pattadakal, Karnataka. On the pink sandstone, you can see Lord Vishnu with four arms, holding the Chakra and Padma, riding another figure. That figure is none other than the mighty Garuda. You can easily identify him by the waves of wings behind his back. His flight is portrayed with his knees folded, and the way he holds his master’s feet reflects his deep devotion.

Beneath these celestial beings, you’ll notice a disturbed lake. The waters are in turmoil, with floating trees and lotuses swaying, caught in the disturbance.

So, who is causing this disruption? The elephant and the tortoise. These are the same brothers, Vibhatsu and Supratik, who cursed each other in a moment of spite. And there, amidst this chaos, is Garuda, coming to pick them up, devour them to satiate his hunger, and restore peace to the tranquil lake.

Depiction 2:

The second depiction is from the Razmnama. The Razmnāma (Book of War) is a Persian translation of the Sanskrit epic Mahabharata, commissioned by the Mughal Emperor Akbar. In 1574, Akbar established a Maktab Khana, or “House of Translation,” in his newly constructed capital, Fatehpur Sikri. He assembled a team of scholars to translate key Sanskrit texts—Rajatarangini, Ramayana, and Mahabharata—into Persian, the literary language of the Mughal court.

In this depiction, you can see a parrot-like Garuda, his powerful claws firmly gripping both brothers. Below, a beautiful lake is shown, where the brothers had been creating a disturbance for thousands of years. The place where Garuda has seized the elephant and the tortoise is clearly marked by their bleeding, highlighting the force with which Garuda holds them in his claws.

Next to the lake, you can spot the Kalpavriksha tree, its branch broken. This broken branch is held aloft in Garuda’s beak. The brilliance of the artwork is further enriched by the depiction of the tiny Balakhilya sages, who are shown performing their penance on the same branch, undisturbed by the chaotic scene around them.

Depiction 3:

The third depiction is from the walls of the temple at Thirukurungudi in Tirunelveli district. In this portrayal, you can see all the key elements in action: the mighty bird (Garuda), the tortoise, the elephant, the broken branch, and the Valakhilya sages, who are performing penance, hanging upside down from the branch.

This remarkable scene has been beautifully captured by the photographer and Indologist Dr. Raguram Sir.

The Story of Garuda: A Lesson in Discernment and Compassion

The story of Garuda offers a powerful lesson in the importance of discernment, compassion, and fulfilling one’s dharma. Despite his immense strength, Garuda’s initial hunger could have led to disaster. However, guided by his father’s wisdom and his own compassion for the sages on the branch, Garuda was steered toward the right path, ultimately fulfilling his mission.

The downfall of Vibhatsu and Supratik was caused by their lack of discernment, a crucial quality that we must all cultivate. Their failure to consider the consequences of their actions led to their tragic end, highlighting how essential it is to act with awareness and understanding.

The brothers’ conflict, fueled by greed and anger, brought suffering not only to them but also to those around them. In contrast, Garuda’s compassion, shown by his decision to protect the sages even amidst his hunger, teaches us the value of considering the well-being of others. His actions reflect that true strength is tempered with empathy and consideration for others’ suffering.

The Importance of Dharma and Selflessness

Garuda’s journey also underscores the importance of fulfilling one’s dharma. He remained focused on his mission to free his mother from the serpents, aligning his actions with his righteous duties.

This dedication ultimately earned him his place as the mount of Lord Vishnu, symbolizing the reward of fulfilling one’s dharma. The story embodies the concept of karma, where the past actions of Vibhatsu and Supratik shaped their suffering, while Garuda’s virtuous actions shaped his noble future.

His journey can also be seen as a path to moksha (liberation), as he overcame his hunger and fulfilled his dharma, transcending worldly desires and aligning with the divine order.

Philosophical Teachings: Samkhya, Yoga, and Vedanta

The philosophical teachings of Samkhya, Yoga, and Vedanta are evident in this story. It reflects the Samkhya dualities—greed and anger (Tamas) versus compassion and discernment (Sattva)—emphasizing the transformative power of wisdom and good judgment.

Garuda’s journey also mirrors the principles of karma yoga, where he achieves his goal through focused action, overcoming his base instincts. Through fulfilling his dharma, Garuda aligns with the universal order, echoing the Vedantic principle of Atman (the individual soul) and Brahman (the universal soul).

Symbolism in the Temple Depictions

The temple depictions beautifully illustrate these themes. The disturbed lake symbolizes the destructive nature of the brothers’ anger and greed, showing how such emotions can ripple outward and disturb the peace of the world.

Garuda’s strength and compassion are portrayed through his act of carrying the broken branch and the sages, demonstrating that true power is rooted in empathy. The undisturbed sages performing their penance on the same branch symbolize the power of tapasya (austerity) and unwavering spiritual focus, reminding us that steady devotion can endure even amidst the chaos of the world.

So, what happened next?

Was Garuda able to defeat the gods and steal the nectar of immortality?

Was he successful in freeing his mother from the serpents’ grasp?

How did he ultimately come to serve Lord Vishnu?

To learn more about Garuda’s incredible journey, stay tuned for our next blog post!

As we end another fascinating journey through the rich history and mythology of India, I hope you have enjoyed learning about the unique architecture and captivating sculptures that adorn our ancient temples. My mission with DrifterAdwait.com is to shed light on the wonders of our heritage and inspire a love for our shared cultural legacy.

If you found this post informative and entertaining, please share it with your friends and family interested in India’s rich cultural heritage. Don’t forget to comment and let me know which temple you’d like me to explore next.

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

References:

1. Bhartiya Murtishastra, N. P. Joshi, Second Edition (1 January 2013), Prasad Prakashan, Pune, Maharashtra, India.
2. Astikaprava, Mahabharat Vol. 1, Geeta press Gorakhpur.
3. The temple at Thirukurungudi in Tirunelveli district
https://www.profraguram.com/musings–reflections/a-unique-depiction-of-garudaPhoto clicked by Dr. Raguram.

Varuna: Vedic Deity of Cosmic Order

Adwait Karajagi

5–6 minutes

Varuna with consort, Riding a Makara, Halebidu Museum

Varuna is a significant Vedic deity with several defining characteristics:

Journey from Asura to Guardian Deity: Varuna transitions from being an Asura (demon) to a divine protector or guardian deity.
Varuna’s Bonds: He is associated with bonds or ropes (pasha) that symbolize control and punishment.
Illusion and Cosmic Sovereignty: Varuna is linked with cosmic illusion (maya) and holds supreme cosmic authority.
Associations with Friend-Deities: He has a close connection with other deities, notably Mitra.
Rivalry with Indra: Varuna’s role often comes into competition with Indra, the king of gods.

Vedic References to Varuna:

Varuna is mentioned in 13-14 hymns of the Rigveda and appears approximately 340 times across the Vedas.

Appearance in the Vedas:
Varuna is depicted as wearing a golden robe and sometimes golden armor that emits rays of light. His palace is described as being in a lofty place in heaven, illuminated with light, adorned with thousands of pillars and gateways. From his heavenly abode, he observes all creation. Occasionally, Varuna is said to reside in a palace beneath the waters. The sun is also described as Varuna’s eye.

Characteristics:
Four Faces: Varuna is said to have four faces, representing his ability to see in all directions.
Cosmic Ruler: He is the overseer and ruler of the cosmos, enforcing order and punishing transgressions.
Justice and Order: Varuna does not show leniency towards sinners and ensures that cosmic order is maintained.

Vedic Epithets:
Varuna is described with various epithets such as Asura, Mavina, Dhritavat, Ritvan, Samrajya, Spash, and Pasha. The term ‘Varuna’ is believed to derive from the root ‘Vru,’ meaning ‘to cover’ or ‘to encompass.’

Asura Varuna: The term ‘Asura’ denotes an all-pervasive power. Varuna is called Asura due to his immense cosmic power. He is also described as Yaksha, an enchanter, and Chaturmukha, meaning “four-faced.”
Cosmic Order: ‘Rit’ Represents cosmic order, and Varuna is referred to as Ritasya Gopa, the protector of this order.

Deeds of the Deity Varuna:
Rajasuya Yadnya: This is considered Varuna’s sacred rite.
Protection of Life: There is a tale of Varuna saving the life of a creature during a sacrifice.
Monitoring Transgressions: Varuna records every sin and transgression, from minor infractions to major offenses.

Control and Punishment

Varuna controls the universe through his bonds (pasha) and enforces his laws by punishing those who break them. This role establishes Varuna as a supreme ruler.

Punishment and Protection:
Varuna is known to punish wrongdoers with diseases such as dropsy. He is described as placing essential elements like space among trees, strength in horses, milk in cows, spirit in hearts, fire in water, the sun in heaven, control over rain, soma on mountains, and water on earth. He created heaven, earth, and the entire universe, establishing his dominion over gods, humans, and all creation. Varuna knows the paths of birds, winds, and the sun, and he is the ruler of both gods and humans.

Omnipresence and Symbolism:
Varuna is omnipresent, overseeing and monitoring all actions. The practice of taking water (udaka) while making a vow symbolizes Varuna’s witness to the promise. Water represents Varuna (as his abode is in water), and breaking this vow is believed to invoke Varuna’s judgment.

Relations with Other Deities:
Indra: There was a historical rivalry between Indra and Varuna. Indra, a deity of war and the king of gods, was more associated with Kshatriyas, while Varuna, a Brahman-like deity, commanded respect and fear.

Mitra and Varuna: These twin deities are seen as upholders of cosmic order. Mitra symbolizes friendship, bonds, and agreements, while Varuna maintains divine order. Together, they are responsible for bringing rain from heaven.

Pre-Vedic Representation:
In Zoroastrianism, Ahura Mazda is described in a hundred and one stories, with Varuna being the forty-first. In the Avesta, Varuna represents the all-encompassing sky. Ahura Mazda is believed to have emerged from a triad, including Mithra and Apam Napat (the spirit of water). Varuna and Mithra are mentioned together in ancient texts, with Varuna regarded as a supreme and majestic deity.

Post-Vedic Representation:
In later periods, Varuna’s cosmic sovereignty diminished, and he was primarily recognized as the deity of the sea and the ruler of the west.

स नो विश्वाहा सुक्रतुरादित्यः सुपथा करत्, प्र ण आयूंषि तारिषत्.. (ऋ. २५. २)
Sa No Vishvaha Sukruturadityaha Supatha Karat, Pra Naa Ayunshi Tarishat…(Rig. 25.2)
-May Varuna, the wise son of Aditi, always guide us on the right path and prolong our lives.

Makara-Torana, with Varuna and his consort, Belur, Karnataka

General Perron: Eighteenth century French General with Marathas

Adwait Karajagi

7–9 minutes

Explore the dramatic rise and fall of General Perron, a French adventurer who became a powerful military commander in 18th-century India. — **General Perron**

Abstract:
The rise and fall of General Perron, a European adventurer in eighteenth-century India, is emblematic of the complex interplay of personal ambition, political machinations, and military prowess during a tumultuous period of Indian history. This paper traces Perron’s journey from his modest beginnings to his ascent as a powerful military commander in the Maratha Empire, and ultimately, his downfall. Through a detailed examination of Perron’s life and career, this study highlights the broader implications of European involvement in Indian affairs, illustrating both the opportunities and dangers that awaited those who sought fortune and power in foreign lands.

### 1.0 The Meteoric Rise and Fall of General Perron
General Perron’s trajectory from humble origins to the command of a formidable Maratha army epitomizes the volatile nature of military and political careers in eighteenth-century India. His extraordinary rise, fueled by his military expertise and relentless ambition, saw him reach the pinnacle of power in North India. However, his unchecked ambition and questionable loyalty precipitated his eventual downfall. Perron’s story thus serves as a cautionary tale about the perils of unrestrained power and insatiable greed.

### 1.1 Perron’s Early Life and Entry into Indian Warfare
Born as Pierre Cuillier in 1755 in Sarthe, France, Perron’s early life was marked by financial hardship, which drove him to seek fortune in India during the 1780s. Initially serving as an ordinary sailor in the French Navy, Perron later transitioned to a military role under the Rana of Gohad. This period of service exposed him to the intricate dynamics of Indian politics and warfare, providing the foundation for his subsequent rise in the Maratha military hierarchy. In India, Cuillier adopted the name ‘Peeru Sahib,’ a reflection of the common practice among Europeans to assimilate local identities. His influence is commemorated in Pune’s ‘Peru Gate,’ believed to be a site of one of his military encampments.

### 1.2 Perron’s Struggles and Early Setbacks
Perron’s initial years in India were fraught with financial instability and uncertainty. After the disbandment of Lestineau’s army, Perron briefly found employment under Rane Khan, a trusted officer of Mahadji Scindia. However, this position, too, proved transient. Despite these setbacks, Perron’s resilience and determination eventually led to greater opportunities, setting the stage for his rise to prominence within the Maratha military.

### 1.3 Perron’s Rise to Military Prominence
Perron’s fortunes changed dramatically upon joining the military unit of De Boigne, a renowned French general in India. Recognizing Perron’s potential, De Boigne entrusted him with the command of a battalion, a decision vindicated by Perron’s performance in key battles such as those at Patan and Medta. His success in these engagements earned him the position of administrator of Ajmer, where he demonstrated significant administrative and military capabilities.

2.0 Key Battles Fought by Perron
#### 2.1 The Siege and Fall of Kanod Fort
One of Perron’s notable military achievements was the siege of Kanod Fort, held by Ismail Beg and the widow of Najaf Kuli Khan. Dispatched by De Boigne, Perron’s forces laid siege to the fort after repelling an initial attack by Ismail Beg. The ensuing battle was marked by fierce resistance from the defenders, but a combination of internal strife and Perron’s tactical acumen led to the fort’s capture.

#### 2.2 The Battle of Kharda
In 1795, a dispute over tax collection between the Peshwa and the Nizam escalated into a major conflict. The Maratha forces, bolstered by Perron’s brigade and De Boigne’s leadership, faced off against the Nizam’s army, which was also commanded by a French general, Raymond. The battle, which involved significant European military expertise on both sides, was a decisive victory for the Marathas, largely due to Perron’s strategic use of artillery.

### 2.3 Perron’s Conquests of Delhi and Agra
Perron’s ambitions extended beyond the battlefield as he sought to expand his influence over key regions. His successful sieges of Delhi and Agra solidified his control over these strategic locations, allowing him to exert considerable influence over the Mughal Emperor and the surrounding territories. These victories marked the zenith of Perron’s power, as he established himself as a dominant force in North India.

### 3.0 De Boigne’s Departure and Perron’s Ascent
The retirement of De Boigne in 1795 created a power vacuum within the Maratha military structure. Despite being technically junior, Perron’s strategic positioning and influence allowed him to assume control of Scindia’s army. His appointment as the supreme commander by 1796 marked the culmination of his rise to power, as he expanded the army’s influence and consolidated his authority.

### 4.0 Internal Strife and Perron’s Campaigns
While Perron solidified his power in the north, internal conflicts within the Scindia family, particularly the feud between Mahadji Scindia’s widows and Daulat Rao, destabilized the Maratha court. Amidst this turmoil, Perron continued to expand his influence through military campaigns and strategic alliances, further entrenching his position within the Maratha Empire.

### 5.0 The Zenith of Perron’s Power and His Downfall
By 1801, Perron had reached the pinnacle of his influence, controlling vast territories and amassing substantial wealth. However, his unchecked ambition and growing distrust within the Maratha leadership foreshadowed his downfall. Perron’s refusal to assist Scindia in the face of Yashwantrao Holkar’s aggression, coupled with his focus on personal interests, eroded the trust between him and his patron. This strained relationship ultimately led to Perron’s surrender to British forces in 1803, marking the end of his dominance in India.

### 6.0 Comparisons and Legacy: Perron, De Boigne, and George Thomas
Perron’s career is often compared to those of his contemporaries, De Boigne and George Thomas, who were also European mercenaries in India. While Perron surpassed De Boigne in political influence, he lacked the latter’s courage, decisiveness, and ability to secure long-term alliances. Perron’s reliance on underhanded tactics and his alienation of both French and British officers ultimately hindered his ability to achieve his ambitious goals.

### 7.0 Conclusion: A Skilled Commander, but a Flawed Leader
General Perron’s legacy is one of military prowess overshadowed by personal flaws. His ambition and strategic acumen brought him significant power, but his self-serving nature and inability to maintain loyalty among his allies led to his downfall. Perron’s life serves as a reminder of the ephemeral nature of fortune and the dangers of unchecked ambition in the volatile political landscape of eighteenth-century India.

Author: Mr. Pramod Karajagi

Reference:
1. Sources of the History of the Scindia Dynasty, Part 8(Original Correspondence of the Shenvi Council in the Scindia Dynasty)
2. European Military Adventurers of Hindustan from 1784 to 1803 by Compton, Marathi Riyasat by Sardesai G.S.

Disclaimer: This content is the exclusive intellectual property of Mr. Pramod Karajagi. Any unauthorized use, including reproduction, distribution, or publication of this material, in whole or in part, without prior written consent from the author, is strictly prohibited. Violators may be subject to legal action. All rights reserved.

General Perron: Eighteenth century French General with Marathas

Adwait Karajagi

7–9 minutes

Author: Mr. Pramod Karajagi

Child's Sarcophagus: A Marriage Feast of Cupid and Psyche

Adwait Karajagi

10–12 minutes

The discovery of a child’s sarcophagus, adorned with intricate iconography, offers a fascinating glimpse into Roman funerary art and beliefs. Crafted from greyish Proconnesian marble with striking blue bands, this sarcophagus vividly depicts the marriage feast of Cupid and Psyche, drawing on the rich mythology recounted by Apuleius. Let’s delve into the details of this remarkable artifact, exploring its cultural and historical significance.

Central Scene

1. Embrace of Cupid and Psyche
At the heart of the sarcophagus, Cupid and Psyche are depicted in a tender embrace on a kline, a high-ended couch.
A small winged cupid, symbolizing love, holds a dove beside them.
2. Playful Cupids and Symbolic Elements Beneath the kline, a wingless cupid teases a hare with a bunch of fruit, while a table bearing a fish is positioned beside the hare.

Attendant Figures

Child's Sarcophagus L to R — Child’s Sarcophagus L to R

1. Cupids in Service
Four cupids flank the central scene:
-One winged cupid bears fruit tucked into his cloak.
-A wingless female figure holds a jug and a long-handled dish for hand-washing, with a cockerel before her.
-A winged female cupid plays a pandurium while seated on a high-backed wicker chair.
-Another wingless cupid strums a lyre with a plectrum, his left foot resting on a rock with a long-tailed bird, likely a peacock, strutting in front.

2. Psyches in Attendance
-Two psyches, dressed and coiffed similarly to the central couple, complete the scene:
-One winged psyche carries a long garland in his right hand and a cornucopia in his left, followed by another holding a hare in both hands.

Scene Elements
The scene is framed by trees on each end, enhancing the idyllic and naturalistic portrayal.
The back of the sarcophagus remains undecorated, focusing the viewer’s attention on the elaborate front panel.

Child's Sarcophagus R to L — Child’s Sarcophagus R to L

Cultural and Historical Context

Dating and Origin: The sarcophagus dates back to the 3rd century, a product of Roman craftsmanship. Excavated near San Cesareo in Palatio, Rome, it showcases the high artistry of the period.

Dimensions:
Height: 39.30 cm
Length: 134 cm
Width: 44 cm

Interpretation
The depiction of Cupid and Psyche’s heavenly marriage feast reflects Roman funerary traditions, idealizing a rite of passage not experienced due to the child’s premature death.
Psyche’s butterfly wings symbolize the soul of a girl, while the cupid with a dove signifies the release of the soul.

Historical Notes
Similar scenes are found on other metropolitan sarcophagi from Rome, often dated to the Severan period. The use of a vertically held drill to separate digits and emphasize hair and features highlights the technical prowess of Roman sculptors.

Despite the crowded scene, the execution remains lively and naturalistic, capturing the essence of Roman artistic tradition. The sarcophagus was brought from Rome by the Duke of St Albans and was discovered in the late 17th century near the church of S. Cesario.

The Story of Cupid and Psyche

Psyche is the youngest and most beautiful of three princesses. Her beauty is so extraordinary that it incites the jealousy of Venus, the goddess of love and beauty. As people start worshipping Psyche instead of Venus, the goddess decides to punish her.

Venus’ Revenge
Venus orders her son, Cupid, to make Psyche fall in love with the most wretched of men. However, upon seeing Psyche, Cupid himself falls deeply in love with her.

The Oracle and the Mountain
Despite her beauty, Psyche cannot find a husband. Her parents consult an oracle of Apollo, who, under Venus’ influence, tells them to leave Psyche on a mountain peak, where she will marry a fearsome creature. Heartbroken, they obey.

Cupid’s Palace
Psyche is transported by the West Wind, Zephyrus, to a magnificent palace. There, she lives in luxury and is attended to by invisible servants. Every night, Cupid visits her, but he comes in the dark and forbids her from seeing his face.

Psyche’s Curiosity
Psyche’s sisters, jealous of her fortune, convince her that her unseen husband is a monster. They suggest she takes a lamp and a knife to look at him while he sleeps. Psyche follows their advice and is astonished to find Cupid instead of a monster. Startled, she accidentally spills hot oil from the lamp on him, waking him up.

Cupid’s Departure
Cupid, feeling betrayed, flees. Psyche is left alone and miserable. Determined to find her love, she roams the earth in search of him.

The Trials
Venus imposes a series of nearly impossible tasks on Psyche:
Sorting Seeds: Psyche must sort a huge pile of mixed seeds in one night. With the help of ants, she succeeds.
Golden Fleece: She must gather wool from dangerous, golden-fleeced sheep. A reed advises her to collect the wool caught on the branches.
Water from a River: Psyche is tasked with fetching water from a treacherous river guarded by dragons. An eagle assists her.
Proserpine’s Beauty: Finally, she must retrieve a box of beauty from the underworld queen, Proserpine. A tower gives her instructions on how to complete this task safely.

The Reunion
Psyche, overcome by curiosity, opens the box and falls into a death-like sleep. Cupid, having forgiven her, rescues Psyche and brings her to Olympus. He begs Jupiter to grant her immortality.

Immortality and Marriage
Jupiter agrees, and Psyche is made immortal. The story concludes with the marriage of Cupid and Psyche in the heavens, and they eventually have a daughter named Voluptas (Pleasure).

This myth symbolizes the trials and tribulations of true love, illustrating that trust, perseverance, and the overcoming of obstacles are essential for love to triumph.

Exploring the Mythological Parallels: Cupid and Psyche, Madan and Rati

Mythologies across cultures often reflect universal themes and archetypes that resonate deeply within human experience. Two such enduring tales are the stories of Cupid and Psyche from Roman mythology and Madan (Kamadeva) and Rati from Hindu mythology. Both narratives delve into the trials, tribulations, and ultimate triumphs of love, underscoring its transcendent power. Let’s explore these stories and their cultural similarities in detail.

The Tale of Cupid and Psyche

Origin: Roman Mythology
Main Characters:
Cupid (Eros in Greek mythology): The god of love.
Psyche: A mortal woman of extraordinary beauty.

Story Outline:
Divine Jealousy: Venus, envious of Psyche’s beauty, sends her son Cupid to make Psyche fall in love with a monster. However, Cupid himself falls in love with her.
Love and Secrecy: Cupid marries Psyche but forbids her from seeing him.
Betrayal and Trials: Persuaded by her sisters, Psyche looks at Cupid while he sleeps. As a result, Cupid leaves, and Psyche must undergo a series of arduous trials set by Venus to win him back.
Divine Intervention: Psyche completes the tasks with the help of divine beings, and the gods grant her immortality so she can be with Cupid forever.

The Tale of Madan (Kamadeva) and Rati

Origin: Hindu Mythology
Main Characters:
Madan (Kamadeva): The god of love, known for his bow made of sugarcane and arrows of flowers.
Rati: His wife, the goddess of passion and love.

Story Outline:
Divine Love: Kamadeva wields a bow made of sugarcane and arrows of flowers, symbolizing love and desire.
Challenge and Sacrifice: Kamadeva disturbs Shiva’s meditation to aid Parvati, Shiva’s future consort. Angered, Shiva incinerates Kamadeva with his third eye, devastating Rati.
Resurrection and Reunion: Rati performs severe penance, leading to Kamadeva’s eventual resurrection, symbolizing the triumph of love and devotion.

Cultural Similarities

Theme of Love and Union
Both stories revolve around divine beings associated with love—Cupid and Kamadeva—and their consorts, Psyche and Rati. The central theme in both tales is the union of lovers, overcoming trials and divine intervention to achieve eternal togetherness.

Trials and Challenges
Psyche and Rati both endure significant trials. Psyche undergoes tasks set by Venus, demonstrating her dedication and perseverance. Similarly, Rati faces the immense challenge of her husband’s death and her subsequent penance, showcasing her unwavering devotion.

Divine and Mortal Interactions
In both narratives, there is a blend of divine and mortal elements. Psyche, a mortal, becomes divine through her trials and ultimate union with Cupid. Kamadeva and Rati, while deities, experience human-like emotions and hardships. This interaction underscores the universality and transcendence of love, bridging the gap between the mortal and the divine.

Transformation and Immortality
Psyche’s transformation into a goddess reflects the theme of eternal love, much like Kamadeva’s resurrection and reunion with Rati. Both stories emphasize the idea that love conquers all, including death and separation, highlighting its transformative and everlasting nature.

Symbolism and Imagery
The symbolic objects in both myths, such as Cupid’s arrows and Kamadeva’s flower arrows, represent the enchanting and often piercing nature of love. The imagery evokes the power and beauty of love, depicted through divine attributes and interventions, reinforcing the notion that love is a formidable force.

Conclusion
The stories of Cupid and Psyche and Madan and Rati reveal the profound and universal nature of love as a transformative force. Despite their cultural differences, these myths share common themes and motifs that highlight love’s ability to overcome challenges and transcend the boundaries between mortals and gods. Through trials, divine interventions, and ultimate reunions, these narratives celebrate the enduring power of love.

Reference:
1. The British Museum, Object type: Sarcophagus, Museum Artifact Number: 1805,0703.132
2. Mahabharat, Geeta Press, Gorakhpur, India.
3. Chhatrapati Shivaji Maharaj Museum, Mumbai, India.

Divine Curse: The Untold Story of Mahabharat

Adwait Karajagi

13–16 minutes

All of us are aware, that Mahabharat, the great war was vital for the world. It established the definition of Karma in this country. But do you know, that the Mahabharat was a result of a curse from Mahadev? This is rather very unknown story. So, buckle up, and get ready for this fantastic tale. Prepare to delve into the hidden depths of mythology as we unravel the divine curse that ignited the epic battle of Kurukshetra, in our blog, Divine Curse: The Untold Story of Mahabharat.

Mystery of the Lotus

Once upon a time, all the Gods gathered on the sacred banks of the Ganga to perform a grand Yadnya. One day, after the ritual, they decided to bathe in the holy river. As they relaxed on the riverbank, they were suddenly captivated by the sight of a lotus drifting gracefully on the waters of the Bhagirathi. Intrigued and astonished, the Gods watched the lotus in awe. Indra, the mightiest and bravest among them, resolved to uncover the mystery of the enchanting flower.

With determination, Indra made his way upstream towards the source of the Ganga, known as Gangotri, where the divine waters flow eternally. As he approached this sacred birthplace, he was met with a mesmerizing sight: a young woman, radiant and luminous like fire, stood before him. Indra’s heart was filled with wonder and curiosity as he gazed upon her ethereal beauty.

सा तत्र योषा रुदती जलार्थिनी गङ्गां देवीं व्यवगाह्य व्यतिष्ठत् ।
तस्याश्रुबिन्दुः पतितो जले य-स्तत् पद्ममासीदथ तत्र काञ्चनम् ।।
-Aadiparva, Mahabharat.
-The young girl approached the sacred banks of the River Ganga, her steps hesitant and her heart heavy with sorrow. As she entered the crystal-clear stream, she stood still, tears streaming down her face. Each tear that fell into the river transformed miraculously into a golden lotus, illuminating the water with an ethereal glow.

Drawn by this extraordinary sight, Indra, the mighty wielder of the thunderbolt, descended from the heavens. He approached the weeping girl with compassion and curiosity. “Dear lady,” he began gently, “who are you, and what sorrow brings such tears to your eyes? Please, tell me your story, for I wish to know the truth behind your pain.”

त्वं वेत्स्यसे मामिह यास्मि शक्रयदर्थं चाहं रोदिमि मन्दभाग्या ।
आगच्छ राजन् पुरतो गमिष्ये द्रष्टासि तद् रोदिमि यत्कृतेऽहम् ।।
-Aadiparva, Mahabharat.
-The girl looked up at Indra, her eyes filled with a mix of sorrow and determination. “Devraj Indra,” she began, her voice trembling, “I am but an unfortunate and helpless woman. If you wish to understand my plight, follow me. I will lead you to the source of my tears.”

Without another word, she turned and began to walk, her steps purposeful despite the weight of her grief. Intrigued and moved, Indra followed her, the path leading them higher and higher into the majestic peaks of the Himalayas.

Upon reaching a secluded mountaintop, Indra’s eyes widened in surprise. There, in the serene stillness, he saw a strikingly handsome young man seated in a perfect Siddhasana posture. Beside him, a young woman laughed and played, her presence radiating joy. The scene was one of carefree delight, the two immersed in their own world, oblivious to the insult that had brought Indra to this place.

The Mystery Couple

तमब्रवीद् देवराजो ममेदं त्वं विद्धि विद्वन् भुवनं वशे स्थितम् ।
ईशोऽहमस्मीति समन्युरब्रवीद् दृष्ट्वा तमक्षैः सुभृशं प्रमत्तम् ।।
क्रुद्धं च शक्रं प्रसमीक्ष्य देवोजहास शक्रं च शनैरुदैक्षत ।
संस्तम्भितोऽभूदथ देवराज- स्तेनेक्षितः स्थाणुरिवावतस्थे ।।
-Aadiparva, Mahabharat.
-The young man was completely absorbed in his playful reverie, oblivious to everything else around him. This careless indifference sparked a fire of anger in Devraj Indra. “O great one!” he thundered. “This entire world bends to my will, obeys my commands. I am the sovereign of this universe!”.
The divine man, amused by Indra’s arrogance, let out a soft, mocking laugh. He slowly lifted his eyes and fixed his gaze upon Indra. In an instant, Indra’s body froze, paralyzed by the power of that look. He stood as still as a statue, his limbs stiff and unresponsive.

When the divine couple finally ceased their frolic, the young man turned his attention to the weeping goddess. “Bring Indra to me,” he commanded gently. “He must be rid of his pride.”

As the goddess approached Indra and laid a gentle hand on him, the paralysis broke. Indra’s limbs went weak, and he collapsed to the ground, trembling. The fierce and radiant Lord Rudra then spoke, his voice resonating with authority. “Indra, never let pride overtake you again. You possess great strength and valor, yet even you must learn humility. Remove the great mountain that blocks this cave’s entrance and step inside, where many Indras, as radiant as the Sun, reside.”

Indra, regaining his composure, heaved the mountain aside, revealing a vast cavern. Inside, four other Indras, equally illustrious, sat in serene meditation. A pang of fear and sadness gripped Indra’s heart as he pondered his fate. “Will I too suffer the same plight as these?”

Mahadev, who lay in tranquil repose on the mountain, opened his eyes and glared at Indra with an intense, fiery gaze. “Shatakrato!” he admonished. “You have insulted me with your foolish pride. Enter this cave and learn your lesson.”

Indra, trembling with fear and sadness, felt his strength ebb away. His limbs quivered like a peepal leaf in the wind. With a reluctant heart and hands folded in supplication, he approached the cave’s entrance.

Upon receiving permission from the formidable Rudra, Indra spoke with a voice full of reverence and fear. “Jagadyone! You are the primordial being, the creator of the world.”

Rudra, his fierce brilliance undiminished, laughed once more. “Those who are modest do not seek favors here. These others were once as proud as you. Enter this cave, and sleep, for such is your fate.”

With these words echoing in his ears, Indra, humbled and subdued, stepped into the cave, ready to embrace his destiny alongside the others who had come before him.

तत्र ह्येवं भवितारो न संशयो योनिं सर्वे मानुषीमाविशध्वम् ।
तत्र यूयं कर्म कृत्वाविषांबहूनन्यान् निधनं प्रापयित्वा ।।
आगन्तारः पुनरेवेन्द्रलोकंस्वकर्मणा पूर्वजितं महार्हम् ।
सर्वं मया भाषितमेतदेवं कर्तव्यमन्यद् विविधार्थयुक्तम् ।।
-Aadiparva, Mahabharat.
-There in the future you are definitely going to be like this – all of you will have to enter the human form. In that birth you will perform many difficult deeds and kill many people and then again come to Indraloka (The divine abode of Indra), which is already inhabited by virtuous souls through your good deeds. You will have to do everything that I have said. Apart from this, many other works with different purposes will be accomplished by you.

Mahabharat Panel, Virupaksha Temple, Pattadakal

पूर्वेन्द्रा ऊचुःदेवास्त्वस्मानादधीरजनन्यां थर्मो वायुर्मधवानश्विनौ च ।
अस्त्रैर्दिव्यैर्मानुषान् योधयित्वाआगन्तारः पुनरेवेन्द्रलोकम् ।।
-Aadiparva, Mahabharat.
The first four Indras, their voices echoing through the cavern, spoke in unison, their tone reverent. “Lord Rudra,” they began, “we accept your command to descend from Devlok to Manushyalok, where the rare means of attaining salvation are within reach. However, we request that Dharma, Vayu, Indra, and the Ashvinikumars place us in the wombs of our mothers. There, armed with divine weapons, we will battle human warriors and, after our deeds are done, return to Indraloka.”

Birth of Bhima, Mahabharat Painting, C. 1800-1815

Listening to their words, Indra, the bearer of the thunderbolt, turned once more to Mahadev, the greatest of gods. “Lord,” he declared with determination, “I will dedicate a part of myself to the work of the gods. From my essence, I will create another being, who will join these four. He will be the fifth among them, born from my own seed.”

Mahadev’s intense gaze softened slightly as Indra continued, “Their names will be Vishwabhuk, Bhootdhaama, the glorious Indrashibi, the tranquil Shanti, and the radiant Tejaswi. These five will carry out their divine missions on Earth and ultimately return to their rightful place in Indraloka.”

तेषां कामं भगवानुग्रधन्वा प्रादादिष्टं संनिसर्गाद् यथोक्तम् ।
तां चाप्येषां योषितं लोककान्तांश्रियं भार्यां व्यदधान्मानुषेषु ।।
-Aadiparva, Mahabharat.
-Lord Rudra, the fierce archer, bestowed his blessings upon the four Indras, promising the fulfillment of their noble wishes. Their saintly nature had endeared them to him, and he granted their request, ensuring that their path to salvation would be illuminated with divine favor. Additionally, he appointed the beautiful young lady, the goddess of wealth from heaven, to be their wife in the human world, binding their destinies together.

Arjuna and Krishna Advance Against the Kauravas, Mahabharat Painting C. 1825

Having set their fates in motion, Mahadev turned his attention to a greater cosmic alignment. Accompanied by the four Indras, he sought out Lord Narayana—the infinite, immeasurable, un-manifested, unborn, ancient, eternal, and universal deity. In the presence of this supreme being, Mahadev conveyed the divine orders, ensuring that every detail of their mission was sanctioned by the highest authority.

With Narayana’s blessings, the divine plan was complete. The four Indras, along with the essence of Indra himself, descended to the earthly realm. As they took human form, their divine purpose and celestial origins imbued their mortal lives with a profound sense of destiny. United by the blessings of Rudra and Narayana, they embarked on their journey, ready to fulfill their roles in the grand tapestry of the cosmos.

Krishna Balaram fighting the wrestlers, 1650 AD

स चापि केशौ हरिरुद्वबर्ह शुक्लमेकमपरं चापि कृष्णम् ।
तौ चापि केशौ निविशेतां यदूनां कुले स्त्रियौ देवकीं रोहिणीं च ।।
तयोरेको बलदेवो बभूव योऽसौ श्वेतस्तस्य देवस्य केशः ।
कृष्णो द्वितीयः केशवः सम्बभूव केशो योऽसौ वर्णतः कृष्ण उक्तः ।।
-Aadiparva, Mahabharat.
-At that time, Lord Narayana plucked two hairs from his head—one white and the other black. These two hairs entered the wombs of two women from the Yadu dynasty: Devaki and Rohini. From Rohini, who received the white hair, came Baldev, embodying the serene essence of Lord Narayana. The black hair, entering Devaki, manifested as Lord Sri Krishna, representing the boundless energy of the divine.
Thus, through these two miraculous births, the divine essence of Lord Narayana took human form, destined to shape the course of history and uphold righteousness in the world. Baldev and Krishna, brothers bound by divine origin, would grow to fulfill their destinies, guided by the sacred purpose instilled in them from the moment of their conception.

Arjuna and His Charioteer Krishna Confront Karna, C. 1820.

ये ते पूर्व शक्ररूपा निबद्धा-स्तस्यां दर्यां पर्वतस्योत्तरस्य ।
इहैव ते पाण्डवा वीर्यवन्तः शक्रस्यांशः पाण्डवः सव्यसाची ।।
-Aadiparva, Mahabharat.
-The four brave Pandavas, who had once been confined in the northern Himalayan caves as incarnations of Indra, are now present here. The fifth individual, destined to embody a part of Indra himself, is Savyasachi Arjun, the son of Pandu.

Birth of Draupadi

In a secluded hermitage, there lived a daughter of a revered sage. Despite her virtues and beauty, she had yet to find a suitable husband. Determined to fulfill her wish, she undertook rigorous penance to appease Lord Shankar. Her devotion was so profound that Mahadev himself appeared before her, his divine presence radiating grace.

“Ask for the boon you desire,” Lord Shankar said to the sage’s daughter.
With unwavering sincerity, she requested, “I wish for a husband who embodies all virtues.”
Pleased with her request, Lord Shankar granted her wish with a divine smile, saying, “Bhadra, you shall have five husbands.”

The daughter, still hoping for a single, virtuous husband, respectfully appealed again, “O Shankar Ji, I seek only one virtuous husband.”

Mahadev, recognizing her earnestness, honored her devotion. Thus, her future was destined to be intertwined with five great heroes, each embodying the qualities she desired, shaping her path in ways she could not yet foresee.

तां देवदेवः प्रीतात्मा पुनः प्राह शुभं वचः । पञ्चकृत्वस्त्वयोक्तोऽहं पतिं देहीति वै पुनः ।।
तत् तथा भविता भद्रे वचस्तद् भद्रमस्तु ते । देहमन्यं गतायास्ते सर्वमेतद् भविष्यति ।।
-Aadiparva, Mahabharat.
Seeing her earnestness and devotion, Lord Mahadev, the sovereign of all deities, spoke with a heart full of grace. “Noble lady,” he said, his voice imbued with divine warmth, “you have repeated your plea for a husband five times. Therefore, the boon I have granted—having five husbands—will indeed come to pass. However, this will only be realized when you take on a new form”

With these words, Mahadev assured her of his blessing, knowing that her future would unfold according to his divine plan, in a new life yet to come, as Queen Draupadi, with the five husbands as Pandavas. Rest what happened, is a history, called Mahabharat.

Draupadi Vastraharan, Mahabharat Painting, 1760–65 AD.

Krishna, Pandavas and Ashvamedha Horse, 19th century

References:
1. Aadiparva, Mahabharat, Gita Press, Gorakhpur, India.
2. Philadelphia Museum of Art 88435
3. Philadelphia Museum of Art 57806
4. Philadelphia Museum of Art 70158
5. Philadelphia Museum of Art 57810
6. The Metropolitan Museum of Art 825669

Kirata Avatar

Adwait Karajagi

20–25 minutes

In the rich tapestry of Indian mythology, the story of Kirata Avatar—a manifestation of Lord Shiva—illustrates profound lessons of devotion, perseverance, and divine intervention. It is a tale where mortal resolve clashes with celestial trials, ultimately leading to spiritual enlightenment and empowerment.

Our tale unfolded in the shadow of an impending clash, as the Pandavas, amidst their 13-year exile, foresaw the inevitable Battle of Kurukshetra. Advised by the venerable sage Veda Vyasa, Arjuna embarked on a journey to the sacred Indrakeel mountain in the mighty Himalayas. His quest: to undergo rigorous penance and claim the legendary Divyastras—celestial weapons destined to shape the fate of empires.

Kirata Avatar: The Entrance Test

Upon reaching the sacred Indrakeel mountain, the skies echoed with a booming command, ordering Arjuna to halt. And,
तच्छ्रुत्वा सर्वतो दृष्टिं चारयामास पाण्डवः । अथापश्यत् सव्यसाची वृक्षमूले तपस्विनम् ।।
ब्राह्मया श्रिया दीप्यमानं पिङ्गलं जटिलं कृशम् । सोऽब्रवीदर्जुनं तत्र स्थितं दृष्ट्वा महातपाः ।।
-VanaParva, Mahabharat
-The son of Pandu, ever vigilant, cast his gaze around him. There, beneath an ancient and venerable tree, he beheld a great ascetic, his form radiant with an otherworldly light. His skin was the color of flame, his hair long and matted, and his body lean from the rigors of endless penance.

With eyes that seemed to pierce the very soul, the ascetic spoke:
“Who are you, O bold wanderer? This hallowed ground is the domain of sages, those who seek the higher truths of existence. What purpose brings you here, armed for battle, to a place sanctified by peace? Lay down those arms—arrows, bows, swords, and shield. Cast them aside and embrace the path of penance. These lands, untouched by the blight of violence, demand serenity and spiritual devotion. Never before have I seen a mortal so imbued with the light of the divine.”

Time and again, the ascetic, glowing like the setting sun, urged Arjuna to release his weapons. Yet despite the sage’s fervent entreaties, Arjuna’s grip on his Gandiva bow remained steadfast, unmoved by the ascetic’s words.

Seeing Arjuna’s unshakable resolve, the ascetic transformed, revealing his true form: he was none other than Indra, the mighty Lord of the Gods. A warm smile spread across Indra’s face as he spoke:

“Oh dear one, I am Indra, and I am greatly pleased by your steadfastness. Ask of me any boon you desire, and it shall be yours.” With reverence, Arjuna replied, “O Lord Indra, I seek the Divyastras, the celestial weapons.”

प्रत्युवाच महेन्द्रस्तं प्रीतात्मा प्रहसन्निव । इह प्राप्तस्य किं कार्यमस्त्रैस्तव धनंजय ।।
कामान् वृणीष्य लोकांस्त्वं प्राप्तोऽसि परमां गतिम् ।
-Then Mahendra (Indra) smilingly proclaimed, ‘Arjuna! When you have reached here, what do you want to do with these celestial weapons? Now ask for the best world as per your wish; because you have attained the best destination.

एवमुक्तः प्रत्युवाच सहस्राक्ष धनंजयः। न लोभान्न पुनः कामान्न देवत्वं पुनः सुखम् ।।
न च सर्वामरैश्वर्यं कामये त्रिदशाधिप। भ्रातुंस्तान् विपिने त्यक्त्वा वैरमप्रतियात्य च ।।
अकीर्ति सर्वलोकेषु गच्छेयं शाश्वतीः समाः ।।
-Hearing this, Arjuna said to the king of gods, “O Lord! I do not desire divinity, happiness, or the wealth of all the gods out of greed or desire, if it means leaving my brothers in the forest and not seeking revenge. If I do that, I will gain great infamy in all the worlds forever.” Pleased with his resolve and his choice of duty over divine happiness, Lord Indra instructed Arjuna to perform penance for Mahadev. “When Mahadev appears before you,” Indra said, “the doors to the celestial weapons will open for you.”

Kirata Avatar, Halebidu, Karnataka

This scene resonates beautifully with the intricate panels of the Hoysaleshwara Temple in Halebidu. One panel vividly captures Arjuna standing on one foot in deep penance atop the mountains. To his left lay his weapons, symbolizing his warrior spirit momentarily set aside for his spiritual quest. On his right, disguised as a sage with dreadlocks, Lord Indra tests Arjuna, attempting to persuade him to abandon his quest for celestial weapons in favor of divine knowledge. Surrounding them, other sages engage in their own acts of penance, echoing the timeless pursuit of spiritual enlightenment amidst the natural beauty of the Himalayas.

With unwavering resolve, Arjuna journeyed into a dense, formidable jungle nearby. This forest teemed with various species of animals and beautiful birds, creating a serene yet wild backdrop. Finding a suitable spot, he commenced his rigorous austerities to please Lord Mahadev, embodying the essence of spiritual dedication and inner strength.

दर्भचीरं निवस्याथ दण्डाजिनविभूषितः। शीर्णं च पतितं भूमी पर्ण समुपयुक्तवान् ।।
पूर्ण पूर्ण त्रिरात्रे तु मासमेकं फलाशनः। द्विगुणेन हि कालेन द्वितीयं मासमत्ययात् ।।
तृतीयमपि मासं स पक्षेणाहारमाचरन्। चतुर्थे त्वथ सम्प्राप्ते मासे भरतसत्तमः ।।
-Clad in humble garments of straw and deer skin, and bearing a simple staff, Arjuna embarked on his penance with unwavering determination. Embracing a life of asceticism, he ate only dry leaves that had fallen to the ground. For the first month, he sustained himself by consuming fruits once after every three nights. In the second month, his devotion deepened, and he partook of fruits only once every six nights. By the third month, his discipline grew even more profound, and he ate only once every fifteen days. In the fourth month, the great Arjuna, the noblest of the Bharatas, subsisted solely on air, embodying the pinnacle of spiritual dedication and inner strength.

Kirata Avatar, Kedareshwara Temple, Halebidu, Karnataka

This sacred scene is splendidly carved on the outer walls of the Kedareshwara Temple in Halebidu. On the left side, you witness Arjuna standing upon the boulders, balancing on one foot, his hands gracefully joined in Namaste Mudra. Beside him, his quiver filled with sharp arrows and his world-famous Gandiva bow rest carefully, symbolizing his warrior spirit set aside for his spiritual quest. The way he stands on one foot speaks volumes about his unwavering dedication, masterfully captured by an unknown sculptor of the Kedareshwara Temple. This exquisite depiction not only illustrates Arjuna’s physical endurance but also his profound commitment to his divine pursuit.

वायुभक्षो महाबाहुरभवत् पाण्डुनन्दनः । ऊर्ध्वबाहुर्निरालम्बः पादाङ्गुष्ठाग्रविष्ठितः ।।
–Without raising both his arms up, he stood on the tip of his toe without any support just consuming the air and nothing else.

Mook and Kirata

Arjuna’s radiance began to emit smoke, choking all nearby living beings. Irritated, many ascetics went to Mount Kailasa, requesting Lord Mahadev to interfere in Arjuna’s penance. Taking his powerful Ganas, along with Parvati and her servants, Mahadev transformed into Kirata, a forest dweller, and went to the forest where Arjuna was performing his Tapasya.

There, the lord saw a fearsome demon named Mook, who had taken the form of a pig and was about to attack Arjun. Without hesitation, Arjun took up his Gandiva bow and a deadly poisonous arrow. As the bowstring resonated, Arjuna declared, “You have come here to kill an innocent person. Today, I will send you to Yamaloka.”

Seeing Arjuna ready to attack, Lord Shankar, in the form of KiratA, suddenly stopped him. “I have already made this boar my target, so you should not kill it.” But Arjuna ignored Kirata’s words and attacked the demon anyway.

किरातश्च समं तस्मिन्नेकलक्ष्ये महाद्युतिः । प्रमुमोचाशनिप्रख्यं शरमग्निशिखोपमम् ।।
तौ मुक्तौ सायकौ ताभ्यां समं तत्र निपेततुः । मूकस्य गात्रे विस्तीर्णे शैलसंहनने तदा ।।
यथाशनेर्विनिर्घोषो वज्रस्येव च पर्वते । तथा तयोः संनिपातः शरयोरभवत् तदा ।।
स विद्धो बहुभिर्बाणैर्दीप्तास्यैः पन्नगैरिव । ममार राक्षसं रूपं भूयः कृत्वा विभीषणम् ।।

-At that moment, the powerful KiratA also shot an arrow as bright as lightning and as fierce as fire at the same target. Both arrows struck the massive, mountain-like body of the demon Mook simultaneously. The impact sounded like thunder and lightning crashing against a mountain. Wounded by the two arrows, the demon, now revealing his terrifying true form, died, his body falling lifeless to the ground.

Seeing both arrows hit the target, Arjuna became furious. The Kirata, testing Arjuna’s resolve, claimed the boar as his own, asserting that his arrow had struck it first. Arjuna warned the Kirata not to touch his kill and advised him to walk away while he could. Ignoring the warnings, the Kirata attempted to carry the boar, sparking a fierce battle between the two.

The first wave of terrifying Ganas, who had never been defeated in battle, attacked Arjuna with all their might. But they had never faced a warrior like Arjuna. With his extraordinary archery skills, Arjuna swiftly defeated the first wave of fearsome Ganas. Under the relentless storm of arrows, the Ganas fled in all directions. Seeing them scatter, their commander, Lord Kartikeya, cursed and criticized them. This dramatic scene is beautifully described by the great poet Bharavi in his epic.

Kiratarjuniya By Bharavi

Bharavi, the renowned Sanskrit poet, is celebrated for his masterful command of language and profound philosophical insights. His magnum opus, the “Kiratarjuniya,” is acclaimed for its intricate wordplay, sophisticated metaphors, and stylistic elegance. Bharavi’s work stands out for its intellectual depth and complexity, showcasing his ability to weave intricate narratives with deep moral and spiritual lessons. His contributions to Sanskrit literature have left an enduring legacy, marking him as one of the great poets of classical India. In the fifteenth Sarga of Kiratarjuniya, Bharavi writes,

न नोननुन्नो नुन्नोनो नाना नानानना ननु । मुन्नोऽनुघ्नो ननुन्नेनो नानेना नुन्ननुन्ननुत् ॥
-O many-headed primeval ones, he who conquers the weak is not a true man, and he who is defeated by the weak is also not a true man. Yet, this vile man has not defeated you, and still, you flee from him in fear. What should I say to you? Until a warrior’s master is defeated, the servant should never accept defeat. One who inflicts pain on the victim is not superior; rather, he is a very lowly creature.

Just like the Gana’s attack, those words became useless, and Lord Mahadev himself had to come to the battle with Arjuna. In that moment, Arjuna’s fury ignited. He unleashed a volley of arrows with unbridled rage. Yet, the Kirata, with a serene smile, caught each arrow effortlessly and taunted, “Fool! More arrows, more arrows! Let me see your best!”

Enraged, Arjuna released another barrage, but the Kirata remained unfazed. Both warriors, consumed by anger, began to wound each other with serpentine arrows. Their battle was fierce, each shot intensifying their war fever.

Kirata Fighting with Arjun, Hoysaleshwar Temple, Halebidu, Karnataka

This scene is depicted on a small panel at the Hoysaleshwara Temple in Halebidu, created by an unknown sculptor. On the right, you can see Lord Mahadev in his Kirata Avatar. On the left side, Arjuna is shown attacking him with a line of arrows. Arjuna is identifiable by his crown, dagger on his belt, and the action of drawing an arrow from his quiver, which seems to have an endless supply. The arrows depict the ascetics who came to Kailasa to complain to Lord Shiva about Arjuna’s penance. Between these two warriors, you can see the demon Mook in boar form attacking Shiva’s warriors, the Ganas. Behind Arjuna, there are monks and ascetics with headgear and long beards, fear evident in their eyes as they witness the intense battle between Arjuna and the formidable Kirata. This sculpture is remarkable for packing so much detail into such a small space on the ancient Hoysaleshwara temple.

Arjuna, determined to overpower his foe, unleashed a storm of arrows upon the Kirata. Yet, to his amazement, Lord Shankar, disguised as the Kirata, stood firm. The Pinakdhari Shiva absorbed every arrow without flinching, his body unscathed and immovable like a mountain.

Arjuna, stunned by the Kirata’s resilience, grew more desperate. Grabbing the Kirata by the quiver, he tried to drag him down and pummel him with thunderbolt-like fists. But the Kirata remained unyielding.

With a sharp sword, Arjuna struck at the Kirata’s head, only to see the blade vanish upon contact. Frustrated, he resorted to hurling trees and rocks, but Lord Shankar absorbed these too.

Undeterred, Arjuna continued his assault with thunderous fists, his face ablaze with anger. Yet, the Kirata, embodying the calm strength of Lord Shiva, absorbed every blow, standing invincible before the mighty Arjuna.

ततः शक्राशनिसमैर्मुष्टिभिर्भृशदारुणैः । किरातरूपी भगवानर्दयामास फाल्गुनम् ।। ५६ ।।
ततश्चटचटाशब्दः सुघोरः समपद्यत । पाण्डवस्य च मुष्टीनां किरातस्य च युध्यतः ।। ५७ ।।
सुमुहूर्त तु तद् युद्धमभवल्लोमहर्षणम् । भुजप्रहारसंयुक्तं वृत्रवासवयोरिव ।। ५८ ।।
-Afterward, assuming the form of Kirata, Lord Shiva began tormenting Arjuna with punches as powerful as Indra’s thunderbolts. The mighty Arjuna, son of Pandu, clashed fiercely with Shiva in a gripping hand-to-hand battle, their blows echoing thunderously. This intense combat, reminiscent of the legendary duel between Vritrasura and Indra, raged on for two hours.

Kirata Overpowering Arjun, Hoysaleshwar Temple, Halebidu, Karnataka

Where can you find such a scene? It’s none other than the majestic Hoysaleshwara Temple in Halebidu, Karnataka. Here, a remarkable sculpture unfolds a gripping tale. One figure, nearer to the ground, is Lord Mahadev, disguised as Kirata Avatar, unmistakable with his four arms, holding a trident and drums, and adorned with dreadlocks. The other figure is Arjun, engaged in an intense struggle with the divine. This dramatic encounter is set in a dense forest, cleverly depicted by two trees flanking the scene. On the left, a female figure stands, holding a stick and a basket atop her head—Parvati, the consort of Lord Shiva. This sculpture is a testament to its creator’s skill, hiding countless details within its apparent simplicity. Take a moment with these temple walls to uncover the intricate storytelling woven into every inch of this artwork.

Arjuna lay motionless on the ground, pinned down by the Kirata. His breath held, he resembled one lifeless, remaining in that state for two hours before regaining consciousness. Rising to his feet, his body drenched in blood, Arjuna felt deep sorrow and agitation. In his despair, he fashioned an earthen altar for Lord Shiva and adorned it with garlands of flowers, to seek help from Lord Mahadev.

To his astonishment, the garland he placed on the altar of Shiva vanished, only to reappear upon the head of the Kirata. Realizing this divine play, Arjuna, the illustrious Pandava, found solace and understood it as Lord Shiva’s test, which he had successfully endured.

Lord Mahadev then manifested in his true form before Arjuna. Bowing reverently, Arjuna praised Shiva and beseeched him for the Pasupatastra, seeking it for righteous purposes and protection. In response, Lord Shiva imparted the secret and the essence of the Pasupatastra to Arjuna.

With Lord Mahadev’s consent, Arjuna proceeded to ascend to the heavens, where he would receive further training in celestial weapons, accompanied by the Astra now in his service in human form.

Arjun-Kirata Fight, Kedareshwar temple, Halebidu, Karnataka

What lessons can we draw from the Kirata Avatar story in the Mahabharata?

Devotion and Persistence: Arjuna’s journey exemplifies unwavering devotion and persistence in his quest for spiritual enlightenment and celestial weapons. Despite facing immense challenges and divine tests, he remains steadfast in his pursuit, demonstrating the importance of dedication on the spiritual path.

Divine Intervention: The narrative highlights the role of divine intervention and guidance. Lord Indra and ultimately Lord Shiva himself intervene in Arjuna’s journey, testing his resolve and granting him blessings based on his sincerity and commitment to his dharma.

Inner Strength and Discipline: Arjuna’s rigorous penance symbolizes profound inner strength and discipline. His ability to withstand physical hardships and maintain focus on his spiritual goals underscores the importance of discipline in achieving spiritual growth and enlightenment.

Tests of Character: The encounters with Indra and later with Lord Shiva in the Kirata Avatar serve as tests of Arjuna’s character. These tests challenge his priorities, offering him choices between material gain and spiritual fulfillment. Arjuna’s decisions reflect his moral integrity and commitment to righteous conduct.

Divine Grace: Ultimately, Arjuna’s journey illustrates the grace of the divine. Despite his flaws and occasional lapses in judgment, his sincerity and devotion earn him the blessings and teachings of Lord Shiva, empowering him with celestial knowledge and weaponry for noble purposes.

In essence, the story of Kirata Avatar encourages reflection on themes of devotion, perseverance, divine grace, and the transformative power of spiritual discipline in one’s journey towards self-realization and higher consciousness.

Mahabharat Panel, Kailasa Cave, Ellora, Maharashtra

Kirata Avatar Panel, Kailasa Cave, Ellora, Maharashtra

The philosophical context of Bharavi’s Kiratarjuniya:

Kiratarjuniya is deeply rooted in the classical Indian thought systems, particularly those articulated in the Mahabharata and other major Indian philosophical traditions. Several key philosophical themes and contexts can be identified:

The Nature of Dharma: In Kiratarjuniya, Arjuna’s quest and his encounter with Shiva reflect the complex and multifaceted concept of dharma (righteousness, duty). Arjuna’s penance and his unwavering dedication to achieving his goal embody the principles of personal and warrior dharma. The poem explores the idea that true dharma often requires great personal sacrifice and is aligned with cosmic order and divine will.

The Path of Penance and Devotion: Arjuna’s severe penance (tapas) is a central theme in the poem. It highlights the importance of austerity, self-discipline, and devotion in spirituality. This reflects the Hindu belief in the importance of tapasya (austerity) to gain divine favor and spiritual power. It emphasizes that true dedication and focus can lead to divine intervention and blessings.

The Concept of Divine Grace: The encounter with Shiva, who tests Arjuna in the guise of a hunter, underscores the concept of divine grace (Anugraha). Despite Arjuna’s strength and valor, it is ultimately Shiva’s grace that bestows upon him the powerful Pashupatastra (a divine weapon). This theme reflects the philosophical idea that human effort must be complemented by divine grace to achieve ultimate success.

Illusion of Duality: Shiva’s disguise as a kirāta (hunter) serves to illustrate the philosophical notion. It says that the divine can manifest in any form and that distinctions based on appearances are illusory. This resonates with the Advaita Vedanta philosophy, which emphasizes the non-dual nature of reality and the unity of the individual soul (atman) with the supreme soul (Brahman).

The Triumph of the Human Spirit: Arjuna’s confrontation with Shiva symbolizes the inner struggle of the human spirit against ignorance and ego. The victorious outcome represents the triumph of the soul in realizing its divine potential and achieving spiritual enlightenment. This can be linked to the Sankhya and Yoga philosophies, which focus on the discipline of the mind and body to overcome ignorance and attain self-realization.

Karma and Free Will: The epic of Kirata Avatar delves into the interplay between karma and free will. Arjuna’s actions are driven by his past karma and his present choices. The intervention of Shiva highlights that divine will can alter the course of karma, suggesting a complex relationship between human effort, destiny, and divine intervention.

In conclusion, Kiratarjuniya is a rich tapestry of philosophical themes that reflect the depth and complexity of classical Indian thought. Bharavi uses the narrative to explore profound ideas about duty, devotion, divine grace, the nature of reality, and the path to spiritual enlightenment, making his epic not only a literary masterpiece but also a work of significant philosophical importance.

Arjuna and Celestials, Folio from a Kirata-Arjuniya, India,
Himachal Pradesh, Kangra, circa 1820 Drawings; watercolors

Kirata Avatar, 1820 (circa), Andhra Pradesh.

Kirata Avatar, MutualArt, Kangra School, 19th Century, Attributed to Purkhu, AN ILLUSTRATION FROM A KIRATA ARJUNIYA SERIES: ARJUN SLAYS MUKASURA, CIRCA 1820.

An Illustration from a Kirata Arjuniya Series: Arjuna visited by Apsaras and Gandharvas, India, Punjab hills, Kangra, circa 1820

References:

1. Arjuna and Celestials, Folio from a Kirata-Arjuniya (Arjuna and the Kirata [Hunter]), India, Himachal Pradesh, Kangra, circa 1820, Drawings; watercolours , LCMA.
2. Kirata Avatar, 1820 (circa) Painted in: Andhra Pradesh © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.
3. Kirata Avatar, MutualArt, Kangra School, 19th Century, Attributed to Purkhu, AN ILLUSTRATION FROM A KIRATA ARJUNIYA SERIES: ARJUN SLAYS MUKASURA, CIRCA 1820.
4. Kirat Bhilli : Raja Ravi Verma Lithograph : Lonavala : C 1940.
5. Mahabharat Volume 2, Geeta Press, Gorakhpur.
6. संस्कृत साहित्याचा सोपपत्तिक इतिहास, विनायक करंबळेकर, नागपूर: श्री शारदा प्रकाशन.
7. An Illustration from a Kirata Arjuniya Series: Arjuna visited by Apsaras and Gandharvas, India, Punjab hills, Kangra, circa 1820

Palasdev Shri Ram Temple

Adwait Karajagi

9–11 minutes

Like humans, temples might also have a destiny. Some temples have welcomed devotees for centuries, while others have stood for thousands of years, waiting for visitors and even their Gods. One such temple, near the Palasadev or Palasnath temple, shares a similar fate.

The Pune-Solapur highway cuts through a dry area. To help this land, the government built the massive Ujni dam, which transformed the region into fertile land. When the dam was constructed, it submerged a few ancient temples, including the Palasdev temple.

During droughts, the Palasnath temple, usually submerged, rises from the water as if checking on its devotees. The sight of the Palasnath peak, the desolate Dharamshala ramparts around it, the island of Palasnath emerging from Ujni’s waters like a turtle’s back, and the vast blue sky above is indescribable.

As the sun sets, the shadow of Palasnath’s summit, about thirty feet high, stretches across the water to a solitary structure in the thicket. Like the Palasnath temple, this temple’s sanctum sanctorum is also empty. However, this temple’s fate may not be as fortunate as Palasnath’s. Among the tourists visiting Palasnath, very few come here. This temple, known as the Ram/Vishnu temple, has many other names.

Palasdev Shri Ram Temple, A view from Palasnath Temple

Temple Tales:

This temple is known by many names: Ramayan, Kashinath, Somnath, Suryadev Mandir, Vishnu Mandir, Ram or Ramnath Mandir, Vaishnava Mandir, and Sardeshwar. According to legend, Indra once had to fight a demon named Vritrasura. During the battle, Vritrasura begged for mercy, and Indra granted it. However, Indra later broke his promise and killed Vritrasura.

This act caused Indra to commit the sin of breaking a promise. To atone for his sin, Indra went into penance for a thousand years. During this time, the pious King Nahusha, son of Pururavas, was appointed as the temporary Lord of the Heavens. Nahusha ruled for many years, but eventually, pride and lust consumed him. Drunk with power, he began making strange demands from the pious people. He even tried to flirt with Sachi, the queen of Indra.

As a result, Indrani cursed him, turning him into a lizard. Nahusha fell into the Palasadeva temple precincts and performed penance there, begging for forgiveness. Since then, the temple has been called the Sardeshwar temple. (Lizard is called as Sarda in Marathi, hence the name Saradeshwar, or the Lord of the Lizards)…

Palasdev Shri Ram Temple in a Nutshell:

Architectural Style: Designed in the exquisite Early Yadava architectural style.
Building Material: Constructed using hard black basalt, showcasing the temple’s enduring strength.
Entrances: The temple boasts three entrances, or Mukha-Mandapas, each offering a grand welcome.
Shikhara: The temple tower, or Shikhara, has either collapsed due to the ravages of time and weather or has been destroyed by invaders, adding a sense of ancient grandeur to the site.
Platform: The temple is majestically perched on an elevated platform known as Peetha or Jagati.
Base Layers: While the base layers, such as Gaja, Ashva, and Nara thara, are not visible, their absence adds to the temple’s enigmatic allure.
Vedibandha: The Vedibandha portion, marking the base moldings, is visible and intricate.
Devakoshta: The intricate Devakoshta, or outer wall structure above the platform, remains intact and finely carved, inspiring awe.
Mandovara: The Mandovara, or upper outer wall, is completely covered with exquisite sculptures. The temple’s exterior walls are adorned with intricate scenes from the Ramayana, offering a glimpse into historical tales.
Vishnu Avataras: Numerous depictions of Vishnu Avataras highlight the temple’s unique connection to the Vaishnava sect of Hinduism.
Garbhagrihas: The temple features three empty Garbhagrihas, or sanctum sanctorums, each steeped in ancient mystery.
Central Hall: The primary central hall, or Mandapa, contains a circular Rangashila visible through the rubble, inspiring thoughts of ancient performances.
Rangashila: Rangashila, or performance platform, graces the temple’s interior.
StambhaShirsha: The StambhaShirsha, or upper capital of the pillars, features inverted cobras, a unique characteristic of Yadava period architecture.
Bhairava Depiction: One Sub-Garbhagriha Lalatbimba depicts Bhairava, suggesting the presence of a Shiva deity and adding to the temple’s historical intrigue.
Other Garbhagrihas: The other 2 sanctum sanctorums, without specific deity identity, invite curious exploration.
Ghat: The temple includes a ghat with steps descending to the river, inviting serene contemplation.
Scattered Sculptures: Numerous scattered sculptures around the temple beckon visitors to explore its rich history.

ASI Neglect: Despite the Archaeological Survey of India’s (ASI) neglect, the temple’s historical and architectural significance remains inspiring and worthy of a visit.

The Shri Ram Temple at Palasdev is a hidden gem that stands as a testament to India’s glorious architectural past and rich mythological heritage. Its exquisite Early Yadava architectural style, crafted from enduring black basalt, showcases our ancestors’ incredible skill and artistry. Each intricate carving, from the detailed Devakoshtha to the scenes from the Ramayana adorning the Mandovara, tells stories from the Puranas passed down through millennia.

With its three empty Garbhagrihas, evocative Rangashila, and the majestic but decimated Shikhara, this temple is a silent storyteller of an era where spirituality and artistry intertwine seamlessly. The depictions of Vishnu Avataras, the fascinating legend of King Nahusha, and the Bhairava depiction in the Sub-garbhagriha are not just architectural elements but our connection to a 4000-year-old unbreakable civilization.

Despite the evident neglect by the Archaeological Survey of India (ASI), the Shri Ram Temple’s historical and architectural significance remains inspiring. This temple deserves more than just a fleeting glance; it calls for a deeper exploration and appreciation. As travelers and history enthusiasts, it is our duty to ensure such treasures are not lost to the oblivion of neglect. By visiting and promoting this beautiful temple, we can contribute to its preservation and honor the legacy of our ancestors.

Let us celebrate the Shri Ram Temple at Palasdev as a destination and a vibrant thread in the tapestry of India’s rich cultural heritage. Urge your fellow travelers, history buffs, and devotees to visit this awe-inspiring site. In doing so, we keep the stories alive, preserve our history, and ensure that this temple’s beauty and significance endure for future generations.

Ravana abducting Sita, with Jatayu Fighting Ravana — Maa Sita Abduction By Ravan

Ram-Hanuman meet (LHS) and Vali-Sugriv Fight (RHS)

Hanuman meeting Maa Sita — Ram Thanking Jatayu

Vanari (Destroyer of Vanas) Hanuman Destroying Ashok Vatika

Ten Handed Ravan (LHS) and Vanaras building a Setu (RHS)

Shri Ram Killing Vali — Setu-Construction

Markata-Mind is like a monkey, always lusting towards Kama, one has to control it... — Markata-Mind is like a monkey, always lusting, one has to control it…

Jai VIjay Palasdev Shri Ram Temple — Jay-Vijay at Palasdev Shri Ram Temple

Palasnath temple at Background — Palasnath temple in the Background

How to reach Palasdev Shri Ram Temple

By Car: Palasdev Temple is accessible by road via the Pune-Solapur highway. Take the highway towards Solapur from Pune and follow the signs to Palasdev Temple. The journey by car takes approximately 3 hours, depending on traffic conditions.
By Bus: From Pune, one can catch a bus towards Solapur and alight on the highway, as Palasdv town is adjacent to the Pune-Solapur Highway. Pune-Indapur bus is also a good choice. When you alight on the highway, you can catch a local transport to reach the temple, located around 3.5 kilometers from the highway.
By Train: The nearest railway station to Palasdev Ram Temple is Daund, located approximately 50 kilometers away. From the railway station, travelers can hire a taxi or use local transport to reach Palasdev Temple.
By Air: The nearest airport to Palasdev Temple is Pune, located approximately 130 kilometers away. From the airport, travelers can hire a taxi or use other transport options to reach Palasdev Temple.

For most of the year, Palasdev Shri Ram Temple remains submerged in the backwaters of the Ujni dam. The ideal time to visit is from April to June when the water levels recede, revealing the temple’s splendor. It’s advisable to check with locals before planning your trip, especially if visiting during early May, when a boat may be required to access the temple.

Palasdev Boat Service Contact:

For boat services to Palasdev Shri Ram Temple, contact:
Shri Mangesh Dhondiram Golande.
Phone: 9604115553.
This boat service contact information is a convenient resource that will help you arrange your visit to ensure you can explore this historic temple site during the best time of the year.
Here is the precise location for the temple.

Lord Shiva & A Deer: Symbolism of Nature, Tradition, and Dharma -

Adwait Karajagi

8–10 minutes

Skanda, Parvati and Shiva with the Deer — Shiva, Uma, and Their Son Skanda (Somaskandamurti), India (Tamil Nadu), Early 11th century

When Europeans first arrived in India, they often dismissed us as “monster-worshipping” people, showing a profound ignorance of the rich philosophy, dharma, and iconography our traditions embody. The so-called “progressive English education system,” championed by Lord Macaulay, further eroded our connection to our millennia-old culture.

Many Indians began to feel a misguided sense of gratitude in distancing themselves from their heritage. Consequently, we have become strangers to our own roots, culture, and traditions, losing touch with the vast philosophical knowledge that has sustained us for thousands of years. Today, we barely know our deities, let alone the significance of the symbols they hold.

Take, for instance, Lord Shiva. Commonly depicted with a trident, a drum, and a snake around his neck, there are also unique representations, especially in the south, where he holds a deer. This is the story of that deer.

Lord Shiva and Vedas

Shiva Holding a deer — Standing Shiva and Parvati, India,13th century

In early vedic texts, Mahadev comes as Rudra. He was not associated with the Lingam as we pray today. In fact, one of the verse says, “please keep the Phallus worshipers away from us”. But their association with Shiv-Lingam is not mentioned in the Vedas. Later on, Rudra became Mahadev, and it was associated with the Shiv-Lingam.

Lord Shiva and Yadnya

In the beginning, Shiv and Yadnyas had a complicated relationship. But as he became one of the trideva’s even the Vedic followers included him in the Yadnya system. In the Sauptikaparva of Mahabharat, Shri Krishna narrates the story how this happened.

ततो देवयुगेऽतीते देवा वै समकल्पयन् । यज्ञं वेदप्रमाणेन विधिवद् यष्टुमीप्सवः॥
कल्पयामासुरथ ते साधनानि हवींषि च । भागार्हा देवताश्चैव यज्ञियं द्रव्यमेव च॥
ता वै रुद्रमजानन्त्यो याथातथ्येन देवताः । नाकल्पयन्त देवस्य स्थाणोर्भागं नराधिप॥

When the Satya Yuga had passed, all the deities decided to conduct a Yadnya according to the Vedic rituals. They properly invited all the gods and made the necessary arrangements. However, the deities were not fully aware of Rudra’s true nature and did not allocate a share of the offerings for him.

सोऽकल्प्यमाने भागे तु कृत्तिवासा मखेऽमरैः। ततः साधनमन्विच्छन् धनुरादौ ससर्ज ह ॥
लोकयज्ञैर्नृयज्ञैश्च कपर्दी विदधे धनुः । धनुः सृष्टमभूत् तस्य पञ्चकिष्कुप्रमाणतः ॥
वषट्कारोऽभवज्ज्या तु धनुषस्तस्य भारत । यज्ञाङ्गानि च चत्वारि तस्य संनहनेऽभवन् ॥

When the gods neglected to offer Yadnya offerings to Mahadev, the one adorned with tiger skin, he created the universe’s first bow. Lord Shiva, with his matted locks, crafted this mighty bow, which spanned five hand-lengths, using the principles of Loka Yadnya and Manushya Yadnya. Vashatkara formed the bowstring, and the four essentials of Yadnya—purification, charity, Homa, and Japa—became Shiva’s shield.

Upon seeing Mahadev arrive at the Yadnya location with his formidable bow, the earth quaked in fear. The air ceased to flow, and the fire in the Yadnya pit could not ignite despite the large quantities of ghee and Samidha (wood offerings). The constellations shifted, the sun’s radiance dimmed, the moon lost its light, and the sky plunged into darkness. Deprived of Yadnyas, which were their power sources, the deities were gripped with fear.

The constellations began to move from their places, the radiance began to fade away from the Sun, moon lost his light and skies began to immerse in the darkness. Yadnyas were the power sources of the deities. Since the Yadnyas stopped, those deities were shaken with fear.

ततः स यज्ञं विव्याध रौद्रेण हृदि पत्रिणा । अपक्रान्तस्ततो यज्ञो मृगो भूत्वा सपावकः ॥
स तु तेनैव रूपेण दिवं प्राप्य व्यराजत । अन्वीयमानो रुद्रेण युधिष्ठिर नभस्तले ॥

Aiming with a dreadful arrow, Rudra struck the heart of the Yadnya, causing it to transform into a deer that fled with Agni (the fire of the Homa). Ascending to the sky, the deer shone as the Mrigasheera constellation. To this day, Rudra can be seen pursuing the Mrigasheera constellation as Ardra.

त्र्यम्बकः सवितुर्बाहू भगस्य नयने तथा । पूष्णश्च दशनान् क्रुद्धो धनुष्कोट्या व्यशातयत् ।

The furious three-eyed Lord Shiva severed Savita’s arms, blinded Bhaga, and shattered Pushan’s teeth. With mere a bow, Rudra single-handedly subdued all the deities.

A powerful voice, inspired by the deities, severed Shiva’s bowstring, causing the bow to recoil and fall from his hands.

ततो विधनुषं देवा देवश्रेष्ठमुपागमन्। शरणं सह यज्ञेन प्रसादं चाकरोत् प्रभुः ।
भगस्य नयने चैव बाहू च सवितुस्तथा । प्रादात् पूष्णश्च दशनान् पुनर्यज्ञांश्च पाण्डव ।।
ततः सुस्थमिदं सर्वं बभूव पुनरेव हि । सर्वाणि च हवींष्यस्य देवा भागमकल्पयन् ।।

The deities, along with the Yadnya, surrendered to Mahadev, who graciously blessed them. Rudra contained his wrath, restoring Bhaga’s vision, Savita’s arms, and Pushan’s teeth. Order was reinstated, and the deities ensured Mahadev received his rightful share of offerings.

The Symbolism of the Deer in Mahadev’s Iconography

The image of Shiva holding a deer is rich with symbolism that connects him to Vedic knowledge, traditions, and systems. Here’s how the deer symbolizes these aspects:

Symbol of Vedic Knowledge:

Agni and the Mrigasheera Constellation: The deer in Mahadev’s iconography is not merely an artistic choice but carries significant mythological and symbolic weight. The story of the Yadnya deer, which transformed and fled with Agni to the skies, becoming the Mrigasheera constellation, encapsulates Shiva’s protective and transformative powers. His relentless pursuit, as Ardra, symbolizes the cosmic dance of creation and destruction, a testament to his role as the eternal preserver and destroyer.

Pashupati and Control Over Nature: As Pashupati, Shiva is the lord of animals, demonstrating a deep understanding and control over nature. This mastery is in line with Vedic teachings, which emphasize harmony with the natural world and the importance of all living beings.

Symbol of Vedic Traditions:

Yadnya (Sacrificial Rituals):The deer is directly linked to the Yadnya, a central Vedic ritual involving fire sacrifices. These rituals are a core part of Vedic tradition, and Shiva’s involvement with the Yadnya deer shows his deep connection to these ancient practices.

Protector of Rites and Rituals: By holding the deer, Shiva is seen as a protector of Vedic rites and rituals. His role in the story highlights his responsibility to uphold these traditions and ensure their continuity.

Symbol of Vedic Systems:

Cosmic Order and Dharma: The deer represents Shiva’s role in maintaining cosmic order (Rta) and Dharma, both key concepts in Vedic philosophy. His pursuit of the deer symbolizes his efforts to preserve balance in the universe, a central aspect of Vedic systems.

Integration of Vedic and Non-Vedic Elements: The presence of the deer in Shiva’s iconography illustrates the integration of Vedic and non-Vedic elements. This amalgamation shows Shiva’s ability to uphold Vedic systems while embracing diverse spiritual influences, reflecting the adaptability and inclusiveness of Vedic traditions.

Historical and Cultural Continuity:

Kanishka, Kushana King (AD 127 to 151 India)

Shiva with trident and drum, with the deer (back of the coin)

Depiction in Art and Coins: Historical artifacts, like coins from King Kanishka’s reign showing Shiva with a deer, indicate the reverence for Shiva as an upholder of Vedic traditions. The re-emergence of this symbolism in South Indian sculptures centuries later underscores the enduring nature of these beliefs and their continuous evolution.

Preservation of Heritage: By holding the deer, Shiva represents the preservation of Vedic knowledge and traditions across time. This continuity reinforces the cultural and spiritual heritage that forms the bedrock of Hinduism.

In summary, the deer in Shiva’s iconography symbolizes his profound connection to Vedic knowledge, traditions, and systems. It highlights his role as a guardian of ancient wisdom and rituals, his efforts to maintain cosmic balance, and the integration of diverse spiritual elements within the framework of Vedic traditions. This symbolism underscores the depth and resilience of Hindu spirituality, rooted in Vedic heritage while evolving over centuries.

Reference:

SauptikParva, Mahabharat, Geeta Press Gorakhpur, UP, India
Metropolitan Museum of Arts, USA
British Museum, UK.

Arun-The Charioteer of Sun

Adwait Karajagi

12–15 minutes

Arun, Charioteering Surya, Nuggehalli Temple, Karnataka

Since long time, charioteers have been shaping the history of this part of the world. May it be a charioteer with a peacock feather in his crown, or a charioteer who can withstand the extreme heat of the sun.

Sun god, or Surya has been the integral part of Sanatana tradition. Well before the Vedic period, you will see the people from India praying to this celestial entity. Even Rigveda has few Suktas, praising the Surya. Later on, the deity became mainstream, and people who became the Sun worshippers are called as Saurya Sampradaya.

Later on, Aadi Shankaracharya created the Panchaytan concept, and almost every temple in the subcontinent started honoring this life giving star a honoring place on its walls. But this story does not belongs to this space entity. While carving the anthropomorphized Sun, ancient sculptures started carving his charioteer, Arun or Aruna, main character of our story today. So, buckle up, as we are about to take a journey into space, to know about the person who is courageous enough to be the driver of the God.

The impatient mother

Prajapati Daksha had many daughters. Two of them, Kadru and Vinata got married to sage Kashyap. Once, for some reason, Sage Kashyap was pleased with them, and asked for a boon. Kadru asked to be a mother of thousand powerful Nagas, and Vanita asked for only two sons, but they suppose to be superior to the Sons of Kadru in every way. Both of their request were agreed by the righteous Sage. After some time, Kadru yielded thousand eggs and Vanita yielded two.

Pleased, both of them asked the maids to keep their respective eggs in hot pots. Those eggs were kept there, hatching for next five hundred years. Hatching the thousand eggs, Nagas, the Kadru’s sons got out, but the two eggs, belonging to Vinata never hatched.

ततः पुत्रार्थिनी देवी ब्रीडिता च तपस्विनी ।
अण्डं बिभेद विनता तत्र पुत्रमपश्यत । पूर्वार्धकायसम्पन्नमितरेणाप्रकाशता ।।
-(Astikparva, Aadiprava, Mahabharat)

Goddess Vinata, the ascetic, felt ashamed in front of her co-wife. (Growing impatient and curious,) she broke one egg with her hands. When the egg hatched, Vinata saw her son inside the egg. The upper part of his body was fully developed and strong, but the lower half was still incomplete (due to premature hatching).

The cursed mother

A Mother and her Child, Delhi National Museum, 11th century Pala, Bengal

स पुत्रः क्रोधसंरब्धः शशापैनामिति श्रुतिः । योऽहमेवं कृतो मातस्त्वया लोभपरीतया ।।
शरीरेणासमग्रेण तस्माद् दासी भविष्यसि । पञ्चवर्षशतान्यस्या यया विस्पर्धसे सह ।।

It is heard that the son, in a fit of anger, cursed Vinata – ‘Mother! Under the influence of greed, you made me of an incomplete body. You did not allow all my organs to develop and become strong; Therefore, you will remain a slave to the co-wife for next five hundred years.

एष च त्वां सुतो मातर्दासीत्वान्मोचयिष्यति । यद्येनमपि मातस्त्वं मामिवाण्डविभेदनात् ।।
न करिष्यस्यनङ्गं वा व्यङ्गं वापि तपस्विनम् । प्रतिपालयितव्यस्ते जन्मकालोऽस्य धीरया ।।
विशिष्टं बलमीप्सन्त्या पञ्चवर्षशतात् परः ।।

Ma! Your son in the second egg, will free you from slavery; But mother! This can happen only if you do not make this ascetic son limbless or with incomplete limbs by breaking the egg like prematurely. Therefore, if you want to make this child very strong, then you should be patient and wait for his birth after five hundred years.

The churning of the sea

The churning of the sea was completed. Gods decided, that if the demons had the Amrit, they will create havoc in all the worlds. Hence, disused as a beautiful female, Shri Vishnu took a form of Mohini and started distributing elixir only to the Gods. Rahu the demon, found that out, and disguised as God, he drank that elixir.

At the same moment, Sun and the Moon recognized those demons in disguise, and Shri Vishnu beheaded him with his disc. As he have drank the elixir they would not die. But to avenge the beheading, Rahu started trying to swallow the sun and the moon again and again, a phenomenon today known as an eclipse.

The furious Sun

चन्द्रार्काभ्यां यदा राहुराख्यातो ह्यमृतं पिबन् ।। वैरानुबन्धं कृतवांश्चन्द्रादित्यौ तदानघ ।
वध्यमाने ग्रहेणाथ आदित्ये मन्युराविशत् ।।

(Pramatin said- Anagh!) When Rahu was drinking the nectar, the moon and the sun revealed his secret; That is why he developed a strong enmity towards the Moon and the Sun and started torturing them (by eclipsing them). Surya got angry after receiving such treatment from Rahu.

सुरार्थाय समुत्पन्नो रोषो राहोस्तु मां प्रति । बह्वनर्थकरं पापमेकोऽहं समवाप्नुयाम् ।।
सहाय एव कार्येषु न च कृच्छ्रेषु दृश्यते ।पश्यन्ति ग्रस्यमानं मां सहन्ते वै दिवौकसः ।।

He started thinking, ‘I had revealed Rahuka’s secret only for the benefit of the gods, due to which Rahu’s anger towards me increased. Now I alone have to suffer its extremely disastrous consequences in the form of eclipse. In times of crisis, I don’t see anyone to help me. Even when the gods see me suffering from Rahu, they tolerate it silently.

तस्माल्लोकविनाशार्थं ह्यवतिष्ठे न संशयः । एवं कृतमतिः सूर्यो ह्यस्तमभ्यगमद् गिरिम् ।।
तस्माल्लोकविनाशाय संतापयत भास्करः ।

Therefore, to destroy the entire world, I will undoubtedly go to Astachal (the place where the sun sets) and stay there.’ Having decided this, Suryadev went towards the place. And from there Suryadev started tormenting everyone to destroy the entire world.

Thereafter, the Gods along with the sages went to Lord Brahma and said – ‘Lord! What kind of great incendiary fear does this want to present today? Even though the sun is not visible right now, it feels so hot as if the world will be destroyed by its heat. Then who can say how intense the heat will be when the sun rises again? To this, Brahmaji replied-

तस्य प्रतिविधानं च विहितं पूर्वमेव हि ।कश्यपस्य सुतो धीमानरुणेत्यभिविश्रुतः ।।
महाकायो महातेजाः स स्थास्यति पुरो रवेः । करिष्यति च सारथ्यं तेजश्चास्य हरिष्यति ।।
लोकानां स्वस्ति चैवं स्वाद् ऋषीणां च दिवौकसाम् ।।

I have already found a way to save them from their terrible agony. Maharishi Kashyap has an intelligent son, who is famous by the name Arun. His body is gigantic. He is very bright. He will sit on the chariot in front of Surya, absorbing his excess of radiation. By his deed, sages, gods along with the entire world will be benefitted.

And then,
ततः पितामहाज्ञातः सर्व चक्रे तदारुणः ।उदितश्चैव सविता ह्यरुणेन समावृतः ।।

After that, listening to Brahma, Arun did exactly the same what he has been ordered to do so. The and the sun started rising as guided by the Arun.

As he got the job and the car, like any other eligible Indian bachelor, it was the time to get married and settle down. And thus,

Jatayu fighting Ravan, Kedareshwar, Halebidu, Karnataka

अरुणस्य भार्या श्येनी तु वीर्यवन्ती महाबली । सम्पातिं जनयामास वीर्यवन्तं जटायुषम् ।।
Arun’s wife Shyeni gave birth to two mighty and courageous sons. The name of one was Sampati and the name of the other was Jatayu. Jatayu was very powerful indeed.

Both of these sons had a great time on earth. Both of them played a crucial role in Treta Yuga, aiding Shri Ram, the incarnation of Shri Vishnu to find his abducted wife Sita, the incarnation of Maa Lakshmi.

The betting mother

Four Handed Garuda, Brother of Arun, 11th century Halebidu, Karnataka

Once, Vinata and Kadru made a bet about the color of the tail of Uchchaihshravas, the divine horse. Kadru claimed that the tail was black, while Vinata claimed that it was white. As it was getting darker, they decided to settle the bet next day.

To settle the bet, Kadru approached her sons for help. Kadru’s sons, the Nagas, agreed to help their mother by coiling themselves around the tail of Uchchaihshravas, making it appear black. As a result of losing the bet, Vinata became the servant of Kadru and her serpent sons, as the curse given by her own son Arun. Snakes promised to release Vinata from the captivity of Kadru only if her son brought them the Amrit.

After five hundred years, Garuda was born, and defeating all the Gods, he snatched Amrut, the elixir of immortality to hand over to the snakes. As the Nagas were about to drink the elixir, Garuda reminded them to cleanse themselves before consuming it. Once they were clean, the Nagas were allowed to drink the Amrit. As Garuda had fulfilled his promise to bring the Amrit to them, Nagas freed his mother, Vinata, from slavery. All the snakes went to take a bath. As per the plan, Indra appeared and picked up the pot of elixir. He returned it to its original place in Svarga, as planned.

Arun Iconography

Arun on Surya Peeth, Kedareshwar Temple, Karnataka

Often, the Surya will be depicted, standing on the chariot. He will be holding two lotuses in his hands. His chariot will have seven horses namely Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha and Pankti. Behind them, you will see Arun, the charioteer of Surya. As mentioned in the story, being a premature baby, his lower body remained underdeveloped. Considering this, this charioteer will be shown waist upwards only, efficiently handling the seven horses.

What can we learn from the story of Arun?

The story of Arun and its embedded teachings are reflective of the depth and wisdom found within the Sanatana Dharma (Eternal Order), commonly known as Hinduism. Sanatana traditions have been a repository of profound philosophical insights, moral values, and spiritual guidance. Here are some aspects to praise within the context of this story:

Rich Heritage: Sanatana traditions boast an incredibly rich and diverse mythological heritage, filled with intricate stories that serve as both entertainment and repositories of moral, ethical, and spiritual teachings. The story of Arun is a testament to the depth and complexity of these narratives.

Symbolism and Metaphor: The story employs rich symbolism and metaphor to convey profound truths. Arun’s incomplete lower body can be seen as a metaphor for the imperfections in life, yet his willingness to serve and fulfill responsibilities despite these imperfections becomes a powerful symbol of resilience and determination.

Karmic Understanding: The concept of karma, illustrated through the consequences of Vinata’s actions and Arun’s subsequent role, emphasizes the idea that every action has repercussions. This understanding encourages individuals to be mindful of their deeds and their impact on their own lives and the lives of others.

Vinata’s impatience in breaking the egg prematurely led to the curse that her son Arun would be incomplete and that she would serve her co-wife for five hundred years. This part of the story teaches us the importance of patience and the potential consequences of impulsive actions.

Universal Values: The story encapsulates universal values such as patience, responsibility, integrity, and the importance of fulfilling commitments. These values transcend cultural boundaries, making the teachings applicable and relevant to people from various walks of life.

Cautionary tell for parents: The story of Arun, born prematurely with an incomplete lower body due to his mother Vinata’s impatience, offers a poignant lesson about the potential consequences of the pressure of expectations from parents. Vinata’s hasty actions and expectations led to her son facing physical limitations, symbolizing how the pressure to meet parental expectations can impact a child’s development.

This narrative serves as a cautionary tale, highlighting that expecting too much from children, especially at a young age, can be disastrous. Vinata’s impulsive desire for her son to be born quickly and fully developed resulted in a situation where Arun had to navigate life with physical incompleteness. The story suggests that allowing children the time and space to grow and develop at their own pace is crucial to their well-being.

Referance:

Mahabharat Vol. 1, By Pundit Ramnarayandatta Shastri Pandeya ‘Raam’, Geeta Press, Gorakhpur, Bharat.

Naga, Bhoga Nandishwar Temple, Bengaluru

Garuda, Brother of Arun, Aihole, Karnataka

Surya with Arun depicted above the waist, Halebidu, Karnatak

Arun-Surya over the ceiling, Ellora Caves, Maharashtra

Surya on a chariot, driven by the Arun, Chennakeshava temple, Belur, Karnataka

Surya Panel on the ceiling with Arun, Virupaksha Temple, Pattadakal, Karnatak

Abhimanyu's Valor: The Chakravyuva Through Temple Sculptures

Adwait Karajagi

12–16 minutes

Many believe that Mahabharat has a lot of grey shades over its legendary characters. May it be unfortunate Karn, oath bounded Pitamaha Bhishm or evil personified Duryodhana himself. All of these suffered drastic, brutal, and very well-deserved ends. Many will have different opinions about the people who faced brutal death in that 18 days war. But almost all of them will agree on one, that Abhimanyu never deserved the death he had to suffer. In this blog, we will put light on Chakravyuva and the only Pandav- Abhimanyu, who was brave and skilled enough to break that epic battle formation- through the lenses of sculptures to be found on the walls of ancient temples.

Chandra, Moon, Delhi Museum on temple Lintel, Pratihar Dynasty, 8th century, Rajasthan

Birth of Abhimanyu

Abhimanyu first appeared during the Sambhavparva of Mahabharat, when the stage was set for the legendary war. As Ramayan was fought between the good and evil forces, Mahabharat was no exception for it. Many celestial forces give their Ansha (part of their radiance) to fight alongside the Pandavas against the evil forces of Kauravas, which was dominated by the evil forces of Rakshasaj.

So, as each god was sending his or her divine force to take a birth in human form, gods approached Chandra, the moon god, seeking his participation. Chandra spoke,

नाहं दर्शा प्रियं पुत्रं मम प्राणगरीवसम् । समयः क्रियतामेव न शक्यमतिवर्तितुम् ।।
सुरकार्यं हि नः कार्यमसुराणां क्षितौ वधः । तत्र यास्यत्ययं वर्चा न च स्थास्यति वै चिरम् ।।
My son is dearer to me than my own life, so I cannot lend him for a long time. That’s why his stay in the Mrityuloka (earth) should be fixed. Then that period cannot be violated. Killing the demons on earth is the sacred duty of the gods, and it is worth doing for all of us. Therefore, for the accomplishment of that work, Varcha will also definitely appear there. But he will not be able to stay there for long.

Chandra, The Moon God; Folio from a Book of Dreams Rajasthan, Mewar, Udaipur, 1700-1725 LCMA

ऐन्द्रिर्नरस्तु भविता यस्य नारायणः सखा । सोऽर्जुनेत्यभिविख्यातः पाण्डोः पुत्रः प्रतापवान् ।।
तस्यायं भविता पुत्रो बालो भुवि महारथः । ततः षोडश वर्षाणि स्थास्यत्यमरसत्तमाः ।।
Lord Nar, a friend of Lord Narayan, will incarnate on the earth from the part of Indra. His name will be Arjun, and he will be considered the glorious son of Pandu. Oh, the greatest of the Gods! This Varcha will be the son of Arjun and will be considered a great charioteer in his childhood. After taking birth, he will remain there till the age of sixteen. (And he shall participate in the devastating war and will come back to me after his death, after killing millions of great worriers).

And from that day onwards, the stage was set for the fate of Abhimanyu and Chakravyuva.

Let’s journey to the thirteenth day of the momentous Kurukshetra war. Pitamah Bhishm was incapacitated, leaving Guru Dron as the Kauravas’ formidable General. Crafty Duryodhan, seeking a swift end to the war, devised a plan to capture King Yudhishthir instead of killing him. To execute this plan, Dron conceived a complex and impenetrable battle formation known as Chakravyuva.

Among the Pandavas, only three had the knowledge to break this formation: Shri Krishna, Arjun, and Abhimanyu. However, Arjun was preoccupied with battling the Trigarta brothers and the Yadava army, leaving Abhimanyu responsible for safeguarding Yudhishthir.

As Guru Dron unleashed a brutal assault, the Pandava armies suffered heavy losses, and the giant piles of Pandava soldiers’ lifeless bodies began to stagger up to the skies. Feeling the urgency to confront Dron directly, Yudhishthir decided to take an aggressive stance. He entrusted Abhimanyu with the daunting task of dismantling the formidable Chakravyuva, assuring the young 16-year-old warrior that the other Maharathis would closely follow his lead.

Filled with determination, Abhimanyu pledged a sacred oath on the battlefield to obliterate the Chakravyuva. Little did they know that this pivotal moment marked the beginning of a series of challenges and trials that would test the strength and resilience of the Pandavas. This was the precise moment when everything began to fall apart for Pandavas.

युधिष्ठिरो भीमसेनः शिखण्डी सात्यकिर्यमी । धृष्टद्युम्नो विराटश्च द्रुपदश्च सकेकयः ।
धृष्टकेतुश्च संरब्धो मत्स्याश्चाभ्यपतन् रणे । तेनैव तु पथा यान्तः पितरो मातुलैः सह ।
अभ्यद्रवन् परीप्सन्तो व्यूढानीकाः प्रहारिणः॥
Yudhishthir, Bhimasen, Sikhandi, Satyaki, Nakul, Sahadev, Dhrishtadyumna, Virat, Drupad, the Kekaya-prince, Dhrishtaketu, and the furious Matsya country worriers; all of them proceeded to the battlefield behind Abhimanyu. All of Abhimanyu’s uncles organized their armies in array to attack and ride together through the path made by Abhimanyu, protecting him.

उग्रधन्वा महेष्वासो दिव्यमस्त्रमुदीरयन् । वार्धक्षत्रिरुपासेधत् प्रवणादिव कुञ्जरः ॥
सौभद्रेण हतैः पूर्व सोत्तरायोधिभिर्द्धिपैः । पाण्डूनां दर्शितः पन्थाः सैन्धवेन निवारितः ॥
Just as an elephant comes down to the low ground and destroys the enemy, the same way, Jayadrath, the son of the VriddhaKshatra, holding his fierce and great bow, seized the progress of the enemies by using Divyastras (divine weapons). Jayadrath closed the way that Subhadrakumar Abhimanyu had carved earlier for the Pandavas by killing innumerable war elephants.

Abhimanyu in Chakravyuva

In the midst of millions of furious warriors, Abhimanyu displayed miraculous skills on the battlefield. In a blink of an eye, his chariot was completely enveloped in the sharp arrows of his enemies. Employing the formidable Gandharva Astra, he unleashed the Ratha-Maya, an illusionary technique that made him appear in multiple places simultaneously.

His feats were awe-inspiring. Abhimanyu swiftly dispatched the prince of the Ashmak Kingdom, showering King Shalya with an unending barrage of arrows until the king fainted in his chariot. Just moments later, he covered Prince Dusshasan with arrows, compelling him to retreat from the battlefield.

The young warrior even faced and defeated the great archer Karn. When Karn’s younger brother arrived to aid him, Abhimanyu’s precise arrow decapitated him. Despite being drenched in his own blood, Abhimanyu pressed on, defeating the mighty Maharathi Duryodhan.

Drenched in his own blood, Abhimanyu even defeated Maharathi Duryodhan. Seeing that, Duryodhana’s son Lakshman came to provide backup to his defeated father. Without wasting any moment, Abhimanyu decapitated Lakshman, the beloved son of Duryodhan, with a snake-like deathly spear.

Seeing this, King Duryodhan lost his temper, and Karn pleaded with Guru Dron to find the gaps in Abhimanyu’s defenses. That wise Guru worrier ordered all of his Maharathis to attack Abhimanyu at the same time.

Following the orders of the Senapati (general), Karn broke Abhimanyu’s legendary bow. Krutavarma killed his chariot horses, and Guru Krupacharya killed his bodyguards at the same time. Now, that kid was standing on the ground, facing all the Maharathis at once.

Throwing the bow aside, picking up a shield and sword, he dashed towards Karn. Without beating the eyelid, his uncle Karn shattered his shield. Even then, that brave Abhimanyu dashed towards Dronacharya, holding a chakra. In Mahabharat, Sanjay says,

विष्णोः स्वसुर्नन्दकरः स विष्ण्वायुधभूषणः । रराजातिरथः संख्ये जनार्दन इवापरः ।।
Rajan! Abhimanyu, the brave Atirathi (ultimate worrier), who brought great joy to Subhadra (Sister of Shri Krishna), was blazing on that Warland, just like his uncle Shri Krishna, holding a Chakra (disc or a wheel).

In the blink of an eye, all six warriors surrounding Abhimanyu shattered the wheel he was wielding. He killed Kalikeya, brother of Shakuni with his mace and then, he killed the horses which were tied to the chariot of the son of Dusshasan. Feeling to this personal insult, Son of Dusshasan alighted from his chariot and got into the mace war.

तावन्योन्यं गदाग्राभ्यामाहत्य पतितौ क्षितौ । इन्द्रध्वजाविवोत्सृष्टी रणमध्ये परंतपी ॥
दौःशासनिरथोत्थाय कुरूणां कीर्तिवर्धनः। उत्तिष्ठमानं सौभद्रं गदया मूर्च्छताडयत् ॥
गदावेगेन महता व्यायामेन च मोहितः । विचेता न्यपतद् भूमौ सौभद्रः परवीरहा ॥
एवं विनिहतो राजत्रेको बहुभिराहवे॥
Striking each other with the head of the mace on the battlefield, those two warriors fell on the earth like two Indra flags thrown down. After that, the son of Dusshasan first got up and struck Abhimanyu’s head with his mace. Abhimanyu, the slayer of enemies, fell unconscious on the earth, fascinated by the great speed and diligence of the mace. Rajan! In this way, many warriors together killed the lonely Abhimanyu on that battlefield.

Chakravyuva Story Panels

Kailas temple, North Wall, Chakravyuva Panel

Abhimanyu surrounded in Chakravyuva, Kailas temple, Ellora

The first panel we see is on the north wall of the legendary Kailasa temple of Ellora, carved out of a single stone. In the third line from the top, and on the right, you will see Abhimanyu standing with a chariot wheel over his head. If you look closely, you will see that he has been pierced with multiple arrows and swords through his torso, and he has been surrounded by Kaurava worriers from all directions. At that time, these Kaurav Maharathis were stabbing him from the left and right direction. One in the upper right corner is trying to decapitate Abhimanyu with a spear.

This is a very accurate description of what has been mentioned in the Mahabharat. Countless arrows come out of the body of Abhimanyu, making him look like some kind of animal with thorns. Surprisingly, in Mahabharat, Maharshi Veda Vyasa depicted the same. The great sage writes,

ससूताश्वध्वजं तस्य स्यन्दनं तं च मारिष । आचितं समपश्याम श्वाविधं शललैरिव ।।
Oh, Arya! The chariot, charioteer, horses, and flag belonging to Abhimanyu were entirely covered with arrows, just like the body of a porcupine, full of thrones.

The way in which Abhimanyu has been standing tells a lot about his ‘Never give up’ attitude, reflecting his heroism. Not to mention, all of this was carved about 1300 years ago from a single giant hard rock…

Chakravyuva, Hoysaleshwar temple, Halebidu

Moving on to the second sculpture. This little story panel is from Hoysaleshwara temple, Halebeedu, Karnataka, packed with very minute details. Here, you will observe a few worriers fighting with each other on the left side while a beehive-like structure is on the right. Starting from the left, you will see a demonic figure balancing a mace in his right hand. He is Vrikodar Bhim, and you can identify him with his curly hair.

Bhim is fighting with one Kaurava soldier, who is holding a sword and shield in his hands. He probably is Jayadrath, who has received a boon from Mahadev, that he would be able to stop all the Pandavas, except Arjun on the battlefield for one day.

Above him, you see a worrier releasing multiple arrows at the same time, just like they have depicted in the Mahabharat TV series. He probably is King Yudhishthir. Post that, you will see a heroic figure releasing multiple arrows while standing on the chariot. He is Guru Dron, the General of the Kaurav army. You can identify him with the flag on the pole behind him with the shape of Kamandalu (water pot).

Chakravyuva Panel, Hoysaleshwar temple, Halebidu

Now, let’s move on to the beehive structure, which is a legendary battle formation called Chakravyuva. This circular carving is heavily packed with very minute details. If you see it closely, you will see chariots, horses, archers, swordsmen, foot soldiers, and many more entrapped in that coil-like structure. At the center circle, you will see Abhimanyu, completely covered in arrows, surrounded by Kuru worriers. Whoever carved this clearly had a mastery not only over the chisel but over our ancient epics as well.

Abhimanyu’s tragic death resonates deeply within us. Despite being just a young child, his life was abruptly thrust into the horrors of the battlefield, where he courageously climbed onto his chariot, wore his armor, and fought to uphold righteousness and his principles. He made the ultimate sacrifice, heroically giving his life on the call of duty. These two sculptures, created thousands of years ago and situated thousands of kilometers away, immortalize the epic tale of Abhimanyu, the brave and fearless warrior who fearlessly broke into the formidable Chakravyuha formation, displaying unparalleled valor among all warriors.

Abhimanyu bowing to Subhadra, Maharashtra, Paithan, circa 1850

Pandavas cutting hair of Jayadrath, Hoysaleshwar temple, Halebidu

Jayadrath (L) in war with Yudhishthir (R), Gupta period, Delhi Museum

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

Reference:
Abhimanyu Vadh Parva, DronParva, Mahabharat fourth volume, Geetapress Gorakhpur

Elegy of the Emperor

Adwait Karajagi

5–6 minutes

In his darkest hour, the Mongol Emperor Shah Alam II penned an impassioned elegy, seeking aid from Maratha general Mahadji Scindia. A tale of suffering, poetry, and the trust that led to liberation.

Friends, this title of the article may seem strange to you. It is natural to wonder why all powerful Mongol (Mughal) emperor, head of Hindustan would mourn and compose an elegy. Friends, this is the story of 18th century Mughal emperor Shah Alam II who rarely participated in the battles of that period but wrote sentimental poems even when mountains of grief fell upon him. In one such impassioned poem he appears to have enlisted Maratha general, most trustworthy Mahadji Scindia (Shinde) for help. This article is about this incident.

As you may know, Shah Alam II was the emperor of Delhi from 1756 to 1806 AD. Apparently, it was the Marathas who formally reinstated Shah Alam II on the throne of Delhi in December 1771. From the point of view of Maratha history, this is considered as a milestone incident post battle of Panipat. Ghulam Qadir was one of the most wicked and cunning of the important courtier of Shah Alam II. This same Ghulam Qadir had defamed the emperor in his court with his greed for wealth. Not only this, but many of his Begums and children were flogged and punished to stand in the sun. Unfortunately, this kind of punishment went on for many days in the court of Delhi.

The grant of the Diwani,Shah 'Alam (Mughal Emperor 1759-1806) conveying the grant of the Diwani to Lord Clive, August 1765. Oil on canvas. Originally published/produced in c.1818. india,bengal,time,calendar,month,august,materials,event,presenta presentations,clive of india,south asian subcontinent,indian sub — The grant of the Diwani,Shah ‘Alam (Mughal Emperor 1759-1806) conveying the grant of the Diwani to Lord Clive, August 1765. Oil on canvas. Originally published/produced in c.1818. india,bengal,time,calendar,month,august,materials,event,presenta presentations,clive of india,south asian subcontinent,indian sub

One such day, Ghulam Qadir demanded money from the Emperor. He used to make such a demand every day. This time, as usual, the emperor replied that he had no money. At this juncture Ghulam’s rage was unleashed and he pulled the Emperor down from his throne and sat on his chest. As the aged emperor could not bear this suffering, he was begging for mercy. Then Gulam Quadir, unconscious with brutal rage, stabbed the emperor in his eyes, blinded him forever and imprisoned him. From July 27 to October 2, 1788, Ghulam Qadir’s rampage of atrocities continued on Delhi.

It would be a wonder if this emperor who was imprisoned in this way was not in a state of shock! As he could not bear the suffering, the sensitive emperor’s poetic talent blossomed in such a state and he composed this elegy.

Mahadji Sindia By Robert Mabo, Yale Center for British Art

On this occasion, Shah Alam II desperately remembers Mahadji Scindia and says that only Scindia can save me from this calamity. Here are the lines referring to Mahadji Scindia in the elegy composed impromptu by Shah Alam II after his loss of sight (blindness);
Thee too, O Sindiah, illustrious chief,
Who once didst promise to afford relief:
Thee I invoke, exert, thy generous aid,
And o’er their heads high wave the avenging blade.

Of course, as expected, no one helped the emperor except Mahadji. In the final lines of composition, the Mughal emperor, raising his spirits, says,

Some happier day, a providential care,
Again may renovate the falling star:
Again, O King, raise up thy illustrious race,
Cheer thy sad mind, and close thy days in peace.

Shah Alam II was a failure and dependent as a warrior but there is no doubt that he was a learned king. Shah Alam II was very well educated by study and reflection, he had mastery of all the languages of the East and such mastery as a writer could hardly have been acquired by men of such high standing like him at that time. In this book, the author opines that his correspondence with various kings of India, during his long and eventful reign, shows the proof of his cultured mind and we can judge him by the poetry he wrote when he was in a very miserable state after losing his eye sight.

After blinding Shah Alam and starving him in the prison, how much his life must have been disturbed by pain, and in such a state, a painful poem is written by him on the prison wall, this incident should be said to be the extreme state of the sensitive mind of the emperor. In such a state, it seems wonderful that the Emperor of India is begging for help from Mahadji Scindia. It is an epitome of Maratha courage and ethics that the Emperor should have confidence that only Mahadji can bring him out of this painful situation. And in fulfilment of this trust of the Emperor, within a few days the Marathas not only freed Shah Alam from prison, but imprisoned the cruel Ghulam Qadir and sent him to death. Original Persian poetry useful to Persian language scholars is also provided for reference.

The Tomb of the Emperor Shah ‘Alam II (r.1759-1806) at the Qutb Minar. From 'Reminiscences of Imperial Delhi’, by Sir Thomas Theophilus Metcalfe (1795-1853), the Governor-General’s Agent at the imperial court — The Tomb of the Emperor Shah ‘Alam II (r.1759-1806) at the Qutb Minar. From ‘Reminiscences of Imperial Delhi’, by Sir Thomas Theophilus Metcalfe (1795-1853), the Governor-General’s Agent at the imperial court

Reference:
The History of Reign of Shah Alam by W. Franklin,1798
Compiled & written by: Guest Auther Pramod Karajagi
To see more of such historically well researched articles, please do visit the Facebook page of the author.

Chennakeshava Temple - Drifter Adwait

Adwait Karajagi

27–34 minutes

Hoysala Empire History:

History of Chennakeshava Temple, Belur

Chennakeshava Temple Architecture

Gopuram of Chennakeshava Temple:

Pole of the Garuda

Temple Surroundings

Chennakesava Temple Entrance

Entrance Bay

Narsimha Pillar

Mohini Pillar

Bhuvaneshwari: Decorative Ceiling

Torana (Entrance Border of Sanctorum)

Madanikas Surrounding the Dance floor:

Circumambulation of Belur:

The sculptures you should not miss at Belur:

Gajasur Samhara

Varaha

Ugra Narsimha

Brahma and Surya

Bheema fighting Bhagadatta

Gowardhan Giridhari

Saga of Vamana

The Dwarf, The Just King, and One-eyed Sage

Sweet Sixteen and the Poison Girl

Exam Ganesh

Students from Belur, pray to this Ganesha for passing grades.
It’s the most popular and busy Ganpati during April exam seasons.

Madanikas of Belur

Ranganayaki Temple

Contribution of temples in Indian Civilization

How to reach Belur?

Places to Stay in Belur

Veer Narayana Temple, Belavadi - Drifter Adwait

Adwait Karajagi

5–7 minutes

Halebidu has a crown jewel of Hoysala Architecture- Hoysaleshwar Temple.
While it captures our attention, few of the gems slips from our sight, fading in the background somewhere. Kedareshwar at Halebidu and Veer Narayan Temple at Belavadi are couple of them.
Halebidu is about 215 Kilometers from Bengaluru, well connected through highways and state transport as well. Belavadi is about 13 Kilometers north of Halebidu. As I do not have a car, after some bargain, I booked an Auto Rikshaw for 300 Rs. to go there and come back.
The road towards Belavadi is in neat condition with paddy fields and Lantana shrubs on both sides. The entire path is filled with wildflower aroma and yellow-pink flowers on green background. You have to cross couple of small villages to reach there.
As I was closing down to the village, I started looking for some kind of hills nearby where Bakasura use to cave in. Why? because Belavadi is believed to be the Ekachakra Nagari, where Bakasur use to torment villagers and occasionally, snack on them. After the Lakshagriha episode, Pandav escaped with Kunti and came to this town to lay low for a while as Brahmins. Bhim killed hungry Bakasur after eating all of his food. As a hardcore Mahabharat fan (Old Mahabharat, not the crappy new Ekata Kapoor versions), I was a little bit disappointed to know, there is no such hill or cave nearby. Lost in my thoughts, I did not even realized when I arrived at the temple.

Marvelous architecture besides a serene lake is one of the extensive defining characteristic of Hoysala era. So, without exception, Veer Narayana temple was on the banks of Belavadi lake, built on a platform.ASI is taking care of the site, and they are doing exactly bare minimum of what they have been told. Watering lawns, trimming bushes and preventing people from taking photographs inside temples.

Why ASI prevent tourists taking photos of Idols? Baffles me. Sometimes they act ac ISI and not as ASI.
Temple is surrounded by lush green lawns. Few kids were playing in sand near entrance, and 2-3 villagers were sleeping under entrance roof. One joint family was having a picnic, trying to feed there kids as they run a muck in temple courtyard, chewing their food. What a sight.

A place, where Legendary kings use to pay their respects to the creator, a place where sculptors portrayed the creator on stones, today, deserted in oblivion.
With a sigh, I started climbing up the entrance. Two elephants greet you on entrance. Like rest of the south Indian temples, Veer Narayana does not have a tall tower and turret as entrance. Instead, it has a flat roof on outside, and ornate from inside.

Crossing the entrance, you will find yourself in front of flagpole and a harmonious symmetry architecture. At the end of your sight, you will find shrine of Narayana. On your left, you will see a shrine dedicated to VenuGopala or Lord Krishna, and on right will be YogaNarsimha.

VenuGopala and YogaNarsimha are established facing each other, in same hall. Narayana shrine is connected to this hall with a hall way, held by lathe turned pillars. It is to be said that temple was initially built for Narayana, and two shrines were added later on.

The ceiling has been divided in to many bays, for each bay, there is a different pattern for fall ceiling. As you loose yourself in awe with the intricate design above, you forget to look down after a while, only to realize it has started acing. Sanctum was closed for some reasons, hence i could not see the Vigraha (Idols) of all three. I got out of temple to circumvent.

Temple outer walls have decorations of Trimurti, Varaha, and many many iconic scenes from Ramayan, Mahabharat and Puranas. Its really fun to stand in front of each sculpture and identify the source. Most of them were unknown to me, I must admit with some remorse.

Being one of the earlier period Hoysala constructs, Veer Narayana shrine has plain walls with some decorative pillars in between. Never the less, the roof is brilliantly decorated with Kirtimukha, Sri Krishna, Lord Vishnu, Jay- Vijay, Garuda and Narsimha. Tower is divided in three layers. Each layer is the exact replica of the bottom layer, just getting finer and finer. Monolith turret on top is damaged but the beauty behind it, cannot be hidden behind the old scars of invaders.

YogaNarsimha and VenuGopala shrines are well decorated. Turrets are brilliantly decorated with Kirti Mukhas, Makaras and some more laser cut designs.

As far now, I have seen enough temples in south India with brilliant artistry. The standards, the symmetry, the magnitude, beauty, engineering, imagination- in every possible way, it surprised me. Delhi sultanate, spread across north India often raided here, plundered, raped and looted. Still, the remains of Vedic architecture awes us. Due to the lack of unity and by invading forces, many of us got separated. These ancient monuments, however broken, remind us the mistakes we have done and how to avoid them, in order to repel yet another military, cultural or mental invasion…

Lakshmi Devi Temple, Doddagaddavalli - Drifter Adwait

Adwait Karajagi

6–8 minutes

You know you are going to not so commonplace when government bus drivers haven’t heard of it.
After 45 minutes of delay, I was on the ksrtc airavat bus at six o clock in the morning, heading towards Chickmanglur. For those who travel by bus, there is no need of reservation as plenty of state transport buses heading towards Belur and Chickmanglur are available. The driver never heard of the name Doddagaddavalli, so had to depend upon Google maps entirely. Some 20 kilometers from Hassan on Belur road, I got down in a village named Kalkere. Google map does not show this area as a town but as a lake. When I stepped out of the bus, there were a couple of Paan shops with exactly three people hanging around. After asking around, I started walking on the small road cutting through farmlands and occasional tini tiny villages in between.

It was a great morning, backed by the chirping of colorful birds and breeze carrying the aroma of wildflowers, grass, and occasional cow droppings. It was just after a rainfall, so everything was shining in the sun. Within thirty-five minutes, I was beside a lake on the banks of which the Laxmi Narayan temple stands. Lakshmi Narayan temple is built by Merchant named Kallan Raut for he had a great profit that year, a thousand years ago. Usually, Hoysala temples are built on a platform- like ChennaKeshawa, or Hoyasaleshwar temple. Being one of the earliest constructs, this temple was not one of them. It’s really interesting to compare the temples and get the idea of how a particular architectural style must have been evolved.

Two ASI workers were watering the plants, as soon as I entered the premises, one of them, Chandu, started walking with me. The temple has a roofed entrance, held up by lathe operated soapstone pillars. The entrance roof has Ashta digigpal deities (Protectors of eight directions) engraved as a fall ceiling. After crossing an entrance, you step into the main temple courtyard.

Chandu unlocked the temple and we walked in. As soon as we enter the Sanctorum, we were greeted by scarifying Vetalas on our left. These armed guys are the guards of Shanta Kali. Eight feet tall, thin to bones and a foot of their tongue out, they try to scare us with their bulging eyes and a teething wicked smile. My kind of warriors. The door frame of the sanctum sanctorum is decorated with seven avatars of Parvati. They are- Kali, Tara, Chandi, Tripur Sundari, Bhairavi, Lalita and Katyayani.
Eight handed Shanta Kali is resting here after slashing the demons. The arch surrounding her (Mahirap) is ornate with miniature skinless Vetalas. On her right-hand side, there is a shrine to Mahadeva , in front of her is Laksmhi and to her right is Shree Vishnu.

The main temple has unique four Kutas called a Chatush Kuta style. (Sanctums with 4 towers). Three shrines are connected with a common bay.
Shanta Kali shrine is connected with rest of the three with few more bays.

But the main showstopper is the temple ceiling. The roof is divided into eight sections with ridiculous carvings. Apart from mother goddesses, there are ashta digpal, the protectors of the eight directions, carved on the fall ceiling. There is Kubera, the protector of North, wielding his mace, riding on a giant with Kuberi.

Lakshmi Devi Temple, Doddagaddavalli
Yama with Yami, riding on buffalo — Yama with Yami, riding on buffalo

There is Yama with Yami, protecting south with his Lasso. He rides on a buffalo. On east, Indra is protecting with Vajra along with his wife Sachi. He rides on four tusker Airavat. Varuna along with his wife Varuni protect west while riding wired looking Makara. His favorite weapon is Noose. And then there is Agni, riding on a Ram protecting North East.

Center ceiling panel is ornate with dancing Shiva, under which is a smooth platform, on which, Hoysala queen use to perform classical dance as a tribute to the goddess. Gajalakshmi and Yoganarsimha add beauty to the already ornate temple ceiling.

Outer wall is decorated with small pillars and turret designs. Usually, Hoysala temple outer walls are treat to eyes, never the less, Lakshmi Narayana temple has an intact roof, decorated with minute and complex sculpting. Four turrets are made up of many layers, narrowing towards the sky. These shrines reflect Kadamba style architecture. Vijay Pataka, Narsimha, Makara can be seen on each turret. Large Hoysala emblems adds to the beauty of Turrets .

The temple has square courtyard, with four shrines on each corner. Thanks to Vandals, inner deities are either broken or stolen.. There are many hero stones kept in line, most of them are broken. Inscription stones are also kept at the backside of the temple. Some inscriptions in old Kannada can be found in outer walls of the temple walls.
As I was photographing the temple, priest entered and started his daily rituals. I sat under the feet of beautiful Vetalas observing the Pooja and occasionally, chatting with him. Daily, he travels from Hassan to the temple to worship goddesses. This place is truly lost in modern world. Economy is solely depending upon farming. Once, it must have been a place of worship, trade and politics. The streets must have been filled with devotees centuries ago. On auspicious days, the commoners must have lined up impatiently, to meet their gods, outside these walls. King and his noble men must have prayed there for good fortune in upcoming wars or crop cycles. Now, all that remains is cold damp walls, dark corners trying to consume entire structure and some bats flying around.

After a while, I collected my things and thoughts and was ready to walk back to highway, Chandu offered me ride on his bike. In five minutes, I was on highway. Not just he politely refused to take money from me for a lift, he stopped a share Rickshaw going towards Halebidu for me. What a guy. After shaking his hand with gratitude, I continued my journey towards Halebidu.
Chandu (9620848758)

Lakshmi Devi Temple, Doddagaddavalli
Veergalu hero stone — Veergal or Hero Stone

Hoysaleswara Temple, Halebeedu - Drifter Adwait

Adwait Karajagi

15–19 minutes

Welcome, time-travelers! It’s your friendly neighborhood history nerd, Adwait, here to take you on a humorous journey through the centuries-old Hoysaleshwara Temple in Halebidu.

Prepare to be awestruck by the intricate Hoysala Vesara architecture, and stunning black stone sculptures that adorn this magnificent temple. It’s so beautiful, it’ll make your heart skip a beat and your selfie game go through the roof!

Not to brag, but this temple has been standing for eight centuries and still looks as stunning as ever. I mean, I can’t even keep a houseplant alive for eight days, let alone a whole temple! And the carvings? They’re so detailed and intricate, they’ll make you question whether ancient artisans were actually wizards in disguise. So, let’s buckle up and take a ride through history to explore the beauty of Hoysaleshwara Temple, the jewel of Halebidu! (Disclaimer: No actual time travel involved. Sorry, Doc Brown.)

Hoysaleswara Temple, Halebeedu — Hoysaleshwara Temple, Halebeedu, Karnataka

1940 France. Dependable Maginot line was wrecked by brutal German Blitzkrieg. Juggernaut of Nazi Germany had reached Paris. But before the Louvre gets destroyed by Luftwaffe bombings, the museum staff had already shifted more than four thousand artifacts to secret places. 14th-century Dwarsamudra was not so fortunate. Later generations would call it as Halebidu-The Destroyed city.

Hoysala Empire History:

Hoysalas were Kannada Dynasties, who ruled southern India from the 10th to 14th centuries. They were the prominent family in Southern Karnataka, Gradually rose to power in 1116 AD. They claimed to be Chandravanshi Yadavas. A young man named Sala killed a lion with a sword and became the mighty Hoysala King, the founder of the dynasty. Later, by taking advantage of the ongoing clashes between Cholas and Chalukyas, he rose to power quickly, under the supremacy of western Chalukyas, in initial days.

Many inscriptions have been found from Solapur, to Tanjaore, and from Kodagu to Arcot, praising the Hoysalas. While collaborating with Seunas and Yadavas, they brought down the Chalukya empire to its knees. Later Hoysala Kings collaborated treaty with Cholas. While Cholas were busy expanding their territories, Hoysala concentrated on ruling the fertile Karnataka, prospering it.

Many legendary Kings ruled during the Hoysala dynasties, such as Sala, Ballala, Narsimha, and Vishnuvardhana. In the beginnings, Hoysalas were Jain, later, they acquired Shaivism. VishnuVardhana king carried military expansions, defeating Pandyas and Cholas on Various fronts. He reduced the Islamic devastation by freeing Mangalore from the grasps of Arabs.
By overpowering Kadambas from Goa, they tried to resist the Muslim Invasion as well. In Vishnuvardhana’s time, the capital was shifted from Belapura (Belur) to Dwarasamudra (Halebeedu). Later additions were made by the followers such as Ballala II and VeerBallala, expanding the Kingdom. Many temples with marvelous architecture were built as a celebration of the Victory in battlefields. During the rule of Ballala III succeeded King Ramanatha Malik Kafur, commander in chief of Allaudin Khalji, attacked and plunder the entire city, twice, and decimated it to the grounds. He plundered all the wealth from prosperous Hoysala empire and sent it to Delhi. Due to the defeat, Hoysala empire now constrained to few districts accepting the suzerainty of Delhi throne/

Hoysaleshwara Temple:

James Fergusson was a well known Architectural historian in the 19th century. He sums up the temple very astutely. He says, “There are many buildings in India which are unsurpassed for delicacy and detail, but the temples at Belur and Halebeedu surpass even these. For freedom of handling and richness of fancy. The amount of labor, which each facet of this porch displays is such, as I believe never was bestowed on any surface of equal extent in any building of the world”.

Hoysaleshwara Temple History:

This amazing architecture, a house of Mahadev was built by the master architect Kedaraja, under the rule of Narsimha I. Construction started in 1121 and finished in 1160. Sculptures describe this house of the lord as “All that is wild in human faith or warm in human feeling is found portrayed on these walls”. Even though temple is dedicated to Lord Shiva, Vaishnavism and Jainism also have been given a place here, erasing the theory of the clashes between these sects of Hinduism, often portrayed by leftist historians.

Halebeedu Temple Architecture:

Ground plan of Hoysaleshwara Temple, Halebeedu, Karnataka

Halebidu temple is actually twin temple connected with a corridor, where both sanctum sanatoriums have shiv lingams with Huge Bull (Nandi) shrines in front of each. One temple is for Hoysaleshwar King, and the other is for Queen-Shantala Devi, both being passionate devotees of Lord Shiva. The entire structure is elevated on the platform and carved out of Soapstone or, Chloritic Schist. Towers on the temples have been destroyed. But whatever is left, is enough to blow your mind…

Hoysaleswara Temple, Halebeedu entrance — Hoysaleshwara Entrance

After you walk the path along with green lawns, you will reach the temple building. Approach the temple, keeping the shoes outside. Ganesha will greet you from your right hand and Bhairava on your left. Usually, Veer and Bhadra will be guarding the Mahadev Shrine door as per the tradition goes. But here, as they have been vandalized, some other broken idols have been kept here to fill their places. Keep the four small shrines on steps behind, you will find yourself inside the hall.

The entire temple has been held aloof for generations by lathe operated pillars. They are so smooth and so sharp, that your fingers can get a nasty cut. Windows with stone mesh allow enough sunlight to roam inside, just enough so that you can see your reflection in those smooth black pillars. The roof has some ridiculous sculpting and carvings, that your neck starts to sore after a while. Not an inch of the roof has been left blank without carvings. Shantaleshwara roof has Ashta Digpalas, or, Gods of eight directions engraved on the fall ceiling and Mahadev in Dancing pose in the middle of them. Each and every inch of the wall is so much heavily packed with Vedic knowledge, that you start to feel like one day is not enough to explore this temple.

Where pillars meet the roof, celestial Nymphs are hidden, teasing you as they are out of your reach. Shiva Lingam is guarded by life-sized, scary-looking Veer and Bhadra statues. Veer-Bhadra duo is brilliantly decorated with laser-cut detailed ornaments. The details are so minute, that they are wearing a necklace containing hundreds of small human skulls, these skulls are like real skulls-empty from inside. A small straw inserted into its eye will come out from its mouth. Both sanctum are decorated with marvelous Toranas or door brackets. Looking carefully, you can see animals like Makara, Shardula, Nandi, and Kirtimukha adding beauty to the Garbha Torana.
Bow in front of twin sanatoriums submerged in dark halls and get out of the temple.

Outer walls are ridiculously decorated with animals, gods, and epics. The base layer is made up of one feet elephants, above that is a lion layer, then horse rider layer, then dancing men layer and then Makara layer. Elephants represent the stability and strength of the empire. While lions represent valor, Horses represent agility. Makara is an animal from Purana, representing the characteristics of the ideal soldier.
Even though each bottom layer contains thousands of the same animals, not a single animal is repeated elsewhere. There will be some tiny difference between two elephants or two lions if you can find them.

The top layer is dedicated to the gods. Roaming around these walls, I realized, how little I know about my culture. Different sculptures from different avatars, from epics like Ramayan and Mahabharat, Puranas are brought here to live. The artistry is so flawless and intense that you have to take your sweet time to observe these each and every sculpture. Each and every stroke of the chisel asks for our well-deserved homage. For each extra second you linger in front, this chisel symphonies sings to you something extraordinary.

**Gowardhan Giridhari (Krishna lifting Gowardhan)**

Krishna lifting the Gowardhan mountain: Look carefully, you will see cows and cow hoarders under the mountain. Now, observe a jungle on a mountain. You will see trees, the hunter with bow and arrow, snakes, flowers, a banana tree with bananas and monkey trying to grab them. This is the level of detailing is there for each and every sculpture…

Gajasur Samhara- The elephant slayer
Once, a demon named Gajasura started torturing nice folks. Shiva’s third eye falls on him as he crosses the path with Shiva’s devotees. During the fight, Gajasura swallows Mahadev. Mahadev starts dancing (Tandav) inside him, and after some horrific torture, he opens the Gajasura from inside, wearing his skin like a cape. You are seeing this brilliant work of sculpting where you can see two elephant feet on Shiva’s head as he dances on the head of Rakshasa. A closer look will reveal that during the fight, Shiva’s fingernail is caught in Asura’s skin piercing it…

As we saw earlier, Halebidu temple is actually twin temple connected with a corridor, where both sanctum sanatoriums have Shiv lingams with Huge Bull (Nandi) shrines in front of each. One temple is for Hoysaleshwar King, and the other is for Queen-Shantala Devi, both being passionate devotees of Lord Shiva. The entire structure is elevated on the platform and carved out of Soapstone or, Chloritic Schist. Towers on the temples have been destroyed. But whatever is left, is enough to blow your mind. Here, each Nandi has been awarded a separate sanctum. These two Nandis are two of the largest Monolith Nandi Idols in the world. Pillers with brilliant symmetry and alluringly decorated sealing makes these Nandi shrines, two of a kind in the world.

War of God’s
Lord Krishna here is flying on Garuda with Satyabhama. Indra is riding on Airavat with Sachi. They are in a fight for the Parijataka tree, which Garuda is carrying to earth after Sachi insults Satyabhama.

Bhima’s Elephantine massacre: Bhima is on a killing spree in Kurukshetra. You can see the pile of the elephant he has killed, behind him. Elephant riders (Mahuts) are trapped in between them.

Ravana lifting Kailasa
After defeating his brother Kuber, looting his capital, Ravana was coming back to Lanka on a stolen Pushpak Aircraft. While coming back, he came across a mountain, over which his carrier could not fly, even after trying multiple times. He realized that the mountain is Kailasa, belonging to Lord Mahadev. Already drunk with power and Victory, Ravana started to lift Kailasa on which Lord Mahadev was meditating. As he lifted the mountain, Mahadev woke up and immediately knew what Ravana was up to. Pressing just his pinkie toe, Mahadev started pressuring the Mountain on Demon’s ten heads. What you are seeing here is, Ravana lifting the Mount Kailash with Mahadev and Parvati on top. Ravana’s one foot is bent and his eyes are bulging out due to heavy burden. Demon king took out his sword, cut himself, with his veins, he made a string instrument and started singing famous Shiva Tandav Stotrum. Till now, it’s being sung by Indians, thousands of years later to please Mahadev…

ASI has done a great job maintaining the temple and the surroundings. Huge maintained lush green lawns and neatly cut trees complement the building. ASI has a museum nearby. Minutely carved sculpture, abandoned by their original buildings are kept over here. You will find Hero stones, Kartikeya, Sapta Matrikas, and few more idols there. Books are also available there on the ticket counter for sale.

Hoysaleswara Temple, Halebeedu
east entrance — Mahaveera

Many many broken sculptures, statues, Hero stones, and inscription tiles are locked in the compound, besides the museum. Twenty feet tall Mahaveera statue with decorative border stands here with the lake in the background. Due to the invasion of Malik Kafur, this temple has no Turrets. Otherwise, it would have been a complete masterpiece.

trimurti at Hoysaleswara Temple, Halebeedu — **Creator, Destroyer and the Preserver**

As I was roaming around, simply dumbstruck by the beauty, one school trip arrived there to view the temple, making temple surroundings lively. The guide was trying his best to generate interest in children while teachers were trying hopelessly to control the flock. I sat down near one of the Nandi domes, observing the tourists.

These Hoysalas have created the generation-defining structures which will last for centuries, igniting the curiosity within future generations about the Hoysalas. Unknowingly, I started comparing the achievements of past generations with us. Six thousand years ago, Ayurveda, the holistic healing system was invented and served to the world by our ancestors. Five thousand years ago, Yog was developed as a way to live life, being one of the oldest things to be practiced by future generations worldwide. Four thousand years ago, rulers and weighing scales were invented here which would measure and shape the future world. Incense clock was found in China dated 2400 years back, had Devnagari markings on it, underlining the place of origin. It was the earliest design created by man to measure time. Two thousand-year-old Indians have known to create Crucible and Wootz steel which would shape the weapons in upcoming wars. The sixth century was defined by the first attempt to use zero as an individual number by Brahmagupta. The complete binary and now, our entire life is defined by it.

I could not help myself but wonder, how our future Indian generations will remember us? What mark our current Indian civilization is leaving on history, which will be helpful, awe, and mesmerize the future world? Shopping malls? Tik-Tok videos? Indian Premier League? Deforested subcontinent? or westernization of entire civilization?
Megasthenes, Marco Polo, Al-Biruni, and many more came here and left India amazed by its progress, values, and culture. Till now, the tourist attractions have not been changed, or, we are not able to create something new which will attract world travelers, just like ancient times.
Playing with these thoughts, I started walking towards the Halebeedu KSRTC bus stand to catch a bus going towards Belur.

Devi at Hoysaleswara Temple, Halebeedu — Mahishasur Mardini

bhairava Hoysaleswara Temple, Halebeedu — Mahishasur Mardini

How To Reach Halebeedu?

Situated on the banks of Dwarsamudra lake, surrounded by coconut plantations and lush green rice paddy fields, Halebidu is a small-sized town. 25 km away from Belur.
Halebeedu is 210 km away from Bangalore, can be reached by Mysuru road, within 3.5 hours on a super smooth highway.
Frequent KSRTC buses are operated from Bangalore to Hassan every half hour.
Hassan (27 KMS) is the nearest railway station to Halebeedu. You can get government buses or private vehicles to reach there from Hassan.
Nearest Airport to Halebeedu is Mangalore airport which is 168 KMS away.

Where to Stay at Halebeedu?

KSTDC has a budget hotel named Mayura Shantala, just beside the Hoysaleshwara temple. You can stay there if you wish to explore this town some more.
The tariff is ranging from Rs.1099 to Rs.2099 as per your choice.
Also, it has a kitchen with decent food options for lunch and dinner.
You can book the hotel here.

makara @ Hoysaleswara Temple, Halebeedu — Kirti Mukha

References:
1. By Ms. Sarah Welch – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=63263095
2. History of Karnataka (History, Administration & Culture), by I. M. Muthanna, Published by Usha Press, Mysore City, 1962
3. Karnataka State Tourism Development Corporation

Kedareshwara Temple - Drifter Adwait

Adwait Karajagi

8–9 minutes

Greetings fellow time travelers! It’s your favorite history buff and pun enthusiast, DrifterAdwait is here to take you on a fascinating journey through the lesser-known, but no less impressive, Kedareshwara Temple in Halebidu.

Trust me, this temple is anything but snooze-worthy. With its intricate Hoysala architecture and Vesara style, it’s sure to leave you with a temple-tantrum of excitement. And the sculptures? Well, let’s just say they’re so well-carved, they make Michelangelo’s David look like a toddler’s play-dough creation.

So grab your time-turners and let’s delve into the world of Kedareshwara Temple – the hidden gem of Halebidu! (Disclaimer: No time-turners were harmed in the making of this blog.)

Halebeedu is known to one thing: Hoysaleshwara temple. And indeed, it lives up to its reputation. But just in backyard of this architecture marvel, there is a structure none the less beautiful, patiently waiting for centuries, to be recognized. Let’s begin!

One temple, three shrines or Trikutachala, Kedareshwara temple is a twin to Hoysaleshwar temple, but without Nandi Shrines in front. It was built by Hoysala King Veer Ballala II with his queen Ketaladevi during period 1173 to 1220 A.D. This temple is dedicated to Mahadev. Temple follows almost each and every norms of Hoysala architecture except presence of Nandi. Temple is located on the opposite banks of lake Dwarsamudra. Main shrine has a Shiv Lingam, but for the rest of the two shrines, Idols are missing. Either they were stolen, or vandalized.
After you get down at Halebidu bus stand, keep Hoysaleshwar on your left, and start walking. Take a first left, keeping the Jain temple on your right, you will reach Kedareshwara, situated on the banks of serene Dwarsamudram lake.

Kedareshwara Temple, halebeedu — Civilization, per square inch

ASI has done a brilliant job maintaining the site. Remove shoes outside and walk in. The temple is surrounded with modern aged stone wall and lush green lawns and well trimmed trees. From outside, temple looks like exact replica of Hoysaleshwar. Brilliant outer walls and destroyed towers. As you climb the stairs, broken turrets are kept on each step on both sides of the stairs as a reminder of foreign invasion.

As you walk inside, you see lathe polished and designed pillars holding a brilliant ornate roof. Ceiling is divided in many squared bays bordering the imperceptible carvings. While standing in the middle bay, you will face main shrine, occupied by Shiv Lingam and two empty shrines on each side.

The central bay is brilliantly decorated with inverted lotus like stoned chandelier, made up of rocks. Light drips through stony windows, through a rocky mesh, just enough to dodge flying bats.

Hoysala temples do not have an internal path encircling the main deity. They believe in more subtle way of doing it by creating fantastic outer wall sculptures, make you take your time to circle the complete temple, instead of just a deity statue. Star shaped design of platform and outer walls provides extra room, a bigger canvas for chiseler to work his magic. But, after looking at the things they have composed here, even this shape, shrinks somewhere.

Each and every square feet of wall is loaded with abstracts illustrating legends from Puranas, Ramayan and Mahabharat. Brahma, Vishnu and Mahesh are here, along with their many forms. Hoysala’s favorite GajasurSamhara mahadev is also present here on outer walls accompanying Varaha avatar. As usual, the platform is carved in with many layers. Bottom layer is designed with elephants expressing the strength while one layer above that is made up of horse riders showing the swiftness of the army. Upper layer is made up of lions attacking the elephants indicating courage and Makar layer above that bespeak of protectors of temples and throne.

Take your time here, as even smallest sculpture will portray stories. I found out Pitamah Bhisma lying on bed of arrows, Putana getting killed by Krishna, Lord Ram shooting Vali in back and many more. I sat for a while on platform, trying to grasp the creation in front of me.

This whole area is kind of separated from the town, paddy fields and coconut plantation on both sides of the roads. Farmers were coming back with their bullocks, after back breaking day in the field. They are patting their animal friends on their backs with gratitude. Here lies some kind of silent aloofness, which takes you back to the good old times. Once, at its peak, these capital streets must have been buzzed with citizens, merchants, soldiers, sculptors, artists and many more. Cumulative uproar, sound of mantras chanted by priests, that of sculptors chisel on stones, that of ensemble performing in front of Kedareshwara, merchant selling his Mesopotamian goods. What a chaos must have been there..

I could not help myself but to imagine how these people must have lived? what were their traditions? what were their aspirations? did they thirst for knowledge? What kind of clothes they wore? what were their sources for entertainment? what was the role of government and religion in their lives? were they self satisfied or were they envious with past or future generations like us? What was the position of woman in their culture? I could not help myself but wonder, that they must have known some things that we have forgotten over period of time. No primitive civilization could have created such an architectural wonder that stands for centuries, without some wisdom. As it was getting dark and rainy, I gathered my things, opened umbrella, and wearing my sandals, started walking back to Hoysala Bus depot, with many more questions.

Despite the missing idols, the Kedareshwara temple remains a remarkable example of the Hoysala architecture and a testament to the craftsmanship of its builders. Its intricate carvings, delicate sculptures, and stunning architecture make it a hidden gem in the world of heritage sites. As we explored its halls and marveled at its beauty, we couldn’t help but wonder about the missing idols and their mysterious fate. Perhaps they will one day be found, restored to their rightful place, and complete the divine triad of the Kedareshwara temple. But until then, we can still appreciate the temple for what it is: a breathtaking piece of history that transports us to a different time and place. So, if you ever find yourself in the vicinity of Halebidu, don’t forget to visit the Kedareshwara temple and discover its secrets for yourself!

How To Reach Kedareshwara Temple?

🚗 By Car: Situated on the banks of Dwarsamudra lake, surrounded by coconut plantations and lush green rice paddy fields, Halebidu is a small-sized town. 25 km away from Belur. Halebidu is 210 km away from Bangalore, can be reached by Mysuru road, within 3.5 hours on a super smooth highway.
🚌 By Bus: Frequent KSRTC buses are operated from Bangalore to Hassan every half hour.
🚂 By Train: Hassan (27 KMS) is the nearest railway station to Halebidu. You can get government buses or private vehicles to reach there from Hassan.
🚀 Buy Air: Nearest Airport to Halebeedu is Mangalore airport which is 168 KMS away.

Where to Stay at Halebeedu?

🛏️ KSTDC has a budget hotel named Mayura Shantala, just beside the Hoysaleshwara temple. You can stay there if you wish to explore this town some more.
The tariff is ranging from Rs.1099 to Rs.2099 as per your choice.
Also, it has a kitchen with decent food options for lunch and dinner.
You can book the hotel here.

Pataleshwar Caves, Pune - Drifter Adwait

Adwait Karajagi

5–6 minutes

Imagine India, in 1200 DC. You just have found a mega large rock which will serve as an eternal canvas. You start to paint on it. The painting is maturing as you want. When you are at the middle, you found that there is a fault in canvas and you cannot complete the painting, which was coming off rather brilliant. So, there is no option for you but to stop the painting. That is the Pataleshwar temple for you. Located in middle of Pune city, on the busy Jangli Maharaj Road, this is the oldest structure ever in the city.
Pataleshwar temple is dedicated to Lord Shiva, carved from top to bottom, out of a giant basalt monolith. Once, it must have been an aspirational masterpiece for some King, now, its a meetup point for teenagers and occasional devotee, once in a while.

The wide square shaped courtyard is carved with circular Nandi shrine in the middle of it. Nandi courtyard is carved with a heavy weight roof held by nine pillars. Entire courtyard, Nandi on a platform, shrine, the steps going inside Nandi shrine, pillars and roof: Entire thing has been carved out from single rock from top to bottom.

Nandi is facing a giant square shaped cave. The cave has a huge entrance with large windows on sides. Square shaped giant pillars with wide corridors will take you to the main shrine.

Shiv @ Pataleshwar Caves, Pune — Ganesha

The cave has three shines carved, middle one is dedicated to lord Shiva. Copper Shivalingam is protected by a giant copper cobra. Abhishek vessel is hanging on top of shiv lingam with continuous drip of water on Lord. During the time of Sagar Manthan (sea churning), Poison Halahala surfaced, started poisoning the whole universe. Being the only entity in universe capable to contain it, Lord Mahadev drank the poison to save the world. But doing so, he suffered a lot of pain and heat radiating from his body. To ease his burning, Lord Vishnu and rest of the gods and demons started pouring water on his body. Shiv Lingam, snake and that dripping pot reminds us this ultimate sacrifice done by Lord to ease the universe from havoc of poison, as he still suffers the searing pain for the greater good…
Some people correlate this with a nuclear reactor. For them, the Lingam represents dome shaped nuclear reactor, coiled snake represents the radiation and water dripping on Lingam represents the heavy water controlling the temperature of fusion rods.

Right hand shrine is dedicated to Parvati and left shrine is occupied by Ganesha covered in saffron color. All shrines are dark inside as there are no windows and carvings inside. There is a dark pathway revolving around shrine, left incomplete. Few wall mounted CCTVs are the only connections to the modern timeline you will find in this ancient cave. End of the corridors have incomplete carvings which are hardly recognizable.

Besides Ganesha shrine, in the middle of parikrama marg, there is a small stage on which one feet Lord Ram, Sita and Lakshman are standing. These statues look too much out of the place as these three are carved out of white marble rock. Across them, there is two feet statue of Lord Hanuman, standing in front their lords on slightly shorter stage. Lord Hanuman is carved out of the same rock as the cave. He stands there in shadows, just to give you courage, in case you get frightened by the darkness in the cave.

The right hand corner of circumventing path has been the key to Archaeologists. These half carved pillars shows you how the carving from top to bottom has been carried out. While carving, artists found one big crack on the ceiling, which made them leave the cave incomplete. Rail on to one of the giant pillars inside cave. Sit down for a while and try to imagine the civilization in that cave 800 years ago. Try to imagine the enthusiasm these artists must have while starting this project. They must have sketches, designs, plans, foresight, timelines drawn on scrolls. They must have arranged finance from kings and devotees, to left incomplete.

Millions of tourists, even thousands of Indians, visit Sagrada Familia or Woodchester Mansion every year. They pay entree fees accumulating to millions of euros to see these fragmentary constructs. But this eight hundred year old incomplete monolith masterpiece waits in shadows, to be discovered again, to acclaim the fame it truly deserves.

Bhuleshwar Temple, Yawat - Drifter Adwait

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9–11 minutes

Shaniwar Wada - Drifter Adwait

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13–17 minutes

At first glance, the structure may be perceived as a passive, harmless tall gate in between two bastions. As you enter the structure after paying fifteen rupees, there is nothing much but few broken platforms and intact fortification. But in eighteen century, when one Marathi guy uses to walk out from those Gates on the auspicious day of Dasra, entire Indian subcontinental Kings use to get a cold shiver in their spines with fear, for things to come. Because the young lad was non-other than mighty Maratha Peshwa Bajirao Sahib, who fought 40 wars in his lifetime and never lost a single. The battle strike rate of 100 percent.
Impressed by his tactics, Montgomery, allied forces general in second world war says in his book A concise history of warfare: “the way Bajirao outranked Nizam Ul Mulk in the battle of Palkhed is a masterpiece of strategic mobility in wars. He truly was a heavenly born cavalry leader.”

Mutha river emerges through the Western Ghats, flows through plains of Deccan, and meets river Mula in the center of Pune. As the legend goes, on a fine morning in 1730, Bajirao was riding alongside the Mula river, when he saw a hare chasing a hound against all odds. He considered it a symbol of a victory of the weak over the powerful and decided to build his home over there. After permission from Maratha king Shahu Chhatrapati, and only after buying that particular piece of land from the resident fishermen, Bajirao carried some soil from the adjacent palace, did foundation ceremony (Bhoomi poojan) with it, and kept fist brick for Shanivar Wada in 10th Jan 1730. The adjacent palace was none other than Laal Mahal, where the greatest Maratha Chhatrapati Shivaji Maharaj spent his childhood days. Maratha kingdom was founded by Chhatrapati Shivaji and later was converted into the empire by Bajirao. As I look back in history, was Bajirao was doing this as a metaphor? What a way to get inspire Sir…
After spending the total sum of 16110 RS, on 22 Jan 1732, construction was completed.

Paintings, Shaniwar Wada, Pune — Wall Paintings

Inside walls were painted with pictures from the Vedic period. Meghdambari, A building where Bajirao uses to stay was seven stories high, from where one could see Dnyaneshwar temple at Alandi, 17 KMS away. Temple of Parvati and Sinhgad were also visible from the top.

Entrance @ Shaniwar Wada, Pune — Nagarkhana

Balcony @Shaniwar Wada, Pune — Delhi Darwaja Balcony

Water was brought down from Katraj Lake, through 30 feet underground tunnels running 15 kilometers long, bellow Central Pune. The water flow and water timings were controlled through ancient mechanisms. The duct which is five feet tall and three feet wide still carries abundant amounts of fresh, drinkable water to Pune city. Later on, additions were made to Wada by later Peshwas, to make it magnificent and suitable for the Maharashtrian powerhouse it was, from where entire Indian subcontinental political narrative was created and controlled.
Charles Mallette was the British Resident in the court of Sawai Madhavrao Peshwe, gifted him a telescope. Sawai Madhavrao uses to spend his free time on the top floor, exploring the skies in evenings, for hours.

Shaniwar Wada has five entrances.

The royal entrance @ Shaniwar Wada, Pune — Delhi Darwaja

1. Delhi Darwaja: Chhatrapati Shahu had great respect for Delhi throne, hence he did not allow Bajirao to construct the main gate towards Delhi as a sign of respect to the Mughal Emperor. After King Shahu’s death, Later Peshwas constructed the Delhi gate, facing towards Delhi, challenging the invaders sitting on Mayur Throne in Delhi. Instead of blindly following the Mughal architecture like the rest of the Kings in India, this gate was the exact replica of that of the old fort of Indraprastha, the ancient capital of Pandavas. This was nothing but the nationalistic vision and intent of Shivaji the greatest, reflecting on the minds of Peshwas.
2. Ganesh Darwaja: Ganpati temple outside shares the wall of Shaniwar Wada, hence, this gate is named after lord Ganapati, leader of the tribe of Mahadev, removal of obstacles.
3. Mastani Darwaja: Named after the famous or infamous Mastani- second wife of Bajirao, daughter of Maharaja Chhatrasal, King of Bundelkhand, and dear friend of King Shivaji. Later, Nana Fadanvis changed the name as Ali Bahadur Darvaja, after the grandson of Mastani, who re-liberated the Bundelkhand and founded the Banda State.

Narayan Darwaja, Shaniwar Wada, Pune — Narayan/Jambhul Darwaja

4. Jambhul Darwaja: There use to be a huge Jamun or Jamblang tree near this door. This door witnessed the brutal assassination of NarayanRao Peshwe. Citizens of Pune consider this door haunted as they believe the Ghost of assassinated NarayanRao still roams around the empty walls of Shanivae Wada, screaming Kaka Mala Wachva. (Uncle, please save me).
Nana Saheb Peshwe was the son of Bajirao, who became Peshwe after the death of Bajirao. He lost his first son Vishwas Rao in the third battle of Panipat. Madhavrao, his second son, became Peshwa after him. Raghoba Peshwe, the second son of Bajirao wanted to be Peshwa after Nana Saheb’s death, but Chhatrapati Shahu appointed the worthy Mashavrao instead. This became the cause of dispute in the Peshwe (Bhat) family. So, after the early demise of Madhavrao, NarayanRao became Peshwa instead of Raghoba. Getting tired of waiting to be Peshwa, and being surrounded by ill-intended advisers, Raghoba took the matter in his own hands and ordered his bodyguards to capture NarayanRao Peshwe. Orders were followed, and a group of bodyguards armed with sharp swords ran behind the young Peshwa while he came running towards his uncle to protect him. They drag him from his uncle Raghunath Rao (The one who gave the orders) and took him away while he kept screaming Kaka Mala Vachva ( uncle please save me). Bodyguards (Gardis as they called) instead of arresting the Peshwa, hacked him into tiny pieces. This created havoc in Pune. Later escaped Gardis were captured, tortured, and then killed. Raghoba and his wife Anandibai were arrested as conspirators. This door is the constant reminder to Punekars, what agreed of power can turn you into.

Khidki Darwaja, Shaniwar Wada, Pune — Khidki

5. Khidki Darwaja: In early days, only a small, window-like door of this gate use to be opened to enter the Wada. The small door was made so that only one person at a time could pass through. Hence this door is called Khidki (window in Marathi) Darwaja.

Ganesh Mahal,,Shaniwar Wada, Pune — Ganesh Rang Mahal with Fountains

Palace had four large courts and seven state halls. All the halls have been constructed with the same Maratha style architecture-one central hall with a flat ceiling and four surrounding structures with slope roofs. The main pillars were beautifully carved like cypress trees and joined together on top by engraved arches of exquisite craftsmanship. Roofs and walls were decorated with delicate paintings inspired by tales of Ramayana and Mahabharata. A special designer from Rajasthan named Bhojraj was appointed to paint these murals. Each platform has its own history, as the people who made great impressions on history, once lived there. Apart from these, there were several rooms dedicated to specific functions like treasury, storage, records, library, jeweler, armory, and medicine that can be found mentioned in old documents. In 1779, as per documents, adding all the royal guards, infantry, cavalry, was calculated as 3,844 men standing to guard Peshwe and the royal family, day and night.

Raghoba Palace, Shaniwar Wada, Pune — Raghoba Palace

Apart from above, few structures, worthy of mentioning were as follows: Ganpati Rang Mahal, the hall for the audience, Nachacha Diwankhana or dancing hallTwo Arse Mahal or new and old hall of mirrors, Hall of Raghunathrao, Thorlya Rayacha Diwankhana or, hall of Bajirao Saheb and one Hastidanti Mahal, or, an entire hall made out of ivory…
Many visitors from abroad who use to visit here have recorded the observations on the grandeur and yet simplistic nature of these halls. Peshwas, being great devotees of Lord Ganesh, built Ganesh Mahal in 1755, to celebrate Ganesh Utsav, or the Ganpati festival. Apart from idols and decorations, there were fountains opening to a garden crowded with blossomed fragrant flowers. The murmuring of the fountains with fragrance from the garden creates a very pleasant effect. On special occasions, pockets, filled with colorful flowers were used to place in those ducts, making the fountains colorful.- writes Captain Moor, who visited Shavivar Wada in 1791.
Robert Mabon, an artist, who visited the Wada in 1790, has described the awesome riches of the palace. He describes, how he was transfixed by the ornaments Peshwa and his pupil were wearing. He goes in detail to describe what fine piece of clothing Marathas wear, along with the size of rubies and even the color of the pearl neckless worn by the Peshwa himself. Robert, also does not forgets to mention his surprise, when he saw how simple was the Peshwa (A prince- by his words), not sitting on some golden throne-like European kings, but just was sitting on a mattress, four-inch above grounds.

Major Price Visited Wada in 1791, describes his visit in detail. How he was escorted in the building with 80 soldiers, how he had to remove his shoes and given embroidered satin slippers with stockings to wear, how entire Ganesh Mahal was covered with spotless, ultra-white Calico to walk on. How the announcements were made as they passed through each canopy, to meet Peshwa.

After the construction, this hall has witnessed abounding political and social events. If whatever remained walls of this Ganesh Mahal could talk, they have a hell of a chronicle to tell. These halls have witnessed the celebration of Marathas when they received a letter from Raghunathrao after he captured Attock on the Banks of Indus river. This was the fulfillment of the dream, dreamt by Chhatrapati Shivaji Maharaj. They have also witnessed mortal defeat in Panipat battle, where more than 90 thousand Marathas were died fighting the battle, where north Indians should have helped them…These walls must have taken a breather and stood tall with pride again, when, under the leadership of Madhavrao Peshwe, Mahadji Shinde regained the lost power in north India. These walls must have shaken again when they had to witness the brutal murder of Narayanrao Peshwe by his own uncle, Raghunathrao Peshwe. After the death of Mahadji Shinde, the Maratha empire got into the turmoil of civil wars, resulted in the desecration of the empire, and ultimately, resulted in east India Company, capturing the entire Indian subcontinent. As per the treaty with Britts, Peshwe, rulers of India, had to move from Pune to reside in Bithur, a tiny village near Kanpur. These walls must have been decorated with elegant paintings, tasteful drapes, biggest chandeliers, and marvelous carvings with graceful woodwork once. They were all stripped down and taken away with Bajirao II in June 1818. JariPatka (saffron Maratha empire flag) was taken down, and the British flag was raised here. All that remained was empty walls, ghastly silence, and the ghost of Narayanrao Peshwe, haunting the empty passages…In 1828, a massive fire erupted, turning everything into ashes, saving just outer walls and Delhi Gate. After a while, the British, as per their agenda to wipe out the true history of India, started mental asylum there, which was later converted into staff quarters and offices. In 1886, the Archeological Survey of India was established by Lord Cunningham. In 1910, when British Royalty visited India, they wanted to visit Shanivarwada. Hence, hospital was moved elsewhere, and a little bit of cleaning and reconstruction was done by British ASI. Till now, nothing has been changed there…

These days, Shaniwar Wada is buzzing with tourists, thanks to Bollywood movies. Even though, someone like me, first-grade student of History, hates to see Bajirao, Kashibai and Mastani dancing on Bollywood dance number, I can’t deny, that it has generated curiosity among Indians to visit this place. Apart from tall gates, fortified walls, misplaced trees, and few broken platforms, there is nothing much to see here. Few signboards with some least interesting information are displayed here. As tourists were entering, and roaming in between the ruins, I could see the clear signs of disappointment, confusion and a hint of boredom on their faces, saying, there is nothing to see here. There is a light and sound show in the evenings, but the ticket window for that opens after the dark, which is utterly inconvenient in the age of online bookings. This is the best time, to do some research, consult some historians and archaeologists and reconstruct the Wada as it was before. Some volunteers in Pune try their best to arrange Heritage tours, these efforts are very less, compare to what the government can do. Us Indians have very unique hobbies these days. We have segregated our national heroes as per their region, religion and casts and sub casts. As Peshwe belongs to a particulate cast, which has minuscule vote share in Maharashtra politics, I am confident, nobody from the government will take this initiative to repair and reconstruct Shaniwar Wada. This was the powerhouse, from where, once, entire politics of Indian Subcontinent was controlled. From where Peshwe use to decide who will sit on the Delhi throne, how much salary should be released for the Delhi queen courts, Use to receive gifts from Kings of England and Iran, etc, now overshadowed by the ignorance and political unwillingness. Even though, packed with tourists, its walls waits patiently, to be re-erected, to be redecorated, to be repainted, for which they have a saga to tell to future generations, tells of sharp intellect, passionate patriotism, tremendous creativity, heroism, and brotherhood.

References:
1. Poona in Bygone days: By Rao Bahadur D. B. Parasnis, The Times Press, 1921
2.https://www.youtube.com/watch?v=xldUKwTHGW8
3.https://www.youtube.com/watch?v=HWyV-9LCDYg

Shinde Chhatri, Pune - Drifter Adwait

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10–12 minutes

Shinde Chhatri, Pune — Shinde Chhatri, Wanowari, Pune

Here lies the last of the great Maratha leader with a true nationalistic vision, who shook the map of entire India, fighting many battles, was a great devotee, a great philanthropist, and a poet. Loved by his fellow riders and greatly feared by his enemies at the same time.

Under the horse steps of Bajirao Peshwa, India was again dreaming of self-rule. Maratha saffron flags were marking the territories from Calicut in southern India to Attock in present Pakistan, flattering with strength and pride.

‘Two pearls fell, twenty-seven gold coins lost and loss of rupees are uncountable’. This was the cipher received after the horrendous defeat of Marathas in Panipat. Marathas, who were defending Delhi throne, from foreign Invasion of Ahmedshaha Abdali had received an empire ending blow, were on the verge of extinction.

Mahadaji Shinde boosted Maratha moral to regain the lost supremacy over the political control of India which was initially lost after the battle of Panipat.
He not only gave the confidence back to Marathas, but actually recovered all the land we lost to the Invaders, and then some more, in a short time and regained the lost glory of the empire.
He freed holy cities like Mathura and Brindavan, which were under the hammers of Islamic invaders and regained their status as holy cities, once again.

Mahadaji Sindhia, Maratha leader and warrior.
By James Wales
Date painted: c.1792 (c) British Library; Supplied by The Public Catalogue Foundation

The influence of Shinde (affectionately called Patil Bava) on Delhi throne was so much, that King of Iran used to correspond with Mahadaji instead of Mughal king Shah Alam second. But Shinde Bawa never took advantage of this trust the Delhi throne kept in him. Even though he was the kingmaker of Delhi sultanate, he always treated the King with the utmost respect, compassion, and honor. During his time, Ghulam Kadir attacked Delhi, looted, raped, mutilated, and abducted helpless common citizens of Delhi. Mad dog Kadir captured the king, sat on his chest and he made the king blind by removing his eyeballs. As though this was not enough, he harassed and humiliated the royal family with unspeakable deeds. Mahadaji avenged the king by capturing Kadir. First, Ghulam lost his fingers, then his tongue, and then, Mahadaji paraded him on donkey right on the streets of Mathura as the revenge of humiliating the Badshah of India. Then Mahadaji blinded him, and in the end, he cut the Ghulam Kadir in pieces and sent these pieces to the King to Delhi. This would have been the most ferocious gift Badshaha had ever received in his life. Shaha Alam was eternally grateful to the great Maratha for this. Shehenshaha himself wrote poems in the honor of Mahadaji, praising him.

General Benoit De Boigne, painted after the battle of Patan

There was a defying difference between the Indian military systems and the Anglo-French military. Mahadaji appointed experienced foreign commanders like De Boigne under his army to create disciplined, agile, easy to command artillery platoons. Shinde’s artillery created an unstoppable Juggernaut of impossible-looking victories on the plains of North India. Lately, Shinde’s army was called as Fighting Machine in India and abroad.

Gadh mein gadh, Baki sab gadhiya:
Rajputs of Chitodh have a rightful pride in their Homeland. Chitodh is the largest fort in India, with a legendary history, where, for innumerous times, Rajputs have defended the fort by sacrificing literally thousands of brave lives. Alauddin Khilji took eight months to take the fort while Akbar took five months to siege it. Shinde Patil Bawa with his brilliant tactics, diplomacy, and strategies of Artillery, managed to conquer the unconquerable fortress in two weeks. Such was the terror of Shinde Bawa.
Knowing this Maratha might, Britts never dared to cross paths with him beyond Yamuna River, and they got constrained in the Bengal region for the time being. He seized and postponed the complete conquest of India by East India Company for at least thirty years. They preferred to have peace with Patil Bava as they were decisively defeated by Marathas at the Talegaon battle.
Just to honor the will of Patil Bawa, Mughal king released the notices in his empire, banning cow slaughter This seems unbelievable in this current age of pseudo-secularism, extreme liberalism, and hyper islamophilism, but these Farmans or notices actually are available to read.

Shinde Chhatri is located in Pune, near the currently busy Wanowri area. The building is surrounded by a tall rock wall with a tall entrance gate giving you the feeling of a fort. After you pay the nominal entree fee, you can enter the main building in the square courtyard, surrounded by two smaller size shrines and few rooms adjacent to the compound wall. The main building is an example of mixed architecture with both Maratha and Rajasthani styles. Mahadaji Shinde, or Patil Bawa as we say it with love, was cremated here on 12th February 1794. After that, his successor started the construction of this building in his honorable memory. The small temple was constructed remembering Patil Bawa by his adopted son Daulatrao Shinde and then due to political turmoil, civil wars, and invasions, it was never completed.
Till recently, in Madahvrao Scindia, a direct descendant of the Shinde dynasty completed the building post-independence.

As you enter through the Stony gateway, you face the steps taking you inside the off-white stoned Shinde memorial. The memorial is dedicated to Lord Mahadev, having one large size principal Shikhara (tower), and many smaller size Shikharas surrounding it. Shiny brass turrets on top of each tower reflect sunlight into your eyes and make you blind. The temple is built on a platform made up of black stones, while the rest of the temple is built with yellow stone, reminding you of the palaces from Rajasthan. Temple is attached to a two-floored hall with huge entrance and huge windows opening outside. These windows are decorated with bright colored semi-transparent glass. Inside pillars are colored with off white and red Rajasthani designs. Square shaped hall adjacent to the shrine was built later, and you can see the difference in architectural style and with the building material. The hall is made up of off white stones while the main Mahadev shrine is built with Black. Portraits of Shinde family, starting from Ranoji, till current hair Jyotiraditya Schindhia can be seen on walls. Off white stone, colorful pillars, black and white marble floor, and roof with a beautiful chandelier give a royal but very calm, temple-like vibe.

Sanctum Sanctorum, Shinde Chhatri, Pune — Shine Chhatri Temple

Across the hall, there is a black stoned Mahadev shrine with three arches, as you slide forward on the cold, smooth marble floor. These three arches are held aloof by two beautifully carved pillars. You walk further, you reach to the marble Nandi. After you pay the respects to Nandi, you will observe the border design of the sanctum. Veer and Bhadra are standing and guarding the shrine while Saraswati is on top of the border. There are two beautifully carved Kirti Mukhas on the stepping stone to enter the Sanctorum.

Patil Bawa, Shinde Chhatri, Pune — Patil Bawa

As you first enter through the stone-cold narrow entrance, you meet the eyes with Patil Bawa. Brilliantly carved life-size idol, carved out of black stone, of Mahadaji Shinde sits there, guarding the Mahadev. He is wearing Shinde style hat, straight nose, big mustache framing his face, and eyes of steely determination. His right hand is on his knee, holding the sword and the other is holding a dagger. He seems very calm, yet ready. His battle harden shield lies beside him on his left. In from of him, sits Mahadev, on the ground. Four walls of the sanctum are decorated with simple canopies but don’t be in a hurry to exit the sanctum yet. Look upwards, and you will be viewing perhaps the most beautiful roof in the entire Pune area. It’s a dome-shaped roof with a golden square border. Corners of the squares have been painted with the stories from Ramayana and Mahabharata. Ram going after the golden Deer while Ravana tries to abduct Sita, Krishna dancing on five-headed Kalia snake, Krishna playing his hypnotically beautiful flute and many more. The rest of the roof is just a dark blue night sky with white clouds passing by alongside the moon. One devotee was chanting the Omkara, in front of Mahadev in Padmasana with his eyes closed. His voice was filling that old, dark structure feeling like echoing. Decide to give him some space with his lord, I bow my head before my lord Shindebawa, and with his permission, I left the building to join my family, who was waiting patiently for me, outside.

As I looked back while exiting, I felt bad for Shinde Bawa, the country he loved so much, and the values he adored so much. The streets were buzzing with the crowd, but I could hardly see people coming inside this memorial of the great patriot. The structure is set in oblivion and seemed to be neglected. While these days, Indian youth is dying to go to Europe to work in multi Nationals, he employed many Europeans like De Boigne under his service, started truly ‘Make in India’ weapon manufacturing plants and established disciplined troops of thousands, under his command. These days, Shaniwar Wada seems to be getting the attention due to the recent Bajirao Mastani movie (packed with loads of historical contradictions and inaccuracies), this structure still waits patiently, for the true glory and curious visitors it deserves, not for the brilliant yet modest architecture it has, but for the Man it remembers…

मुख्तरुलमुल्क वकीले मुतलक, उमदतुलमरा फर्जंद अलिजाह, महाराजाधिराज श्रीनाथ माधवराव सिंदीया बहादूर मन्सूरजमान की जय !!

Offbeat Hampi - Drifter Adwait

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16–20 minutes

Cycle across the ruined Hampi city:

Coracle ride in Hampi:

Sunset from Matunga hill:

Sunrise from Anjaneya hill:

Scootying Hippie island:

Ancient Anegundi:

Chill out in Mango tree hotel:

Stargaze on the bank of Tungabhadra:

Rock climbing in Hampi:

Have breakfast at Mowgli:

Shopping in Hampi Bazaar:

Cliff Jumping:

Explore Virupaksha temple:

Hampi from Watchtower:

Musical pillars in Vitthala temple:

History lesson in Hampi museum:

So, fellow explorers, do not miss the opportunity to expand your knowledge and deepen your understanding of this offbeat Hampi paradise.

Bare feet on the slopes of Hemakoota hill:

What not to do in Hampi:

For detail information, please visit my Hampi Log:
https://drifteradwait.wordpress.com/hampi-travelogue/

Parvati Hill, Pune - Drifter Adwait

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18–23 minutes

The Hill-Top Temple

Parvati Hill Caves:

Devdeveshwar (Parvati):

Peshwe Museum at Parvati:

Nanasaheb Peshwe Smarak:

Kartik Swami temple at Parvati:

Vishnu Temple Parvati:

History of Parvati:

One of the illustrious names from the Purandare family is the legendary historian Babasaheb Purandare, whose contributions to historical research are highly regarded.

Chennakeshava Temple, Somnathpura, Mysore - Drifter Adwait

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14–17 minutes

Welcome to my blog, where I delve into the world of temple architecture and take you on a journey to discover the hidden gems of India. Today, we will be exploring the magnificent Chennakeshava Temple, an UNESCO World Heritage Site, located in the small village of Somnathpura in the state of Karnataka, India.

Built during the 13th century, this stunning temple is a prime example of the Hoysala style of temple architecture, which flourished in the region during the 11th to 14th centuries. The temple is renowned for its intricate carvings and sculptures, which adorn every inch of its walls and pillars, showcasing the exceptional skill and craftsmanship of the local artisans.

As I visited this stunning temple, I was mesmerized by the elaborate details and exquisite beauty on display throughout the complex. The temple’s distinct architectural features, such as the intricate cornices, elaborately carved pillars, and ornate ceiling, are all hallmarks of the Vesara style of temple architecture.

The Chennakeshava Temple is not only a magnificent example of Indian temple architecture, but also a site of immense cultural and historical significance. It is a testament to the rich cultural heritage of Karnataka and a place where visitors can learn about the fascinating history of the Hoysala dynasty.

Join me as I delve into the fascinating world of temple architecture and explore the intricate details and rich history of the Chennakeshava Temple. Discover the beauty of this Hoysala architectural marvel and immerse yourself in the spiritual energy of this magnificent site.

It was a month of November 2019, we were on one of our impromptu road trips riding our Beloved Honda Activa, heading towards Ooty. We have decided to avoid state highways as much as possible enjoying rural India, and the reward was picturesque. For the last one hour, smooth tar road was twisting and turning, cutting through miles of lavish paddy fields with occasional coconut plantation besides. What a drive.
We took a right turn on Somnathpura, paid 20 rs each as entry fees, and entered the premises.

How to Reach Somnathpura Temple:

Mysore is the nearest metro city, just 35 kilometers away. You can hire a cab/bike for a day from Mysore to reach here.
There is no direct bus from Mysore to Somnathpura, but its easily reachable, with the KSRTC bus. From the main bus stand, take a bus to Bannur for 50 Rs. From there, there is a good frequency of private vehicles going to and fro Somnathpura village (20Rs).
From Bangalore, take Kanakpura Highway till Bannur (100KMs) and then take a left on T.Narsipura-Srirangapatana road for seven kilometers to reach Somnathpura village.
The nearest railway station is Mysore, 35 KMs away.
Nearest airport and city Mysore is about 35 Kilometers from Somnathpura.
Places to Stay in Somnathpura:
Being a small village, there are no hotels available in Somnathpura. You will find a few hotels in Bannur and Turumakudalu village. The best option is to stay in Mysore.

Somnathpura Temple History

Hoysala King Narasimha III ruled from 1254 to 1291. His General Soma built this temple in 1268 and established Agrahara (Small town, dedicated to the gods) surrounding it. This turned out to be the last temple ever built by Hoysalas-the great architects. After the ‘Green’ invasion, the temple was left in a completely ruined state until the age of Vijaynagara kings. As per the inscriptions, in the 16th century, Vijaynagara Kings tried rebuilding the temple which was kept intact till the 19th century, when it was again heavily damaged, and beautiful sculptures were stolen and smuggled to England by British.

Somnathpura Chennakeshava Temple Architecture

Belur’s Channakesawa is famous for its intricacy. Hoysaleshwar, from Halebeedu, is famous for the grandeur and its Nandi shrines. But both of these lack one thing: Intact turrets or Shikhara.
Somnathpura temple has it all, beautiful sculpting and grandeur, along with three intact towers.
As per the checklist, it has all the defining characteristics of Hoysala temples. Temple on an elevated stage, ornate circumambulation path, nearby water body (situated right in between Cauvery river and Kagalipura Lake), lathe operated pillars, brilliantly carved ceilings, and Mantapas surrounding the main temple. ASI has done a brilliant job conserving the structure.
This temple was built 150 years after Belur and Halebeedu, representing the last stage of the Hoysala style of Architecture. The outer walls are ornated in such a way, that prevents overcrowding of the sculptures like Belur and that of Halebeedu temples. Never the less, as always, brilliant architecture overwhelms you with the intricacy and detail.

Inscriptions, Chennakesava Temple, Somnathpur — Somnathpura Inscription Stone

Corridors, Chennakesava Temple, Somnathpur — Somnathpura Inscription Stone

As you cross well maintained lush green lawns, you will stand in front of a flag pole and a gate in between a plain wall with large granite stones. If you have been to Hampi, these walls will look familiar. You enter the premice after showing the ticket, you are in the entrance hall. Chennakeshava temple does not have entrance Gopuram, but an entrance hall, where you will find a big rock slate with ancient Kannada inscriptions on it. Entire temple history can be found on this rock under small Vigrahas of Keshava, Janardana, and Venugopala.

The outer wall of Chennakeshava temple is not merely just a wall, but the entire square-shaped corridors of small shrines surrounding the main temple and courtyard. The idols inside the small shrines are missing, stolen, or were broken during the Islamic Invasions. As you will see, the temple with three intact turrets can be seen from here and the symmetry will just blow your mind.
Walk on the courtyard, climb steps, greet Jay Vijaya on the entrance and enter the temple from the east. Give it few seconds to adjust your eyes with darkness, and you will see how light is almost getting reflected from super smooth black soapstone pillars. Entire Mantapa is held by these smooth, lathe operated pillars with intricate design.

Chennakeshava Sanctorum

When you will stand on the center stage, where dancers used to perform their arts in front of gods, you will face the west shrine of Keshava temple. Enter the Sanctorum and observe the canopy, where Keshava is standing under lintel with a design of Gajalaksmi on the canopy. Here is a Garuda pedestal on which, Keshava must be standing, currently decorating British Museum. British, stole the sculpture and carried away to their museum. Currently, the pedestal is occupied by Keshava statue from some other temple. That is just insulting and humiliating to all of us Indians. We must find these original Vigrahas, bringing them back to their past glory.
The false ceiling over the dance floor is remarkably beautiful, representing an inverted lotus. When you enter the temple, you kind of lose the sense of time and directions in the semi-lit Garbha Griha. Ashta Digpals or Protectors of the eight sides are standing beneath the inverted lotus, give you an idea of directions. Torana or Door arch is gorgeously ornated with Vishnu and layers of Kirtimukahs, along with Gajant Laxmi.

Venugopala Sanctum

Venugopal @ Somnathpura — Venugopal Sanctum Sanctorum

South shrine belongs to Venugopala, i.e. Shri Krishna. On the entrance border of Chennakeshava temple, you can see Lakshmi Narayana sitting in a Yoga pose. Dwarapalas or doorkeepers will greet you on your way in.
8×8 feet Garbhagruha is a home for Lord Krishna. Four and a half feet tall lord is standing here, playing is a famous flute, in his iconic cross-legged stance. He is wearing jewelry like bracelets, anklets, girdle, neckless and rings on his long thin fingers which are playing the flute, like nobody’s business. Sages, Gopikas, cows, and even birds around him are lost in his hypnotically divine music.

Janardana Sanctum

Janardan @ Somnathpura — Janardan Sanctum Sanctorum

Janardana resides in the North Shrine. Four and a half feet Janardana is carrying Conch, Chakra, Lotus, and Mace. Door border of the sanctum is minutely decorated with Horse riders, Shardul animals, Gajanta Laxmis while Lord Vishnu and Goddess Laxmi sitting in the middle with a yoga pose.
Four feet Janardan is wearing some minutely detailed ornaments from head to toe. Vanamala, the sacred ornament coming from behind his shoulder, reaching under his knees is defining his stance. Above his crown, you can see a border emerging from the mouth of fierce Kirtimukha. Lord is standing on a Garuda pedestal in attention pose, as similar to the west shrine. His home is being guarded by warriors Bhadra and Subhadra, standing on the door.

Ceilings of Chennakeshava Temple, Somnathpura

Ceiling, Chennakesava Temple, Somnathpur — Ceiling Bay 1

Till now, you have seen boundary walls, lathe operated pillars, three shrines, and deities inside. But, the main showstopper is the ceiling. Mantapa of Chennakeshava temple is divided into several squares with ridiculous carvings. Invert lotuses with different stages of blossomings, endless knots and Ashta Digpals protecting the directions are simply mid blowings. I have seen a fair number of Hoysala temples till now, but this one is the paramount of architecture expertise so far. Every fall ceiling square is loaded with minute detailing, brilliant craftsmanship, and masterpieces of Hindu Architecture. You will definitely lose track of time while looking and enjoying each and every one of them. After a while, your neck will start cramping, but don’t let those cramps keep you away from absorbing the man-made miracle performed here, seven hundred years ago. Small windows with designer mesh carved out of stone helps the light drip in, helps the viewer appreciate the intricacy and detail.

Outer Walls of Somnathpura Temple

After going in and out again several times, I and Amruta finally walked out of the shrine to observe what they have erected on the outer walls of the temple, and the temple does not disappoint you indeed. As per Hoysala architecture norms, three feet platform on which the temple is constructed has a circumambulation path on it. Where you can observe the beauty of the outer walls along with circling the deities.
Clockwise rotation or Parikrama in Hindu, Buddhist, Jain, and Sikh philosophy has a very high significance. It signifies journey from ignorance to knowledge, a process to acquire the positivity and qualities of deity to which you are praying. Hoysala temples make you do the Parikrama even if you don’t have that in mind, while they make you see the beauty on outer walls.

Prahlada getting trampled by drunk elephant, getting burnt in fire and wrestling with Demons, trying to get killed by his father Hiranyakashipu.

Koorma Avatar

Matsya Avatar

Varaha Avatar

Bhima carrying cart full of food to Rakshasa Bakasur and fighting with Him — Bhima carrying cart full of food to Monster Bakasur and fighting with Him

Dahihandi during 11th century, Somnathpura

Malik Kafur Invasion and The fate of Hoysalas:

This was the last of magnificent Hoysala temples among 1500. After that, Malik Kafur came, Malik Kafur saw and Malik Kafur destroyed the entire civilization, entire kingdom, entire culture, and knowledge of architecture. Originally being born as a Hindu (Hence Kafur) was bought by Alauddin Khilji for 1000 dinars (Hence, Malik Kafur Hazaar Dinari), had blind hatred towards anything that is remotely related with Hindu culture. After the fall of Maharashtra’s Devagiri Yadav empire, he descended till Warangal with a hundred thousand soldiers. In 1311, he started his second invasion, destroying Dwarsamudra, the capital of Hoysalas with the army of 10000. He waited there for 12 days for the rest of his army, while his soldiers brutally plunder, rape, kill, ransack, and hammered the entire kingdom. After gathering all of his forces, he marched on to conquer the Pandya empire, which was going through political turmoil. Two brothers were fighting for the succession of the throne. Again, the same story repeated, invader took advantage of the division among us and got what he came for. Pandya also became Vassal of Khiljis as Malik destroyed the famous Meenakshi temple after the siege of one week. Kafir looted and the heavy price of more than 500 elephants, 20000 horses, and 50000 KG of gold was sent to Delhi. It resulted in the rise of the Madurai Sultanate. Then, it began the age of darkness, bloodbath, and loot.

Once, during these clashes of Hoysala and Madurai Sultans, two young military commander brothers were captured and later were drafted in their own army by Sultans. Later, during one of their invasions to the south, they got in contact with one monk. Under his guidance, these two brothers gathered fighters, took a stand and started overthrowing Delhi rule and freeing southern India from green invasion.
The monk was none other than Sri Vidyaranya Swami and the brothers were Harihara and Bukka who established a legendary Hindu empire named Vijaynagar Empire. They regained the lost territories and pushed Sultanates to their edges. Lord Chennakeshava again saw the better days. Vijaynagar Kings repaired the Somnathpura temple to its original glory. Now, it is just a small agrarian town, about 40 kilometers from Mysuru and 140 Kilometers from Bengaluru, wakes up at nine every day when the temple opens, and goes back to sleep after five-thirty in the evening after the Chennakeshava temple closes…

Trikuta Shikhara (three turrents) of Somnathpura Chennakeshava temple — Trikuta Shikhara (three turrets) of Somnathpura Chennakeshava temple

Chennakesava Temple, Somnathpur — Indra fighting with Krishna on Garuda, with Paarijat tree

Erotic Hoysala (L)
Vamana and King Mahabali (R)

References:
1.https://tfipost.com/2017/02/malik-kafur-alauddin-khilji-south/
2.A Forgotten Empire (Vijayanagar): A Contribution To The History of India by Robert Sewell
3.http://indiafacts.org/terror-unlimited-staggering-loot-lust-alauddin-khilji/
4.Musalmani Riyasat (Set of 2 Volumes) – Marathi (Marathi) Hardcover – 2018, by Govind Sakharam Sardesai, Popular Prakashan.

Kirtimukha - Drifter Adwait

Adwait Karajagi

10–12 minutes

Kirtimukha, also known as the “face of glory,” is a fascinating symbol in Hindu mythology that has captured the imagination of countless people throughout the ages. This ferocious creature is often depicted as a fearsome monster with gaping jaws and sharp teeth, but it also represents a powerful force of protection and transformation. In this blog, we will explore the multifaceted meanings and cultural significance of Kirtimukha, and how this symbol has been used in various aspects of Sanatana art and architecture. From its origins in ancient Indian philosophy to its modern-day interpretations, Kirtimukha offers a window into the rich and diverse cultural heritage of India. Join us as we delve into this captivating symbol and discover the wisdom it holds for us today. Lets begin!!!

सब तीरथ बार बार, गंगासागर एक बार
You may visit various pilgrimage sites spread across India again and again, but just one visit to Gangasagar is lifetime worth. That’s how Puranas have described the Ganga Sagar. During the auspicious day of Makar Sankranti, Hindus from all over the world gather here to bath in the holy water of Mother Ganga. Our story starts here.

Once, Indra and Brihaspati decided to see Mahadev and pray, in front of him. While on their way to Kailasa, the abode of Mahadev, Mahadev decided to test Indra and Brihaspati’s devotion. He took a form of a sage, and blocked a path, leading to Kailasa. Requesting the sage, again and again, Indra lost his patience and he charged towards the sage with his Astra.

Mahadev, who was testing Indra’s devotion, opened his third eye. Due to salutations of Brihaspati, Mahadev pardoned Indra and redirected the radiance of his third eye into the Ganga Sagar lake. The delta, where holy river the Ganges meets the ocean. Due to the splendid radiance of shiva’s third eye, the child was bourne. Immediately, the child started to cry ferociously, which created fear in the whole world. Rishis got curious, went to Brahma for answers. To find out the reason, Brahma arrived at the Ganga Sagar lake, where Samudra- Lord of the Sea handed the infant to him. Curious Samudra asked Brahma what to name this child and how will be his future.

Looking at that powerful child, Brahma proclaimed- The child will be a legendary king of demons and will be invincible. Only Lord shiva will be able to face him in battle. Meanwhile, while sitting on Brahma’s lap, the child started to play. While playing, he grabbed Brahma’s neck and pressed so hard, Brahma chocked for a second, and tears rolled down from Brahma’s eyes. And hence, Brahma named him Jalandhar. Jal means water and Dhar means to flow. Sagar the sea king was very pleased, took the child with him, and raised him with care.

Kalanemi the demon, had a daughter named Vrinda. After grown up, Jalandhar married her and became the king of the Demons.
Once, he came across the story of Samudra Manthan, i.e. sea churning, and understood how gods have cheated and taken away the ambrosia by betrayal. He also came to know that all the wealth which was emerged from the sea churning was also taken away to Indrapuri with deception, by the gods. As originally, that enormous wealth belonged to Samudra, who was Jalandha’s father, Jalandhar got furious. He gathered all the demon forces and attacked Indrapuri. The brutal battle took place between Gods and Demons, resulted in colossal death on both sides.

Shukracharya managed to awake all the dead demons by Mrit Sanjivani Vidya and Brihaspati managed to bring back gods with the help of the Sanjivani tree, found on Dronagiri mountain in the Himalayas. Learning this, Jalandhar flooded the Dronagiri with seawater, resulting in the failed resurrection of gods. Due to the reduced army, Jalandhar won Indrapuri, while Indra and the rest of the living gods ran away.

Frighten deities came running towards Vishnu for help and Vishnu agreed to fight the demon king. But there was a twist. Like Jalandhar, Goddess Laxmi has also emerged from the sea during churning and hence considered Jalandhar her brother. She took a promise from her husband not to kill the brother rakshasa.
The horrendous battle took place between Jalandhar and Vishnu. But, as Vishnu was bounded in his wife’s promise, he could not kill him, resulting in an indecisive battle. Impressed by the valor of Jalandhara, Vishnu granted him a boon. Jalandhara requested Vishnu to move his residence to Kshirsagara with Laxmi. Due to this boon, Jalandhar now became the ruler of all three worlds. Everybody in his rule was satisfied with his just ruling except the Gods and deities who were defeated by him.

Shiva Parvati with Nandi at Kedareshwara Temple

Brahmarshi Narada was looking at all of these events unfolding in front of him with amusement and decided to take the matters in his hands. He approached almighty Jalandhar and praised him freely for his achievements, bravery, and power. Narada suggested that the only worthy person being called as Jalandhar’s consort is beautiful Parvati and none else. Listening to this, already drunk with power and success, Jalandhar summoned Rahu. With Rahu, Jalandhar sent a message to Mahadev that he is not worthy of such beauty and he should hand over Parvati to him.

Listening to this message, Shiva became furious. Shiva’s wrath took a form of a savage creature and attacked Rahu to feed on him. Startled Rahu immediately apologize to Shiva and took his refuge. Shiva forgave Rahu as he was being just a messenger. The creature asked shiva what he should eat to satisfy his longing craving. Shiva suggested him to eat himself. Immediately, the creature started eating itself, till all that remained was his two hands and a mouth. Watching this, shiva was extremely impressed with the obedience of that creature and named him the glorious mouth or, Kirtimukha.

Even though after eating himself, Kirtimukha’s hunger was not satisfied. He asked his master what to eat next. Shiva honored him on the entrance of his temples and asked him to ingest the sins of the Shiva devotees who will come to see him. As man has an unlimited capacity to sin, again and again, Kirtimukha is not hungry anymore, as there is an unlimited supply of sinners who are coming to Shiva temples to praise their Lord Bholenath.
Kirtimukha can still be found on temple entrances, turrets, and even on the arches around gods. It’s the face, similar to that of a lion or panther, with canine teeth and bulging eye balls. In some cultures, they might have two hands, coming from behind. They constantly remind us not to make yourself so hungry for greed, pride, envy, power, pleasure, or anger that you will end up consuming yourself.

Kirtimukha Patika, surrounding the Keshava temple, Somnathpura

Devotees arrive to meet Mahadev, first meet the Kirtimukha, even before Nandi, and Kirti Mukha greets them with a smile. Those who came with ill intentions, our face of glory scare them away. Whenever you will be in front of the god, you will see Kirtimukha on the arch, constantly reminding you, if you want to meet the almighty, if you seek the ultimate enlightenment, eat your lust, anger, and greed.

As lord tell us in Bhagwat Geeta,

त्रिविधं नरकस्येदं द्वारं नाशनमात्मन: |
काम: क्रोधस्तथा लोभस्तस्मादेतत्त्रयं त्यजेत् ||

There are three doors to the hell of self-destruction. And those are lust, anger, and greed. You should do whatever necessary, to get rid of these three from your life.

Kirtimukha has earned his place in many cultures worldwide. Temples in countries like Indonesia, Cambodia, Thailand, Nepal, and Bhutan have Kirtimukhas, welcoming the visitors. In various Puranas, you can find this story, but with minute variations. But the main takeaway is the same in all: If you want to receive total Nirvana through god, you should be ready to give up everything you have.

Kirtimukha on the Pillar of Bhuleshwar temple, Pune

Mahadev, with the army of his Ganas, stepped into the battlefield to fight Jalandhar. Vrinda, wife of Jalandhar was a devotee of Shiva, and due to her devotion, Jalandhar was getting more and more powerful day by day. During the battle, the demon king created a beautiful illusion of Gandharvas and apsaras to deflect their attention and got successful. Seeing this, Parvati approached Vishnu for help. When Vrinda went to the jungle for some rest, Vishnu appeared there in the form of Jalandhar and approached Vrinda as her husband. Soon, Pativrata Vrinda came to know about the deception played by Vishnu and got furious. She cursed Vishnu – ” as somebody will also deceive Laxmi as I have been deceived and Vishnu has to roam around on earth in search of his wife someday”. In the agony of being cheated by Vishnu, Vrinda threw herself into the fire.

Knowing this deception by Vishnu, Jalandhar got disturbed and his illusion faded away. Now, Mahadev and his army of Ganas came to senses and started the battle again. A disk, created from his toe, shiva decapitated the head of Jalandhar and ended the demonic rule over three worlds.
The result was greatly praised by the deities which were exiled from heaven. A few years later, Vishnu, due to the curse of Vrinda, had to search his wife in agony during is Ram Avatar. As per Vrinda’s curse, as once Vishnu deceived Vrinda, Ravana deceived Seeta and took her away in Lanka…

Kirtimukhas on Mahalakshmi, Tulaja Bhavani and Vitthal

References:
1. Shiv Maha Puran 1.2.121 to 1.2.128
2. Myths and Symbols in Indian Art and Civilization, Heinrich Robert Zimmer, Publisher: Princeton University Press; Mythos ed. edition (1 July 1992)
https://archive.org/details/HeinrichRobertZimmerMythsAndSymbolsInIndianArtAndCivilization/page/n195/mode/2up/search/kirtimukh
3. Bhagvat Geeta
4. http://www.mahalaxmikolhapur.com/
5. http://www.vitthalrukminimandir.org/English/home.html

Makara - Drifter Adwait

Adwait Karajagi

10–12 minutes

I was in the fourth standard when my grandfather took me to watch the movie, Jurassic Park. For the whole movie, I could not blink as something ancient yet new, amazing, larger than life was unfolding in front of me and my tiny mind was trying to comprehend that. I came across Tricerotops, raptors, Dilophosaurus, and many more legendary creatures for the first time there. Later, during one of my visits to ancient temples in India, I came across one particular animal, and then I realized we do have our own legendary mutated dinosaur from Puranas and that is Makara.

Makara can be found on Torana, gateways, and Mahirap (Arch) above the gods. Many times, he will find a place in the form of earrings on the gods, and thus, will be called Makar Kundale, i.e. earrings in the shape of Makara.

The philosophy behind Makara

Makara is composed of seven animals – Head of the crocodile, eyes of the monkey, horns of a goat, ears like deer, a body of a Boar, the tail of a peacock, and paws of the mighty lion.
Sometimes, he might have a trunk like an elephant as well. Various Puranas depict Makara in different styles.

Crocodile has always been feared by Indians, as an unknown danger, creeping silently in the deep waters. The earliest occurrence of this fear can be found on the Harappan tablets as shown in the picture. Here, we can see a crocodile, catching a fish in the mouth. Remains of the boats found in Indus Valley civilization excavations have an animal like Makara engrave on the edges. It must have worked as a protection against those fearful creatures while traveling on the boats, a few thousand years ago. Sometimes, its mouth also represents a Dolphins that could be found in the Ganges. As the Ganges is the holiest river for Indus civilization, Makara also is associated with the prosperity of the Ganges.Goat horns represent the battle-readiness of the animal, ready to ram, ready to take on the danger on the head. Fearless, running towards the fight with pride and honor. Ram is the vehicle of Agni, the god of fire, this animal is also associated with the purificator Agni. Deer years show exceptionally well-developed noise grasping ability of the animals. Which tells us that a king always should be listening to the danger. He should be the lookout for the threat like a deer, as it listens to the footsteps of carnivorous. Gazelle, being the vehicle of Vayu, lord of the winds, the supporter of all the aerobic life on the planet, Makara is often correlated with the life and the evolution itself.The torso of a boar represents the thickest skin. The thick skin of a boar makes it hard to kill despite hitting it hardest. Thick skin has another meaning as well. It means one should always ignore the criticism people pass on you unnecessarily. Boar being the part of Makara, is also associated with holiness and ferocity of Lord Varaha, who saved the earth from the clutches of demon Hiranyaksha.Paws of lion reflect strength, nobility, valor, and ferociousness of the animal world. Makara has taken the paws as weapons, from Lion, an undisputed king of the animal kingdom. As a lion is the Vehicle of Durga, this animal is also associated with the feminine guardian of morality, valor, and righteousness of the creation. The tail of the peacock represents beauty and creation. It also represents the cycle of time in Hinduism. An eye of the peacock feather represents the third eye of Krishna- Knowledge.

Makara is often considered as a symbol of fifth-generation evolution. It often seems like the door arch of the sanctum is held suspended by the Makaras. Makara has endless feathers and tree vines coming out of its tail. Often, these tree vines are making the arch over Vigraha, end up in the mouth of fierce Kirtimukha. As if the endless cycle of evolution and destruction is happening in front of the God.
Makara is a vehicle for Goddess Ganga. In Vedas, Varuna is the lord of the seas, and what is the most suitable vehicle for him to move around the globe? Greatest sea monster of all time-Makara.

We can find many references to Makara in ancient Indian texts. Cullavagga, written in 400 BC mentions gigantic ocean creatures stretching from one to five hundred leagues. In one of the stories written in Avadana Sataka, Makara knocks down a boat in the middle of the sea and starts devouring people while the hero had to swim to the shores to save his life.

Matsya Purana describes Varuna as very powerful, with a fair complexion like a conch, wearing pearl ornaments under a pearl crown. With two hands, holding a moose and riding a Makara. This Makara is having the head of a dog, torso of a pig, and a tail like a crocodile.

Varuna riding Makara — Lord Varuna Painting,
Tiruchchirappalli, 1820

In Kashyap Shilp Shastra, Varuna is riding a Makara with his consort Varuni or Padmini Devi. In other ancient texts such as Shilpa Ratna, Aparajita Pruchha, Hayastra Pancharatra we can read the depiction of lord Varuna, and along with him, the Makara, in different forms. Due to a wide range of variations, we cannot confirm the exact form of the Makara, but, one thing is for sure and that is, he is a combination of many animals.

Local guides are the knowledge banks of Hoysala temples. According to them, Makara describes as an ideal soldier. Soldier, having digestive abilities like a pig, strong legs like lion, firm grip of crocodile teeth, strength like an elephant trunk, sharp eyesight of a monkey, hearing abilities like a deer and charming personality and build like a peacock.

Varuna & Varuni on Makara @ Halebeedu ASI Museum

Makara is mentioned as the greatest animal of the sea by Lord Krishna himself on the battlefield of Kurukshetra. He compares himself to the beast.
In Bhagvat Geeta, Krishna says,
पवनः पवतामस्मि रामः शस्त्रभृतामहम्।
झषाणां मकरश्चास्मि स्रोतसामस्मि जाह्नवी।।10.31।।
“Of all the purifiers, I am the wind. In all the legendary weapon wielders, I am Prabhu Rama. Among all the rivers, I am the Ganga and amongst the aquatics, I am the Makara”

In Markendeya Puran, Sage Markandeya explains the types of treasures such as Padma, Kacchupp, Neel, etc. One of those celestial treasures is Makara’s treasure. Being Taamasik in nature, this type of treasure remains in the family for one generation only. This Makara treasure is nothing but the mastery over handling various weaponry like mace, swords, bows, and arrows, etc. Even, on the flag of Kamadeva, Makara stands with pride, flattering in the air.

Legendary Metaphysician, historian, and philosopher Ananda Coomaraswamy has explained the Makara brilliantly in his book ‘Yaksas’. He says, Makara is a great Leviathan moving through the primeval waters of the cosmic ocean, which contain the essence of life. Makara stands for Prakrti that manifests the un-manifest. Coomaraswamy associates Makara with the abode of lotus which in turn symbolizes life.

Ancient Sri Lankan flag with Makara on it

Apart from India, you can see Makara on many temples worldwide. In Sri Lanka, the dragon is called Makara in the Sinhala language. You can find it on Toranas and on ancient Lankan flags, and even as door protectors outside Buddhist temples. Karava tribe is a Naval tribe, located on the seashores of Sri Lanka, proud descendants of Kauravas. They have the flag, a Makara flag on their ships during medieval times.
In Tibet, powerful animal decorates the blades of combat axes. In the temples of Nepal and Java, they can be found on entrances and on path railings as well. Makara decorates the walls of the great temples of Angkor wat, in Cambodia.

Pliosaurus and Makara:

Makara has been a favorite topic of Cryptozoologists. Cryptozoologists are those dudes who come on history channel late-night, dig up oldest of the old texts out of the context and try to mix science into mythology with a pinch of alien sauce into it and cook up the ancient alien’s episodes on TV. According to these cryptos, Makara, mentioned in Vedas, Bhagvat Geeta, Buddhist text actually was swimming in the depts of seven seas as Pilosaur, 155 million years ago. It has remarkable similarities with our monsterous animal, described in texts. Paleontologist Richard Forrest commented to the BBC as follows: “This is an iconic specimen – one of the most exciting we have seen in years. It was probably the most fearsome predator that ever lived. Standing in front of the skull you can imagine this enormous beast staring straight back at you, fixing you with its binocular vision, and attacking. Just thinking about it raises the hairs on the back of your neck.”

Makar Pattika Surrounding Somnathpura temple

Keeping the jokes aside, Makara makes appearance silently in our modern lives more frequently than we realize. In the form of Makar Sankranti, where Sun enters into Makara consolation declaring the end of the winter solstice. It also comes across you when you do your crocodile pose on your expensive yoga mat – after paying thousands of rupees to some Cult gym trainer wearing Ralph Lauren branded yoga clothes, teaching you yoga in her fluent polished English. That pose is also called as Makara Asana FYI. Terrible monster it was once, now Makara sits silently on the walls of ancient temples, basking in his historical glorious fear.

Mahalakshmi with Makara on back — Ambabai and Vitthal, The Gods of Maharashtra

Vitthal with Makara on back — Ambabai and Vitthal, The Gods of Maharashtra

Lord Varuna, riding the Makara on walls of Halebeedu

References:
1. Shrimad Bhagvat Geeta
2. Darian, Steven. “The Other Face of the Makara.” Artibus Asiae, vol. 38, no. 1, 1976, pp. 29–36. JSTOR
https://www.jstor.org/stable/3250095?read-now=1&refreqid=excelsior%3A0f6c7e5acdedd249c8de60435b773030&seq=1#page_scan_tab_contents
3. Jewel Box of India, Glories of Belur and Hlebeedu, By Dr. Neelkanth Kote
4. https://www.yogapedia.com/definition/6481/makarasana
5. https://www.britishmuseum.org/collection/object/A_1992-0410-0-1-47
6. https://collections.vam.ac.uk/item/O41631/varuna-god-of-the-water-painting-unknown/ copyright @ V&A Collections.

Ravana Anugraha - Drifter Adwait

Adwait Karajagi

10–13 minutes

In Sanatana Dharma, the story of Ravana Anugraha or Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, is one of the most dramatic and iconic tales. This story showcases Ravana’s incredible strength and hubris, as he attempts to challenge the might of the gods themselves. However, the consequences of his actions are severe, as he incurs the wrath of Lord Shiva and his divine consort, Parvati. In this blog, we will explore the fascinating details of this timeless tale and uncover its deeper symbolism and meaning. Join us as we delve into the rich tapestry of Sanatana and discover the profound insights this story holds for our modern lives.

Kubera and Lanka:

The story goes to the time when the time has just begun. Brahma meditated so hard that one son was born from that meditation. That son was known as Pulatsya who later married Havirbhu, giving birth to a son named Vishravas. Sage Vishravas married to demi-goddess named Ilavia. Ilavia game birth to one deformed infant. This stunted dwarf had very pale skin, eight teeth, and three legs. They called him Kuber.

For ten thousand years, holding his breath underwater, Kuber did penance to Brahma. But Brahma did not answer. Then Kubera, standing on one leg, in the middle of the fire circle started praising him. After a few centuries, Brahma appeared in front of him and gave him boons. He made Kubera, one of the Ashta – Digpal. that is the protector of the north and, the god of wealth. Brahma felt pitty for his great-grandson, who was deformed, and hence, he gifted him a flying chariot, the same vehicle, we know as the Pushpak Viman.

War for Lanka

Meanwhile, Vishvakarma, the architect of the gods, has designed and erected a city, completely made up of gold, situated on mount Trikuta, called Lankapuri. The city was so marvelous, it broke a war between gods and demons to win over the city. Three demon brothers Malyawan, Mali, and Sumali with the gargantuan army of Rakshas attacked the city and drove the gods away.

All the gods came running to Vishnu as usual. Angry Vishnu, immediately attacked the Lanka city and killed Mali with his Sudarshan Chakra. Seeing this, the remaining two brothers with their demon army retreated and hideaway in Patal Lok. Now, Lanka was deserted as Rakshas had moved out. Kuber saw that and took over the empty city. There, he performed penance for hundred years praising Shiva. Shiva gifted him the lead over the Yakshas who were roaming around in the universe aimlessly. Now, with all the yakshas, Kuber populated the Lanka and with his wealth, making it more charming, fascinating, and lively.

Ages passed by, but demon brothers Malyawan and Sumali never forgot their defeat and loss of their brother.

Mali’s Revenge

Meanwhile, Vishravas, father of Kuber was approached by a beautiful rakshasi named Kaikesi with a marriage proposal. He denied it immediately. After Kaikesi and her parents begged Vishravas many times, he was agreed to marry her. Her father was no other than the demon Sumali, who was blinded by the revenge on gods.

After marriage, Rakshasi Kaikeshi gave birth to three children naming them Dashanan, Kumbhakarn, and Vibhishan. From a young age, Sumali started putting things in his grandsons’ minds against their stepbrother – Kuber. The result was imminent. As three demon brothers went to do penance to Brahma and returned with legendary boons. Now, the stage was set for an act of revenge and to take back the great city of Lankapuri.

Under the leadership of mighty Dashanan, demons, again attacked the Lankapuri. After a ferocious battle between Yakshas and Demons, demons won and managed to chase Kubera away. While roaming around the invaded city, Dashanan found the celestial chariot Puskpak. He decided to take it for a drive. While flying over jungles, oceans, and desserts, he tried to fly over a particularly tall mountain. Due to some unknown force, his chariot could not get past the mountain.

With curiosity, he stepped down from Pushpak and started walking towards the peak. While he was on his way, he was stopped by a dwarf with the head of the bull. He asked Dashanan to step back as the mountain is called as Kailasa, and no one is allowed on that without Shiva’s or Parvati’s permission.

Ravana Lifts Mount Kailasa

Already drunk with his boons and Victory over Kuber, egoistic Demon king started laughing at the Dwarf named Nandi. He ridiculed Nandi over his looks and deformity saying, “Monkeys are better looking than you”. Even he started to mock Kailasa and how Lanka is so much prosperous than this pile of rocks and snow. Angered Nandi cursed him, that, the Lankapuri, on which he has so much pride, will be plundered and destroyed by the monkeys. Monkeys will be the ultimate reason for the defeat of the Demon King. Now agitated and insulted Ravana, with his twenty hands started lifting Kailasa mountain to show his strength.

Ravana lifting Kailasa at Ellora, Maharashtra

Shiva woke up from his meditation, as the mountain started shaking. Shiva came to know about the audacity of the demon. While Dashanan started lifting the mountain, Mahadev started pushing the mountain with just one toe. Now, Dashanan was in a life-threatening situation as he was not able to withstand the tremendous weight Mahadev was putting on the mountain.

The demon started shouting in agonizing pain as he was about to get squashed under Kailasa over a foolish pride. With his two hands, he cut his tendons and slashed one of his ten heads. With his own flesh, he made a string instrument called Rudra Veena and started singing, praising Shiva. After so many centuries over, the same song is still widely sung all over India. This song is called Shiv Tandav Stotra. US Indians do not differentiate who wrote it. If it feels right, if it resonates with our heart, we will praise the Shambho Nath by a song, once even created by a demon.

Pleased by his devotion, Mahadev freed Dashanan from the burden of Kailasa. Dashanan was shouting loudly, which echoed three worlds and put a fear in the hearts of Gandharvas, Yakshas, Kinnaras, deities, and humans. Henceforth, he was known as Ravan. (Raava means loudest and terrifying roar/shriek. The one who Shrieks loud -Hence Ravana). Mahadev gave his legendary sword named Chandrahasa to Ravan, along with Shiv Kavach – Armor of Mahadev.

Ravana Anugraha of Hoysala

Hoysala architects have mastery over depicting the incidents from Puranas. These pages from Puranas come to life when sculptured on the walls of the Hoysala Dynasty temples. One such finest example can be found on the outer walls of Hoysaleshwar Temple, Halebeedu, Karnataka in the form of Ravana Anugraha. Here, You can see Ravan is trying to lift the great Kailasa mountain. Twenty hands and five heads are visible. He is holding the sword, mace, shield, and few other weapons in his hands. With seven hands, he is trying to hold the mount Kailasa, but he is not able to do so due to the sheer pressure put on by Mahadev.

Unable to bear the burden, Lankesh is in lunges like position, one knee is getting rooted deep in the ground and now, he is struggling to stand up. His two left hands are trying to support his left leg, by pushing it up. Due to the unbelievable burden, his eyes are coming out of his eye sockets and his demon fangs are coming out from his mouth. One hand on the sword and one hand on the sheath, he is trying to remove his sword, so that he can chop his head and present it to Lord of the Lords Mahadev.

But our Hoysala artist did not stop there. He created the whole Kailasa above Ravana. You can see, this Kailasa has four floors with two Ashta Digpalas standing on each and, you will find Shiva and Parvati, sitting on the roof with parasols over their heads. Above the head of Ravana, you will see snakes hanging from the Kailasa. On the ground floor, you can see Indra, riding on Airavata on left and Yama riding a water buffalo on the right-hand corner of Kailasa.

In the middle, you can see Yaksha, Kinnaras, and Gandharvas, singing and dancing around the trees. Above that, you can find Agni with his consort Swaha, riding a ram. On the top floor, you can see Varuna with his wife Varuni, riding the majestic Makara. Just beneath the holy feet of Parvati and Mahadev, you can see Ganesh, and Sapt Matrika looking out from windows. In between all of these, you will see trees, animals, sages performing Yadnya, etc. Similar sculptures can be found in the Chennakeshava temple at Belur.

During medieval times, this type of sculpture was quite famous in the Indian subcontinent. Kailasa temple, Cave no 16 in Ellora, Maharashtra has depicted Ravananugraha with brilliance. Queen’s Palace, Jhansi has similar kinds of sculptures, where along with lifting Kailasa, Ravana is fighting with Shiva Gana (People of Shiva). In many sculptures, Ravana is shown with three heads and with six hands. One of the head will be that of donkey’s head. On one hand, he will be carrying Veena and in another, he will be carrying his sword. With third hand, he shall be pulling a leg of one of the attacking Ganas.
There is no mention of such a story in Valmiki Ramayana, However, Shiv Mahapuran and some other Puranas tell this story, with minor variations.

Our temples are not just places to worship. They were and still are, the schools. Schools where you can learn about your rich heritage, culture, art, philosophy, and even some totally brilliant stories. My knowledge of Ramayan was limited to bedtime stories, TV series, and a few books I have read when I was a kid. But why Ravana was called Ravana, who was the creator of Shiv Tandav Stotram, who was the creator of string instrument Veena, and why he lost his one head, was the information I was totally not looking for when I went to visit these thousand-year-old temples for the first time. Now, I have to visit them again, and again, as I explore them, I get to know more interesting stories from our Puranas.

References:
1. https://glorioushinduism.com/2015/10/04/kubera/
2. http://hindumythologybynarin.blogspot.com/2013/06/story-of-raavan-lifting-kailash-and.html
3. Bhartiya Murtishastra, Dr. N P Joshi, Prasad Prakashan, Pune, Maharashtra
4. https://spokensanskrit.org/index.php?mode=3&tran_input=raav&script=hk&anz=100&direct=au

Krishna and the Battle for Parijata - Drifter Adwait

Adwait Karajagi

7–9 minutes

This ancient story recounts the epic battle between Lord Krishna and the god Indra, as they both lay claim to the mystical Parijat tree. With themes of power, jealousy, and divine intervention, this myth offers a powerful lesson on the nature of ego and the importance of virtue. Join us as we unravel the symbolism and meaning behind this timeless tale and explore its enduring relevance to our modern lives.

The story goes back to the time when gods walked among us. During Mahabharata, Lord Krishna had many wives. And despite being the god, he used to have issues with them (Obviously). Once, Narad Muni, the imp Sage, descended from Svarga with a Patijat flower in his hand. He met Krishna, and presented the flower to the Lord, and told the lord that his wife should have this celestial fragrant flower. Pleased Krishna gave this flower to his wife Rukmini.

After doing this little thing, Narada went straight ahead to Satyabhama, Krishna’s second wife, famous for her short temper. Without missing any detail, he told the story of the Parijata flower. How Krishna gave her the legendary flower and how Rukmini was ecstatic after receiving such honor. Being short-tempered, jealous Satyabhama burst with anger. Calming her down, Narada said, don’t worry my child, forget about just a flower, Krishna loves you so much that he will bring the entire parijat tree to you if you will insist.
Saying this, mischievous Narada left and Satyabhama came straight to Krishna’s chamber throwing tantrums. Knowing Narad muni very well, Krishna tried to console her but there was no use. Defeated by his wife’s stubbornness, Krishna left for Amaravati to bring the Parijat tree to Dwarka…

Sea Churning

When Gods and demons decided to churn the sea for Amrut, i.e. Elixir of immortality, several other things came up before it. Among those, emerged this divine tree with the golden bark, fruits, and small flowers with an awesome fragrance that filled up the entire universe. It was considered as the king of all the trees, which immediately was claimed by Indra and he kept it in his City named Amaravati. Amaravati was located in Svarga, a place in heaven.
Daily, sages and deities gather in the garden of Amaravati, where Indra had planted the Parijat, to worship it. Indra and his wife Sachi, raised the tree-like their own child, with love and affection. Both were proud and splendorous of their possession. Parijat was known to produce all kinds of jewels that one can think of in his mind.

Krishna reached Heaven and demanded Parijata, but he was declined by saying this tree belongs to gods, and humans cannot deserve it. If it will be taken to the earth, deities of heaven will be very unpleasant and there will be no difference between heaven and earth and all the mortal men will become the same as immortal gods. People will stop praising the gods, doing rituals, sacrifices, and righteous things and there will be chaos on earth due to Adharma. So, Krishna, you cannot take the tree to the earth.
Despite all these pledges, Krishna went ahead and uprooted the tree and carried it to Garuda. Seeing this, a war broke down in heaven.

Satyaki, Daruka, Pradyumna all on their chariots accompanied Krishna, mounted on Garuda, and started the attack on Heaven. Along with Indra, his son Jayanta took on Pradyumna in war. With them, Legendary archer Pravara came along to help Indra and started raining arrows on Satyaki. Here, Garuda, the king of birds was busy fighting a fierce battle with four tusked mighty Airavata. Both being celestial creatures, nobody was backing down. After a while, the earth started to shake and havoc created on all the worlds, then Brahma with Aditi appeared in between two armies and calmed them down. He requested both of the gods to stop fighting on behalf of the welfare of all beings. Brahma ordered Indra to give up the tree, along with many more divine gifts to the rest of the wives of Krishna.

Krishna took the tree and planted it on the border of the gardens of both Rukmini and Satyabhama. He planted Parijata in such a way that the trunk will be on Satyabhama’s side and branches, loaded with flowers will be on Rukmini’s side. Satyabhama desired a tree, so she got it, while every day, Rukmini’s backyard was drizzled with celestial flowers.

Krishna Indra Battle at Halebeedu

Krishna Indra Parijat Battle @ Halebeedu, Karnataka — Krishna Indra Battle @ Halebeedu, Karnataka

Krishna Indra Parijat Battle is depicted beautifully here on the walls of Hoysaleswara temple, Halebeedu.
Lord Krishna is flying while sitting on the broad shoulders of Garuda. Satyabhama can be seen on Krishna’s left. Krishna has four hands, holding Shankha, Chakra, Mace, and Lotus holding Satyabhama tightly. Garuda is holding a beautifully carved Parijata tree trunk in his left hand while holding a weapon in his right hand, attacking Indra.
The sculptor has shown the leaves, branches, and flowers of the Parijata tree very elegantly. Looking closely enough, you can see a bird, eating a fruit on a tree as well. Under the tree trunk, you can observe the roots of the tree, waving in the strong winds of heaven. Garuda is wearing some astonishing jewelry. He is wearing a beautiful crown, along with Vanamala, a garland, coming from his shoulders, reaching to the knees. Along with it, he is wearing a belt called Mekhala. Garuda has his signature style pointy nose, resembling a beak of an eagle.
Facing them is Indra, riding on four tusked Airavata, under a parasol. Indra is attacking Krishna with his legendary Vajra, holding in his right hand. Airavata is charging with unstoppable speed towards Garuda, and hence, Sachi, the wife of Indra, is bouncing a bit in her pillion seat. As the elephant charges angrily, its tail gets lifted. Here, the same anger has been depicted by the sculpture with the help of the lifted tail and bulging eye. Ornaments worn by both Garuda and Airavat are worth noticing.

Krishna Indra parijat Battle @ Somnathpura, Karnataka — Krishna Indra Battle @ Somnathpura, Karnataka

The same incident has been carved on the walls of the Somnathpur temple as well. Here, you can see Indra’s wife Sachi, sitting in Howdah. While traveling from Amravati to Dwarika, few seeds of the Parijata tree fell down over the jungles of the Satpura region. In this jungle, you can still find those trees in their natural habitat. During Hemant and Shishir Rutus, you can see the celestial flowers blooming at night, filling the entire atmosphere with a distinct delicate fragrance. In the morning, you will see the entire land beneath them, sprinkled with these while flowers with orange stems, looking like a snowfall.

References:
1. http://www.arvindguptatoys.com/arvindgupta/manekatrees.pdf
2. http://mahabharata-resources.org/harivamsa/vishnuparva/hv_2_075.html
3. Jewel Box of India, Glories of Belur and Hlebeedu, By Dr. Neelkanth Kote
4. Mahabharata Harivamsham, Sanskrit text follows that edited by Pandit Ramachandrashastri Kinjawadekar and published by the Chitrashala Press in 1936.
http://mahabharata-resources.org/harivamsa/harivamsa-cs-index.html
5. Samudra Manthan, Concept art by Ashish Boyne https://cdnb.artstation.com/p/assets/images/images/025/386/235/large/ashish-boyne-smanthanconcept-a004jpg-copy.jpg?1585636831
6. Satyabhama Krishna poster From Chandamama Magzine

शिलंगणाचे सोने - Drifter Adwait

Adwait Karajagi

4–5 minutes

STOTRAMALA
A Garland of Hindu Prayers

आज दसऱ्याचा निमित्ताने लिहिलेला ‘शिलंगणाचे सोने’ असे शीर्षक दिलेला हा लेख ! हे शिलंगणाचे सोने आहे मराठीतील संत साहित्याचे. आणि हे सोने लुटणारा पुरुष आहे अमेरिकेतील न्यू जर्सीचा रहिवासी एक अप्रसिद्ध डॉक्टर जस्टिन ऑबॉट (Dr. Justin Abbott)!! जन्माने अमेरिकन असणारा हा माणूस भारतातच रमला आणि आयुष्याची बरीच वर्षे त्याने महाराष्ट्रात व्यतीत केली. महाराष्ट्राच्या अनेक शहरात, खेड्यात, सुपीक दऱ्याखोऱ्यात व सौंदर्याने नटलेल्या पर्वतात तो फिरला. आणि अशी फिरस्ती करता करता महाराष्ट्रातील संत साहित्याच्या प्रेमात पडला. मराठीतील अनेक संतांच्या लिखाणाचा त्याने गाढा अभ्यास केला आणि त्या साहित्यातील त्याला मनापासून आवडलेल्या काही कविता त्याने स्वतः वेचून काढल्या आणि त्या काव्यपुष्पांचा त्याने बनवला एक सुरेख सुंदर पुष्पहार आणि अर्पण केला एका पुस्तकाच्या स्वरूपात. या पुस्तकाचे नाव आहे स्तोत्रमाला, हिंदू प्रार्थनांचा एक हार. आजपासून बरोबर ९१वर्षांपूर्वी म्हणजे सन १९२९ मध्ये प्रकाशित केलेले हे पुस्तक या अमेरिकन पाहुण्याने अवघ्या महाराष्ट्राला, मराठी संतांना, महाराष्ट्राच्या संतभूमीला अर्पण केलेले आहे. त्याने ज्या दिवशी हे पुस्तक लिहून संपवले तेव्हा तो ७५ वर्षे वयाचा ‘तरुण’ होता. मराठी संतसाहित्याने झपाटलेल्या जस्टिनने ज्या संतांचा अभ्यास केला त्यामध्ये संत श्रेष्ठ ज्ञानदेव,नामदेव, भानुदास,एकनाथ, तुकाराम,रामदास, दिनकर,केशव, त्र्यंबक,देवदास, मोरोपंत आणि महिपती इत्यादींच्या साहित्याचा समावेश होतो.
जस्टिन यांनी उल्लेख केलेल्या काही कवींची नांवे माझ्यासारख्या अनेकांना नवीन असतील असे वाटते. त्यामुळे काहींची त्रोटक माहिती पुस्तकातून इथे दिली आहे. कवी त्र्यंबक हा एकनाथ महाराजांच्या शिष्यापैकी एक असावा. केशव नावाचे कवी म्हणजे केशवस्वामी होत. हे भागानगर (निझामाचा हैदराबाद प्रांत) येथे वास्तव्यास होते. त्यांच्या गुरुचे नाव काशीराजस्वामी. त्यांनी ‘एकादशीचरित्र’ नावाचा ग्रंथ ओवीबद्ध केला होता.
आश्चर्याची व गंमतीची गोष्ट म्हणजे देवदास यांनी रचलेले व्यंकटेश्वर स्तोत्र अमेरिकेतील सुप्रसिद्ध येल विद्यापीठातील ग्रंथालयात उपलब्ध आहे.डॉक्टर जस्टिन यांनी त्या ग्रंथालयातून ते जसेच्या तसे घेतलेले आहे.मूळ हस्तलिखितात नसलेल्या ओळी त्यांनी प्रयत्नपूर्वक वेगळ्या दिलेल्या आहेत.
या मराठीतील काव्य समजावून घेण्यासाठी त्यांना मदत केली त्यात पंडित नरहर गोडबोले हे प्रमुख होते असे त्याने कृतज्ञतापूर्वक नमूद केले आहे.
त्याने आपल्या पुस्तकाच्या प्रस्तावनेत म्हंटले आहे की हे पुस्तक लिहून झाल्यावर त्याच्या मनात अनेक विचारांनी गर्दी केली होती. मी कोण आहे? गेले ७५ वर्षे मी काय केले? या जगात येऊन हे जग अधिक सुंदर होण्यासाठी मी काय कष्ट केले? ज्या हिंदुस्थानात मी आयुष्यातील बहुतांशी वर्षे घालवली त्या देशाला इतर देशातील लोकांनी मानसन्मान द्यावा यासाठी मी काय योगदान दिले? असे नाना विचार त्याच्या मनात घोळत होते. आपल्या प्रस्तावनेत तो पुढे म्हणतो की या साऱ्या प्रश्नांची समाधानकारक उत्तरे माझ्याकडे `नाहीत, पण एक गोष्ट निश्चित ती म्हणजे मी साऱ्या जगाला भारतीय तत्वज्ञानाने भारलेली अशी भेट प्रार्थनेच्या हाराच्या स्वरूपात (Garland of Prayers) देत आहे. ही माझी भेट कृष्णाने जसे सुदाम्याचे पोहे आनंदाने स्वीकारले तसे तुम्ही स्वीकाराल याची मला खात्री आहे असे तो म्हणतो.
या पुस्तकात प्रत्येक संतांची माहिती त्याने सुरुवातीला थोडक्यात दिली आहे आणि नंतर त्या संतांच्या त्याला भावलेल्या काही कवितांचा त्याने इंग्रजीत अनुवाद दिला आहे. त्या निवडलेल्या कवितांवर त्याने आपले भाष्य केले आहे. या कविता मूळ मराठी भाषेत त्याने पुस्तकाच्या शेवटी दिलेल्या आहेत. ‘स्तोत्रमालाशब्दार्थप्रकाश’ या परिशिष्टामध्ये कवितेतील अवघड शब्दांचे अर्थ दिलेले आहेत.
पुस्तकाच्या सुरुवातीलाच त्याने ‘ज्ञानदेवे रचिला पाया’ या उक्तीनुसार ज्ञानदेवांच्या दोन कविता घेतल्या आहेत आणि सर्वात शेवटी महिपतींची काव्यरचना घेतली आहे. कविता निवडताना देवदासांचे व्यंकटेश्वर स्तोत्र, मोरोपंतांची केकावली आणि महिपतींचे पांडुरंगस्तोत्र या गाजलेल्या काव्यांचा त्याने आवर्जून उल्लेख केलेला आहे.
साऱ्या मराठी भाषिकांसाठी हे पुस्तक म्हणजे एका परकीय माणसाने दिलेली एक अपूर्व भेट आहे असे मी मानतो आणि म्हणूनच याला ‘सोने’ म्हणतो. आणि डॉक्टर जस्टिन याने शिलंगणास जाऊन (आपल्या देशाच्या सीमा ओलांडून)मराठी संतसाहित्याचे हे तुम्हाआम्हाला ज्ञात व अज्ञात असे सोने लुटलं आहे यात शंका नाही. म्हणूनच हे एक आगळे वेगळे शिलंगणाचे सोने !!!

मराठेशाहीतील सैनिकांचे पगार व भत्ते याची काळाच्या कसोटीवर उतरलेली शास्त्रीय व पारदर्शक पद्धत - Drifter Adwait

Adwait Karajagi

8–9 minutes

Salary Administration during Maratha period

काही वर्षांपूर्वी आपल्या देशामध्ये ‘वन रँक,वन पेन्शन’ ही निवृत्त सैनिकांसाठीच्या वेतनासंबंधी योजना जाहीर झाली होती हे आपल्याला आठवत असेलच. या योजनेबद्दल देशभर वादविवाद सुद्धा झाले होते. या पार्श्वभूमीवर मराठेशाहीत साधारणपणे ३०० वर्षांपूर्वी आपल्या सैनिकांचे पगार व भत्ते कसे होते हे जाणून घेणे हा एक कुतूहलाचा विषय ठरतो. मराठे सैनिक हे मुळात शेतकरी होते. शेतीची कामे आटोपून ते लढाईच्या मोहिमांमध्ये भाग घेत असत. त्या काळात देखील सैनिकांचा पगार व भत्ते ठरविणे व त्याचे योग्य वेळेस वितरण करणे याची मराठ्यांची एक शास्त्रीय व पारदर्शक अशी पद्धत होती. आपल्या सैनिकांचा पगार ठरविताना त्यांचा हुद्दा, त्यांचा पूर्वलढायांचा अनुभव व शस्त्रे चालविण्याचे कसब (Bio data) लक्षात घेतले जात असे. सैनिकाचे वेतन एका मोसमापुरतेच ठरलेले असे. हिंदुस्थानातील लढायांचा मोसम नेहमी पावसाळा संपल्यावरच सुरु होत असे व उन्हाळ्याच्या अखेर पर्यंत संपत असे. मोसम संपला की सैनिक आपल्या गावी घरी परत जात असे व पुढील मसलतीचे बोलावणे येईपर्यँत स्वतःला शेतावरील कामात गुंतून घेत असे.

सरदारांना दिलेली जहागिरी व सैनिकांचे संख्याबळ:
मराठेशाहीत प्रत्येक सरदाराला व अम्मलदाराला त्याच्या योग्यतेनुसार जहागिरी म्हणून काही वसुलीचा प्रांत पिढीजात असा नेमून दिलेला असे.त्या प्रांतातील शेतसारा त्याने गोळा करावा व आपला सैन्याचा खर्च भागवावा अशी व्यवस्था असे. त्या सरदाराला नेमून दिलेल्या जहागिरीनुसार आपल्याकडे तेवढे सैन्य बाळगावे लागे.शेतसाऱ्याचे उत्पन्न , फौजेतील सैनिकांची संख्या या गोष्टीची रीतसर तपासणी (Audit ) होत असे. प्रांतातून येणाऱ्या वसुलीचा निम्मा हिस्सा मृग नक्षत्र (पावसाळा) सुरु होताच तालुक्याच्या मामलेदारांनी पदरचा आगाऊ ‘रसद’ म्हणून (Advance)द्यावा ,बाकीचा हिस्सा तीन किंवा चार हप्त्यांमध्ये(installments)द्यावा , ही सर्व रक्कम मामलेदाराने आगाऊ दिलेल्या पैशाच्या व्याजासकट वर्ष संपेपर्यंत त्यांनी तालुक्यातून हुकुमानुसार वसूल करून घ्यावी अशी त्याकाळी पद्धत होती. वसुलीच्या रकमेचा ठरवलेला आकडा (Budgeted tax accrual)सरकारातून दरवर्षी मामलेदारास दिलेला असे. आगाऊ ‘रसद’ (Advance)ही जेष्ठ महिन्यापासून हाती येऊ लागताच पावसाळ्यानंतर जी मोहीम ठरली असेल त्याकरता कोणास तीन हजार, कोणास पाच हजार, कोणास दहा हजार तर कोणास अगदी हजार,पाचशे, दोनशेसुद्धा स्वार चाकरीस ठेवण्याविषयी सरकारातून सरदारास हुकूम दिला जाई,तितके स्वार ठेवण्यासाठी जी रक्कम सरदारास वा अंमलदारास वाटली जाई त्याला नालबंदी(contract payment) म्हणत. नालबंदी म्हणजे ज्याला आगाऊ रक्कम मिळाली त्या शिपायाने सरदाराच्या नावाने आपल्या घोड्याला नाल बांधली. म्हणजे तो दुसऱ्या सरदाराकडे कायद्याने जाऊ शकत नसे. आजच्या भाषेत याला Advance म्हणण्यास हरकत नाही.स्वारास नालबंदीची रक्कम मिळाली म्हणजे तो स्वार त्या सरदाराबरोबर एका वर्षाकरिता बांधला(Annual Contract ) जाई. पुढील वर्षी भले ही तो दुसऱ्याकडे जायला मोकळा असे. नालबंदीची रक्कम सरदाराकडे पोचली म्हणजे ते सरदार शिलेदारास (स्वारास) बोलावून आणून त्यास सालिना (वर्षाला)किती तैनात (Annual Salary ) द्यायची ते घोडें व माणूस (त्याचे वय, अनुभव वगैरे) पाहून ठरवीत व नालबंदीची (तैनातीचा तिसरा वा चौथा हिस्सा आगाऊ)रक्कम त्याला देत. शिवाय मोहिमेस निघण्यापूर्वी ‘रवानगी'(Marching allowance) व ‘कापड’ (Clothing Allowance)या सदराखाली काही रक्कम शिलेदारास सरदाराकडून दिली जात असे. मोहीम सुरु झाल्यावर स्वारास ‘रोजमुरे ‘(रोजचा पगार, Daily wages) द्यावे लागत व मोहीम संपल्यावर तैनातीपैकी उरलेली रक्कम (Balance payment )स्वारास द्यावी लागे. त्या संबंधी सर्व पैका मुलुखातील निरनिराळ्या मामलेदाराकडून हप्ते येत त्यातून दिला जात असे. मराठी सैनिकांची चाकरी नेहमी आठमाही असे, क्वचित शत्रूच्या मुलुखात असल्यास व त्यायोगे मोहीम लांबल्यास बारमाही होत असे. हा तपशील व्यवस्थित समजावा म्हणून एक सोपे प्रातिनिधिक उदाहरण घेऊ.

सामान्य सैनिकाच्या पगाराच्या स्वरूपाचे नमुन्यादाखल एक उदाहरण : उदाहरणार्थ; शिलेदारास तीनशे रुपये वर्षाची तैनात(Contract value)ठरली असेल, तर साधारण प्रथेनुसार श्रावण महिन्यात त्या शिलेदारास नालबंदी (Advance) मिळे. समजा, पंचवीस टक्केच्या हिशोबाने एकशे पंचवीस रुपये नालबंदी मिळाली,पुनः भाद्रपदात लढाईला तयार होण्यासाठी पत्र जाईल तेव्हा रवानगी (Marching expenses ) म्हणून परत दहा रुपये मिळाले. पुनः अश्विनात दसऱ्याचे कापडासाठी पन्नास किंवा पंचवीस रुपये रोख मिळाले(say as a Festival cum clothing advance), अशा प्रकारे एकूण एकशे साठ रुपये (१२५+१०+२५) शिलेदारास मिळाले व सरकारातून एकशे चाळीस रुपये (३००-१६०)येणे बाकी (Balance ) राहिले. सरदार मोहिमेसाठी डेऱ्यात येऊन राहिला (Reporting ) म्हणजे मोहीम सुरु झाली. सरदाराचा निरोप मिळताच शिलेदारास लगेच सरदाराकडे डेऱ्यात येऊन दाखल व्हावे लागत असे. त्यानुसार तो कार्तिक शुद्ध प्रतिपदेस घरातून निघून त्याच दिवशी लष्करात हजर झाला की त्याचा रोजमुरा(Daily wages) सुरु झाला. हा रोजमुरा आठवड्याचा चार रुपये ठरला असेल असे म्हणू या. मोहिमेत सात महिने काढल्यावर सात महिन्याचा रोजमुरा एकशे बारा रुपये मिळेल. (७ X ४ X ४). नंतर मोहीम संपल्यावर त्याला बाकीचे (१४०-११२) अठ्ठावीस रुपये वरात अथवा रोख मिळाले की त्याला ठरल्याप्रमाणे सारे पैसे मिळाल्यामुळे कराराची रक्कम मिळाल्याने सरकारशी करार संपवून तो घरी परतला. पाऊस सुरु होण्यापूर्वी आपल्या संसारात रहावे,शेतीभाती व संसाराची कामे पाहावी ,घोड्यास विश्रांती द्यावी,असा त्याचा जीवनक्रम असे. सहा सात महिने कुटुंबापासून दूर राहिल्याने शिलेदारास घरची ओढ असल्याने मसलत संपल्यावर अजून काही आठवडे छावणीस राहणे त्याच्या जीवावर येई.

लांबलेल्या मोहिमेचा खर्चाचा बोजा:
मोहीम सात आठ महिन्यावर लांबली तर सरदारास फौजेचा पगार आपल्या तिजोरीतून द्यावा लागे. त्यामुळे मसलतीच्या ठरलेल्या मुदतीनंतर फौज ठेवायची म्हणजे सरदारांच्या, शिंदे असू दे वा होळकर असू दे, त्यांच्या पोटात धस्स होत असे. कारण उघड आहे. दर स्वारास तीनशे रुपये या प्रमाणे एक हजार स्वार बाळगायचा खर्च तीन लाखाच्या घरात जाई व तो खर्च सरदारांना स्वतःच्या जहागिरीतून भागवावा लगे, पुढे त्यांना छावणीत ठेवायचे असल्यास त्याने रोजमुरा कुठला द्यायचा हा त्यांच्यापुढे यक्षप्रश्न असे. छावणीचा खर्च संरंजामातून द्यायचा ठराव झालेला असल्याने ठराविक मुदतीनंतरचा सैनिकाचा पगार दर दिवसाच्या हिशेबाने सरदारास आपल्या खिशातून करावा लागे.शिवाय पावसाळ्यात बाहेर शेतावर वगैरे आसरा करणे आवश्यक असल्याने त्याच्या आसऱ्याच्या खर्चाची तजवीज केली पाहिजे. सणावाराकरिता व भाद्रपद मासी पक्षाश्राद्धाकरिता शिलेदारास वेगळे पैसे द्यावे लागत. असे वेगळे पैसे प्रत्येक स्वारागणिक ७५ रुपये जरी धरले तरी हजार स्वारांचे पाऊण लाख रुपये लागतील. हा छावणीचा नाहक खर्च सरदारावर पडायचा. अशा दोन वा तीन छावण्या केल्या तर सरदारी लिलावात निघायची वेळ येईल. सरकारच्या सांगण्यापेक्षा जास्तीची फौज बाळगली तर अशा सरदाराची होणारी फजिती विचारू नका.
शेतसाऱ्याच्या वसुलीमधील अडचणी व कर्जाचे डोंगर :बऱ्याच वेळेस राज्यात लढाया किंवा बंडाळी सुरु असेल तर शेतसाऱ्याची वसुली पण नीटपणे येत नसे. त्यातच नैसर्गिक आपत्ती म्हणजे अतिवृष्टी, दुष्काळ वगैरे पडला तर सरदाराची वसुली बुडाली म्हणून समाजावी. उत्तरेतील मोठ्या मोहीम आटपण्यासाठी महादजीकडे बरीच मोठी फौज वर्षानुवर्षे ठेवावी लागत असे. मराठ्यांच्या उत्तर हिंदुस्तानातील मोहीमा अनेक महिने, काही तर वर्षाहून जास्त काळ चालत असत. त्यामुळे शिंदे किंवा होळकर यांच्या मोहीमा बहुधा तोट्यातच असत. मोहिमेचा खर्च व येणारे उत्पन्न यांचा मेळ कधीच बसत नसे कारण खर्च नेहमी उत्पन्नापेक्षा जास्तच असे. त्यामुळे वर्षानुवर्षे कर्जाचे डोंगर वाढत असत. त्यातच काही मामलेदार वसुलीमध्ये खोट (Loss) दाखवीत. त्यामुळे ताळेबंदात(Balance sheet) ओढाताण होई. या सर्व कारणाने मराठे सरदारांचा बराचसा वेळ आर्थिक विवंचना मिटवण्यात जात असे .आर्थिक विवंचनेमुळे ते सदानकदा हैराण असत.
पेशव्यांच्या काळापासून मराठ्यांच्या फौजेचे पगाराचे देणे झालेले असे व ते देण्यासाठी पेशवे व त्यांचे सर्वच महत्वाचे सरदार यांची तारांबळ उडत असे. त्यामुळे यापैकी प्रत्येकाला सावकाराच्या पुढे वेळोवेळी हात पसरावे लागत व कर्ज काढून सैन्याचा पगार द्यावा लागत असे. अवघा हिंदुस्थान आपल्या शौर्याने पादाक्रांत करणाऱ्या मराठे सरदारावर कर्जबाजारी होण्याची अशी वेळ का बरे येत असेल? अर्थशास्त्राच्या पुरातन नियमानुसार जी राजकीय व्यवस्था आर्थिक दृष्ट्या सुदृढ नसते, ती फार काळ टिकू शकत नाही.त्यामुळेच हिंदुस्थानातील एकेकाळी अजिंक्य असणारी मराठी सत्ता लयाला जाण्यामागे अनेक कारणांपैकी एक कारण आर्थिक आतबट्ट्याचा व्यवहार (Loss making expeditions )असू शकेल काय, याचा अर्थशास्त्राच्या दृष्टिकोनातून उहापोह होणे गरजेचे आहे असे वाटते !!
लेखन व संकलन: प्रमोद करजगी
संदर्भ: मराठे व इंग्रज: केळकर न. ची., मराठा रियासत: गोविंद सखाराम सरदेसाई, मराठी राज्याचा उत्तरार्ध: खंड 2: य. वा. खरे

Fort Sajira, Tamil Nadu - Drifter Adwait

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8–10 minutes

Dakshin Digvijay of Chhatrapati Shivaji Maharaj:

Brave Abdullah Khan fought for fourteen months and eventually surrendered on 21 August 1678. Amongst the five hundred soldiers, only a hundred were alive.

References:

Adnyapatra, Written by Ramachandra Panta Amatya, collected by Ramachandra Chintaman Dhere, Padmagandha Publications
Raja Shivachhatrapati, Volume 2, By Babasaheb Purandare, Purandare Prakashan
Sabhasad Bakhar, written by Krishnaji Ananta Sabhasad
The Vellore Mutiny, the first Major uprising of the Indian soldiers of the East India Company’s Army, Paper by Hemant Sane.

Jalakandeswarar Temple, Vellore - Drifter Adwait

Adwait Karajagi

17–21 minutes

Welcome to my blog, where I explore the fascinating world of temple architecture and take you on a journey to discover the hidden gems of India. Today, we will be exploring the stunning Jalakanteswara Temple Vellore, located in Tamil Nadu, India.

This magnificent temple complex, dedicated to Lord Shiva, is a prime example of the intricate and elaborate Dravidian style of temple architecture. The temple is renowned for its stunning gopuram (entrance tower), which stands at an impressive height of 135 feet and is adorned with intricate carvings and sculptures depicting scenes from Sanatana scriptures like Ramayan, Mahabharat and many more..

As I visited this stunning temple, I was mesmerized by the elaborate details and exquisite craftsmanship on display throughout the complex. The intricate carvings on the pillars and walls of the temple showcase the exceptional skill and creativity of the artisans who built it.

The Jalakandeswarar Temple is also surrounded by a serene and peaceful environment, which adds to its spiritual and meditative atmosphere. It is a site of immense religious and cultural significance for the people of Tamil Nadu and is visited by thousands of devotees every year.

Join me as I delve into the fascinating world of temple architecture and explore the rich cultural heritage of Tamil Nadu. Discover the intricate details and exquisite beauty of the Jalakandeswarar Temple and immerse yourself in the spiritual energy of this magnificent site.

Palar is one of the important rivers in Southern India, flowing from the hills of Yelagiri, meeting the Bay of Bengal at Kalpakkam. The ancient town of Vellore is located on the banks of this river. Vellore has been blessed with a very rich history indeed. Many empires such as Vijaynagara, Bijapur Sultanate, Marathas, Mughals, and British ruled here, playing their parts in history. No wonder, these dynasties impacted Vellore deeply. Each old building standing as of today narrates this history. One of those constructions is the Jalakanteshwara temple Vellore.

1556 AD. It was the toughest time for the Vijaynagara empire. Due to an unrecoverable loss at the battle of Talikota, the Vijaynagara empire has lost its favorite city of Hampi, and now they were forced to retreat deep into their southern territory.

Vijaynagara kings took the help of local Nayakas, or the chieftains ruling the smaller areas of Tamil Nadu, and continued their battle with the green forces. One of those Nayakas was Chinna Bommy Reddy, a subordinate chieftain of Vijaynagara King Sadasiva Raya.

In 1566, just one year after the devastating blow of the Talokota battle, he constructed a brilliant fort of Vellore, surrounded by the deep trenches with thousands of hungry crocodiles lurking around in waters.

The Legend

In the vast area of the fort, in one corner, there was a giant anthill, which was surrounded by stagnant water. Chinna had a dream, where Lord Shiva appeared in front of him and ordered him to build the temple on the location of that giant anthill.

The next day, when Chinna Bommy Nayaka went to the location, he saw a Shiva Lingam right in the middle of that anthill. Immediately, he started building a temple around that anthill, today, we know as Jalakanteshwara.

Jalakanteshwara is a Tamil word, translating as Lord Shiva, standing in the water. Just like that anthill.

Jalakanteshwara Temple Architecture

The temple is located in the northern part of the Vellore fort with a total area of 8786 sq meters. As you cross the fort entrance and take a right turn, you will reach the temple in half a minute. At first, this temple doesn’t seem to be that of the big deal by looking at its Gopuram.

But as you approach its entrance, you realize that the rest of the temple has been hidden in the ground. You have to climb down three meters stairs to reach the entrance of the temple. The original floor level of the fort can be seen here. After that, due to floods and new constructions, the rest of the fort floor was raised three meters higher than the temple.

Entrance Gopuram

Entrance gopuram, which is one of the finest and most intact examples of Vijaynagara architecture is 23 meters in height and 15 meters in width. The first 15 meters are built with granite, and the upper 7 storied portions were built with the help of bricks and mortar.

The giant wooden door, nailed in the cold granite doorframe creates the desired impact, both on the minds of visitors and worshippers. Kirtimukhas, Nandi, Shiva Parvati, and several others can be seen on this entrance Gopuram of Jalakanteshwara.

Entrance Courtyard, Jalakanteshwar Temple

As you cross the Giant entrance, you find yourself standing in a splendid courtyard, facing yet another Gopuram, to enter into the main shrine. This courtyard surrounds the main shrine of Jalakanteshwara. On the right-hand side, you will find an ancient stonewell, or Pushkarini, quenching the thirst of thousands of devotes, for hundreds of years.

On your left-hand side, you will find the Kalyana Mantapa of Jalakanteshwar temple. Probably, the most beautiful building in the entire city of Vellore. We will come back to this, later.

The second Gopuram is smaller than the entrance Gopuram, but yet, its beauty is not hidden from the devotees. The doorframe is decorated with scenes from epics like Ramayana and Mahabharata. As you cross the second Gopuram, you come face to face with Lord Ganesh, protecting the eastern wall of the main shrine.

There are several sanctum sanctorum that surround the main temple. Small temples, dedicated to Lord Subramanya, Navagraha, Yadnyashala, temple kitchen, and few other buildings surround the Jalakanteshwara temple. You can visit them as you circumvent the temple.

The main shrine of Jalakanteshwara has been divided into three parts. The biggest portion of the building is dedicated to the Shiva Lingam of Mahadev, which has a common hall, connected to the northern side. The western side of that hall or Mantapa is connected to a Nataraja shrine.

One of the interesting things about the temple is engraved house lizards in the temple walls. People who have been diagnosed with Sarpa Dosha, or the couples who are facing marital issues, or having difficulty being pregnant, donate a silver lizard to the deity. Devotees believe, that doin so will remove the obstacles from their lives.

The front pillars of this hall are decorated with some beautiful carvings from Dashavataras. Currently, the shrine adorned by the Nataraja, initially was the home of Ranganatha, as per some sources, making this temple a temple, visited by both Shaivaites and Vaishanvites.

Kalyana Mantapa of Jalakanteshwara Temple

Even though the temple is built under the patronage of Vijaynagara King, Kalyana Mantapa, the most beautiful building in the Vellore, is the later addition to the temple. It is said, that Nayaka Sadasgivadeva Maharayar added these beautiful sculptures later after the temple was built. Legendary British art historian Percy Brown describes this temple as the Museum by Itself.

The British Thieves

British Museum, London is like Alladin’s cave, in the sense, that most of the precious artifacts, stolen by Britts are kept here, for ‘Preserving and Display’. The India pride project is an organization, which tries to get these invaluable artifacts back from that museum.

Most interesting thing is, this Kalyana Mantapa would easily have been lying there, if Lord Varuna, the Lord of seas would have co-operated with these white pirates. Impressed by the intricate craftsmanship, a Governer of East India Company decided to move this entire building to London.

Immediately, the arrangements were made. Parts of the Mantapa were numbered. Detailed drawings and maps were made, and plans were prepared to dismantle every rock from the Mantapa, to be taken to Britain, and later to be rejoined in a museum. A special ship, with all the necessary arrangements to carry these heavy stones, departed from the shores of Britain.

Due to the grace of Lord Varuna, that ship sunken in the rough seas, and the plan was postponed, waiting for another specialized ship. Meanwhile, the political situation in south India deteriorated further, making Britishers nearly impossible to execute the temple robbery, and thus, this beautiful building was saved.

Kurma Platform:

The mandapa is divided into three layers and 46 beautiful pillars. Each layer is almost one meter taller than the other layer. The tallest platform is the most interesting one. It has a smaller Kurma platform, located in the center. It looks like that this platform has been constructed on the back of the giant tortoise. The tortoise is facing east, with his tail and four legs facing other directions. Several elephants and Ashta Digpalas are helping the Kurma to hold this platform stable on his back.

In older times, when the temple used to be buzzed with devotes, the Kurma platform was used to being the center of everyone’s attention, as marriage ceremonies were used to be performed, right on this platform. But, these days, every tourist comes here, not to take a look at the platform, but to experience the pillars on which the roof of the mandapa is held aloft.

Roof of the Kalyana Mantapa

Often, we make ourselves so busy viewing the temple walls, pillars, and Vigrahas, we tend to forget about the roof. This building is not an exception to this rule. It has one of the most intricate flowers Mandalas you will ever see.

Ceiling of Mandapa, Jalakateswara Temple, Vellore — Kalyana Mandapa Platform Roof 2

You can see three lines of petals surrounding the lotus center. The unique thing about this lotus is, the sculpture has imagined, that as the lotus is inverted, the water droplets must be falling on the grounds, instead of the water. So, the sculpture has carved two parrots for each petal hanging inverted, drying to drink those droplets.

You can see eleven couples, dancing, and celebrating the life, surrounding the lotus. Circles of dancers have been entrapped in an ornate border. Beyond that border, you can see Ashta Digpalas surrounded by their devotees. Starting clockwise, you can see Lord Yama, on 12 o clock (south) riding a buffalo. Next to him, at 1o’clock, you will see two-headed Agni, riding a ram. Three o clock, you will see Indra, riding on his legendary Airavat. At five o clock, you will see Isana, riding a bull. At six, you will see Kubera, riding a horse, at eight o clock you will see Lord Vayu, riding a Gazelle. Moving forward, at nine o clock, you will see Varuna, riding a Makara, and at eleven o clock, you will see Nirrti, riding a human corpse. These Ashta Digpalas are surrounded by their devotees, saluting, praising their lords, and a few of them, holding a parasol, on their lord’s heads.

Pillars of the Kalyana Mantapa:

Let’s come to the pillars of the most famous, and most beautiful structure standing in Vellore city, the Kalyana Mantapa of the Jalakanteshwara temple. These are a few of the most intricate, detail-oriented, anatomically proportionate pillars I have ever seen in my life. Among them, being carved out of black soapstone, the outer pillars are more beautiful than the inner granite ones. Their pillars can be categorized into three types, those are, Yali riders, Sharabh riders, and Horse riders.

Sharabha Riders:

Sharabh Pillars, Jalakateswara Temple, Vellore — Sharabha Grounding the Elephants

Here, you will see an elephant at the bottom, trying to summon the strength to stand up, because it’s being crushed by the weight of the mythical creature Sharabh. One brave soldier is riding that Sharabh. An elephant represents the powerful dynasties, which are being crushed by the owners of the Sharabh, i.e. the temple building Nayakas.

Sharabh is a combination of lion, horse, deer, elephant, and many other members of the animal kingdom. This aggressive creature is very easily tamed by the rider, which can be seen by his effortless expressions. With the help of the chain, he is controlling that eye protruding sharabh. His sharp dagger-like claws and nail-like teeth coming out of his gums are fearsome.

Yali (Vyal Riders)

Like Sharabh, even Yalis are mythical creatures, only to be found in religious scriptures. It’s a combination of part lion, part elephant, and part horse. Also known as Vyal, many times, this animal has several faces, made up of several animals such as lion (Sinh Vyal), elephant (Gaja Vyal), horse (Ashwa Vyal), dog (Shvana Vyal), and even a human (Nir Vyal).

On the pillars of Jalakanteshwara temple Vellore, these evil destroying Yalis, and the brave riders are depicted splendidly. Their bravery, a war face expression, bulging eyes, and protruding teeth look like they are about to enter the battlefield, killing everyone who comes in their way.

Leopard Hunting

The Hunt, Jalakateswara Temple, Vellore — Leopard Hunting @ Jalakanteshwar Temple, Vellore

Even though each and every pillar here makes you stop right there, to admire the efforts and imagination that have been applied there by those anonymous sculptures, my favorite pillar was a leopard being hunted.

Perhaps the most dramatic pillar ever carved, this art stuns you in one place. Hunting was one of the most popular sports being played in medieval India, this pillar allows us to sneak a peak in this ancient sport.

Here, a total of six hunters are being engaged by one aggressive beast, struggling for his life. A chieftain, with an interesting helmet or perhaps a crown, is riding a horse. He is holding an ornate spear, trying to stab the leopard.

The horse has been jumping on its two legs shows the excitement of the play that has been unfolding under his feet. His eyes are bulging out with his mouth open with his teeth and even his gums are looking lifelike. You almost can imagine a foam coming out of his mouth due to the excessive stress. The horse has been decorated with several ornaments.

You can see the rider, with a small mustache has several daggers, quivers filled with bow and arrow, and a couple of swords on his horse. You can see his helpers under the front feet of the horse, holding their shields over their head, saving themselves from the two front legs of the horse. You can see his three other helpers wrestling with the beast.

One man, with a small sword in his hand has managed to stab the leopard in its mouth. In his right hand, he is stabbing the poor beast with the spear. There is another man, kneeling in front of him, who has stabbed the animal into the lower stomach. On the right side of the rider, you can see one warrior, who has stabbed the leopard in its back, and you can see the pointy end of his sword is exiting out from the other end. As that warrior has a strong grip, he is being dragged with the strong leopard.

The leopard is clearly the center of attention here. Bulging eyes, fangs protruding out of the gums, and visible rosettes. He is giving a tough fight, even to the six fierce warriors with weapons. While fighting with these warriors, he has pressed a hunting dog under one of his hind legs. What a masterpiece indeed!!!

Inner entrance, Jalakateswara Temple, Vellore

As the ownership of the Vellore fort kept on changing, after the Vijayanagara empire, darkness gathered inside the fort and in the sanctum sanctorum of the temple as well. When the power was transferred to the Bijapur sultanate, Shiva lingam was removed and kept hidden in a nearby village named Sathuvachari. Almost for 200 years, the temple was without its owner. From the Bijapur sultanate to the British raj, the temple was being used as a military garrison. During Muslim rule, most of the idols were either desecrated or thrown away in the trench.

After independence, several attempts were made in the court of law, or by the people to keep the original Vigraha in the santorum, but being a secular state, all those attempts failed. In 1981, tired of waiting and running out of patience, people decided, that the Vanavasa of their beloved Mahadev is over. By taking over the temple, they established the Vigraha with consecration. And since then, devotees are praying, chanting, and meditating in the premice.

How to reach Jalakanteshwara Temple:

The nearest airport is Chennai, which is 2hr drive away from Vellore.ellore is well connected by train, being one of the major railway stations in Tamil Nadu. Trains from all over the country arrive here every week.Vellore is about 220 km away from Bangalore and 143 km away from Chennai, well connected with super smooth highways.

Places to stay in Vellore:

A wide range of hotels are available in Vellore, which can be booked online. Being in the heart of the city, Vellore fort and Jalakanteshwar temple are surrounded by plenty of hotels.

Reference:
Vellore Fort and the temple through the ages, A.K.Sheshadri, Sri Jalakanteswarar Dharma Sthanam, 2006.

Old Photos of Jalakanteswara Temple Vellore

Entrance to Jalakanteswara Temple Vellore — Temple, converted to Barracks

Kalyan Mandapa, Jalakanteswara Temple Vellore — Photograph of the façade of kalyanamandapa of the Jalankanteshvara Temple at Vellore, taken by an unknown photographer in c.1870

Cannons in front of Jalakanteswara Temple Vellore — Water-colour by an anonymous artist of the main gateway of the temple in the fort at Vellore, dated c.1815

Water-colour painting of the fort at Vellore by an unknown artist, c.1784. Inscribed on the front in ink is ‘Vellore’; on the back in ink ‘View of the Gateway at Vellore.’

Varaha - The Celestial Boar - Drifter Adwait

Adwait Karajagi

10–12 minutes

Embark on a journey through the epic tale of Varaha Avatar, one of the ten incarnations of Lord Vishnu in Hindu mythology. This captivating story follows the exploits of Vishnu in his boar form, as he battles the demon Hiranyaksha to rescue the earth goddess, Bhudevi. With themes of heroism, sacrifice, and divine grace, this myth offers valuable insights into the nature of good and evil, the cycle of creation and destruction, and the enduring power of devotion. Join us as we explore the deeper meaning and symbolism behind this ancient Hindu myth and discover the wisdom it holds for us today.

The Beginnings

Jay Vijay on the entrance of Somnathpura temple

This is one of those stories that are older than ancient times when the earth was just being created. Brahma had four sons naming Sanaka, Sanatana, Sanandana, and Sanatkumara, roaming around in three worlds. Once, they decided to pray to Lord Vishnu and hence, reached the gates of Vaikuntha where Lord Vishnu was residing. Jay and Vijay, beloved doorkeepers of the Vaikuth considered them just ordinary four boys and by insulting them, chased those four away. Offended by the treatment, the Sanakadi brothers exclaimed – “You both have been engulfed in Rajas and Tamasi Gunas (superior and dark virtues). You do not deserve to be near Lord Vishnu. Demon life will better suit you.” Saying, that, they curse both Jay and Vijay to be demons. Realizing the mistake, both doorkeepers apologized immediately to the sages. After calming down, sages accepted the mercy petition and reduced their sentence to three lives. And for each life, Vishnu will liberate them from their sins. Hence, in their first life, Jay – Vijay born as Hiranyaksh and Hiranyakashipu. Next, they were born as Ravan and Kumbhakarna in Treta Yug, and for third life, they were liberated by Krishna, in the form of Shishupala and Dantavakra in Dwapar Yug.

King Daksha Prajapati, had three daughters. One was Sati, who married Mahadev, and the other two were Diti and Aditi. One of the legendary Sapta Rishi, Sage Kashyap married both Diti and Aditi. Aditi gave birth to Gods Surya and Agni. Diti, was pregnant, and after carrying her child for hundred years in her womb, Hiranyaksha was born, and with him, the Demon race began.

Hiranyaksh, grown to become a mighty demon. He went and performed penance for thousands of years to Brahma and Brahma granted him unlimited powers. Brahma also said that he won’t be killed by any God, Demon, or Human as well. Now, Hiranyaksha, the first of the mighty demon became unstoppable. He started harassing the gods, sages and started creating havoc on the newly created universe.

According to Puranas, the universe is made up of a spherical dome, within which, innumerable planetary bodies floating around. Half of the universe is covered in these planetary bodies hovering, and the bottom half is filled with the sea called the Garbhodaka Ocean. Demon Hiranyaksha, first of his name, started churning the sea by just roaming around in it. Being of limitless power, now, his ego had no limits. At the banks of the Garbhodaka sea, where he was churning, he met Sage Narad. Drunk with power, he asked Narad Rishi, has he met anybody, who is as strong as Hiranyaksha. Narad said, there is one, named Vishnu, who is even more powerful than you.

Listening to that, Hiranyaksha started roaming around in-universe in search of Vishnu to challenge him. But meeting the lord is never that easy. The demon could not find the Lord. So, he presumes the giant form, uprooted the earth from its gravitational position, and hide it in the Garbhodaka sea. All the gods and sages freaked out seeing this and ran towards Brahma to save the earth. Generally, in speaking terms, the bottom of the sea is considered to be muddy, unclear, and filled with sediment. You need the extraordinary sniffing capacity to find something out in that muddy waters.

Birth of the Lord

Listening to the gods, Brahma started meditating. And from his Nostril, a very small Boar emerged and started floating around him. Within a few seconds, it grew drastically, making itself visible to all the universe. While growing, it roared, and with that thunder, gods knew, Vishnu has born in the form of Boar, or, Varaha. Varaha, jumped high in the air, till heaven. His snout was like an arrowhead, his tusks were gleaming with power, while his thick hairs making that fearful Psithurism like sound. He floated in the highest point of the universe for a second, and with all of his might, dove straight away towards Garbhodaka sea like a missile, while still growing. As his body touched the water surface, tsunamis rose, bigger than Himalaya mountain, making the sea unstable.

As Varaha dove right into the endless abyss, all the gods, Yakshas, and demigods gather around to see what is happening. Using the senses of extraordinary sniffing ability, Varaha managed to locate the earth, at the bottom of that dark and muddy galactical waters. Above the surface, a long time had passed, and as all the hope and patience were about to lose, an enormous bulge appeared. Within the bulge, earth resurfaced, balanced perfectly on the long snout of the boar, held at the place by his two divine tusks. Varaha took the earth, back to its original space and roared again in the challenging tone.

Responding to the challenge, Hiranyaksha could not help himself to stay put. He immediately charged towards Varaha. Varaha, born ready, also forced himself onto the demon with the speed of light and the horrendous battle started. As being the first of the demon, and due to the boon granted by Brahma, Hiranyaksha was very much powerful to overcome. Both of them used various weapons on each other, but they were the perfect match for each other. While, all of the gods, demigods, sages and even Brahma himself started chanting prayers, Varaha got his hands on one legendary mace named Kaumodaki. With this weapon, Varaha hit a blow on the head of the demon, resulted in killing him in one instant bang.

Although not praised these days much, Varaha was a significant symbol of Power and might during the Indian middle ages. The mighty Hindu empire, the Vijaynagar Empire, stood against the Islamic invasion, stopping the green tide in 1336. They have given Varaha, a proud place on their flag, in the form of wild boar. When this sun-moon-dagger and boar flag flattered high on the battlefield, it used to strike fear in the eyes of Islamic forces, surrounding the Vijaynagar empire.

Just to mention, the most unholy animal Kur@n mentioned is- A pig. Just a coincidence? I don’t think so.

Few cryptozoologists refer to this legend of Varaha to Entelodont, the giant Jurassic ancestor of Boar.

According to Puranas, these numberless planetary bodies are floating around due to their inner constitution and composition, creating a web of gravitational pull, holding planets to each other. A slight variation in the core of the planet may lead to the collapse of the planet into the Garbhodaka sea. Hiranya means Gold. As per CryptoScientists, this Hiranyaksha was one of the first oil driller and gold explorers, who dug too deep, resulting in changing the core of the earth. Change in the core composition led to the alteration of the gravitational pull, resulting in the falling of the earth into an endless abyss. Hence, this story gives us the message of preserving the earth, to keep its exploitation to its minimum. Otherwise, we will have to depend on a god to take the form of supergiant wild boar to save it.

Varaha at Hoysaleshawara temple, Halebeedu

Hoysalas were Flag holders of Dharma during the southern invasion of the Khilji Dynasty. Varaha, once popular, but now forgotten god, found a place on their gorgeous temples. These Varaha sculptures are Purana lessons in themselves. Here, you can see, the whole story is trapped in beautiful Prabhaval or, an ornate arch. Twelve-handed Vishnu, along with his beloved Panchajanya Conch, Sudarshan Chakra, Lotus, and Kaumodaki mace, holding few other weapons like Vajra, bow, and arrow. His face is beautifully carved as a wild bore, with two tusks coming out from his mouth. His snout is visible, just like a boar. He gently upholds the earth, in the form of a woman (Bhu-Devi) on his left shoulder, and by supporting her with one hand. Beneath his feet, you will see demon Hiranyaksha, holding a sword, just before dying. His fangs are out as he cries in pain while his eyes cannot withstand the weight of Varaha. Under another foot, some other demon, holding a sword and shield is trying to escape the angry boar. Although the statue is badly damaged, you can feel its grace.

Somanathpura Temple Varaha

One more statue can be found in Chennakesava temple, Somnathpura, where Varaha has four hands. In his upper two, he is holding beautifully carved Chakra and conch shell. Kirtimukha has been depicted on these two powerful symbols of Vishnu. In the other two hands, he is carefully holding a slightly elongated globe, that is, our earth. Isaac Newton first proposed that Earth was not perfectly round. Instead, he suggested it was an oblate spheroid—a sphere that is squashed at its poles and swollen at the equator. In astronomy, a planet’s elongation is the angular separation between the Sun and the planet, with Earth as the reference point. The greatest elongation of a given inferior planet occurs when this planet’s position, in its orbital path around the Sun, is at a tangent to the observer on Earth. I hate to be that guy, but, this temple was erected in 1258 while Newton was born in 1643. Just saying.

Varaha on Ranganayaki temple, Chennakeshava temple, Belur.

6 Avatars, Hiranyaksha & Hiranyakashyapu

References:

1. Varaha Purana
2. Srimad Bhagvat Puran
3. https://vaniquotes.org/wiki/Garbhodaka_Ocean
4. https://en.wikipedia.org/wiki/Elongation_(astronomy)
5. https://en.wikipedia.org/wiki/Vijayanagara_Empire
6. http://gloriousindianhistory77.blogspot.com/2016/11/vijayanagar-golden-epoch-in-indian.html
7. Vimanika comics

Narsimha- The Most Ferocious Vishnu - Drifter Adwait

13–16 minutes

A fascinating tell of Hiranyakashipu, Prahlada and Narsimha as seen on the walls of ancient Indian temples.

Hiranyakhsa, a demon, who kidnapped the earth, got killed by Varaha, the incarnation of Vishnu. He had a brother named Hiranyakashyapu. After learning about his brother’s death, he went to the jungle and offered penance for thousands of years to Lord Brahma to get revenge. Impressed by his devotion, Lord Brahma appeared in front of him and asked him for a boon.

Hiranyakashyapu exclaimed, Lord Brahma, if you want to give me something, please offer me something I really seek. The cause of my death should not be the thing dry, wet, the water, the fire, the wood, the insect, reptile, the stone, the air, any of the weapon, the mountain, by the men, the gods, monsters, the Gandharvas or the daemons, the dinners, the monkey or any animal in the world. It should not be through any of the Matruganas like Durga, etc. My death should neither occur inside the house nor outside. Nor should it be during the day or night and even more, altogether the means for the death generated by you should not be the cause of my death, o gracious god, I ask the same from you.

After receiving these powers from Brahma, unavoidable things began to happen. The monster, after acquiring mysterious boons, started abusing his powers. Deamon King Hiranyakashipu took over all the three worlds, driving the sages and hermits away from heaven.

Hungry for some more power juice, Hiranyakashipu decided to gain some more boon from Brahma. He went towards mount Kailasa and, under a tree, started worshipping Brahma again. Seeing this, already agitated gods came running to Brahma, requesting him not to grant the Demon any more powers. Son of Brahma, an imp of a sage Narad muni, assured deities that Hiranyakashipu won’t get additional boons from Lord Brahma. He and hermit Parvata got transformed into Birds and flew away towards the tree under which the demon king was worshipping. Both the birds started chanting Om Namo Vasudevay Namah (Salute to the Lord Vasudeva).

Listening to this, Hiranyakashipu got agitated, and his penance was interrupted. Being annoyed, he tried to kill the birds with arrows, but Parvata and Narada flew away. Demon considered this as a bad omen and returned to his Palace. During the night, while romancing with his wife, he told the story of those two birds and why he had to come back without a boon from Brahma. While telling the story, they got intimate, and Demon chanted Om Namo Vasudevay Namah.

While all three worlds were burning under the rule of the demon king, the strangest thing happened. Kadhayu, the queen of Hiranyakashipu, gave birth to a Vishnu devotee named Prahlad due to chanting Vishnu’s name during the coitus.

Days passed by, and the world continued to burn while Prahlad emersed in Vishnu Bhakti more and more. Father got to know about the business of his son, and he got mad. Hiranyakashipu tried all the Sam, Dam, Dand, and Bhed, but he did not manage to shook his son’s faith in his arch-nemesis Vishnu.

Tired of his devotion, Prahlad was sent away for schooling. After completing his education, Prahlad returned to the Palace and met his father, Hiranyakashipu. The next day, as per the traditions, prince Prahlad demonstrated all that he had learned during his studies in full court. Finally, he requested his father to give up his evil ways, stop tormenting good people, and surrender himself to the Vishnu. Hiranyakashipu considers this advice of his son, given in front of his ministers, a great offense.

Tired of his dedicated passion towards Vishnu – the murderer of his brother Hiranyaksh, Demon king decided to end his son’s life. Hiranyakashipu had a sister named Holika, who was was immune to the flames. She held Prahlad and sat in the pire of burning flames. Due to the sheer meditative devotion of Prahlad, Holika burned herself while flames could not even touch Prahlad. That was the beginning of the Holi celebrations in India, one of my favorite festivals of all time.

Raged due to the loss of his sister, Rakshas King tried to stampede Prahlad under the footsteps of drunk elephants. But, as insane elephants approached Prahlad, listening to the chanting of Om Namo Vasudevay Namah, he got pacified and started praising the Prahlad himself.

Now, it was time for Poison. Very poisonous snakes were set free on Prahlad while he was asleep. Nothing happened. His servants tried poisoning his food, but nothing happened. Prahlad just kept chanting his Lord’s name and carried on.

Prahlad and Snakes:

अथ ज्वलद्रुशन कराल दंष्ट्रिण । स्फ़ुटस्फ़ुरद्रुशसहस्त्रभिशणाः ॥

अकर्शका हरिमहि स्वकर्शकः । हरिप्रियम द्रुततरमापतन्तुषा ॥

अलं न ते हरिवपुषं तु केवलं । विदश्यं तं निजदशनैर्विना क्रुता: ॥

The most poisonous snakes, with their terrifying jaws making the hissing sounds, gripped Prahlad at once. But they could not even make a scratch on Prahlad. Instead, their jaws started oozing blood snake charmers reported this back to their Lord Hiranyakashipu.

Wrestlers and Prahlad

अश्योद्धतास्त्रा दैतेयास्तजर्ज्ययंतः प्रगर्जितै:। अच्युतस्य प्रियं भक्तम तं जदधनु पतीनोदीता: ।।

Complying to their Lord, Hiranyakashipu’s soldiers started cursing and slapping Prahlad. Seeing his devotee’s concentration, Lord began to giving him protection. The weapons used by them could not touch Prahlad, and they turned into the soft petals of blue lotus.

Demon wrestlers were set on Prahlad, but their powerful punches were converted to soft blue lotus petals. All the weapons were shattered as those could not even touch Prahlad. After a while, those weapons started coming back to their wielders, and soldiers in the army began getting injured or dead. This created havoc in the demon army. After seeing these attempts futile, King exiled the prince from his Palace. Now, living away, Prahlad started preaching the Vishnu to the everyday citizens of the kingdom of his father. Many started worshipping Vishnu and followed Prahlad.

Prahlad and Sea

जलशायिप्रियम नित्वा जलराशौ निचिक्षिपुः । बलिनस्तेऽचलान दैत्या तस्योपरि निधाय च ॥

शशंसुस्तं प्रियम राज्ञै द्रुतं तान सोप्यमानयत । प्रल्हदं चाब्धिमध्यस्थं तमौर्वाग्नि मिवापरम ॥

Those fool demons tied Prahlad, took him to the seashore, and dropped him into the waves of the ocean. After that, they put gigantic rocks on Prahlad and reported back to their King Hiranyakashipu. Samudra, the Lord of Oceans offered his powerful protection to Prahlada, and escorted him safely to the shores.

Now, that was the last straw he pulled, and thus, Demon called his son again into his court. Upon arriving, he drew his infamous sword Chandrahas and ran towards Prince Prahlad. Holding the prince in his hand, he asked Prahlad, “Stupid kid, where is your Vishnu now? As you claim, he is omnipresent, will he come here right now if I kill you?” Shouting this, he swung his sword, but it missed Prahlad and got stuck into the pillar next to him. It was the loudest crack, as the big pillar blasted open and gigantic dreadful, and the furious figure of Narsimha appeared. His eyes were massive, with vast mouth, large jaws, and long arms. His nails and feet were very long and pointed. His mouth was glowing like the fire of death; his jaws were spread till his ears.

War broke in the Kingdom of Hiranyakashipu. Armies of the three worlds came down, collapsing onto the Narsimha. But, with his strong hands and his formidable mouth, he started ripping them all, one by one. Demon armies tried their best, but they were defeated in front of the wrath of the vicious God one by one. His roar was so frightening, monsters, demons, Rakshasaj started running with fear.

Now, the sun was settling down at the horizon, Hiranyakashipu faced the God who slashed his entire army of million demons alone. Then, the God caught Hiranyakashipu forcibly, suppressing his armory and all his physical powers. He dragged him to the threshold of his Palace and started piercing his body by keeping him on his thighs. The same chest, on which when Airavata attacked, lost his tusk, the same chest on which the ax of Mahadev went blunt, was torn apart by just the nails of this monstrous God. After digging the chest of the demon king, Narsimha ripped his heart out and squeezed it while laughing wicked. Alas, the notorious demon bit the dust. Brahma, Mahadev, and all the rest of the sages started showering Narsimha with divine flowers, which calm him down a bit. That’s the story of Narasimha.

The prevailing fate

यत्राखण्डलदन्तिदन्तमुसलान्याखण्डिताहवे । धारा यत्र पिनाकपाणिपरशोराकुण्ठता मागतम ॥

तन्मे तावदुरो न्रृसिंहकरजैर्व्यादिर्यते साम्प्रतं । दैवि दुर्जनता गते त्रुणमपि प्रायोप्य वज्ञ्यायते ॥

The same chest on which Airavata’s teeth was shattered, Lord Mahadeva’s axe blow went blunt, pierced by Narsimha. They were right when they said that even just a straw is disastrous when you get rejected by destiny.

Narsimha at Chennakeshava Temple, Belur

Chennakeshava Temple, located in Belur, is known for its legendary minute craftsmanship. It’s Grabhagriha, or Sanctorum has the most beautiful fall ceiling you will ever see in your life. The inside roof is made up of 52 huge soapstones with intricate carvings interlocked with each other. Especially the Narsimha Chandelier. Here, the inside of the temple looks something like this. If observed minutely, you will see Narasimha with Hiranyakashipu. Hoysala Narsimha is the ferocious one. Here, you can see the demon king Hiranyakashipu on his lap. Narsimha has sixteen hands holding various weapons. A small armory can be filled with all the weapons he is holding. As being the incarnation of Vishnu, he is holding his beloved Conch, Disc, Mace, and Lotus. Apart from this, he has an arrow, Pash, a bell, along with some more weapons. His eyes are bulging out with extreme anger as he roars. Narsimha is tearing the stomach of Hiranyakashipu, and while doing so, in his long fingers, demon intestines are entangled. Narsimhais is wearing those intestines as garlands. That’s why he is called Ugra Narsimha or fierce Narsimha. He has KirtiMukha, engraved on his crown, but the most gruesome face is that of Narsimha’s. Demon on his lap is holding a shield in his left hand, and he is shouting in agonizing pain, as you can observe from his serpent-like fangs and bulging eyes. You can see Garuda with wings on the right-hand corner, a bit scared, saluting his master Narsimha. Besides him, you can see Prince Prahlad sitting near the Lord’s feet.

Narsimha at Hoysaleshwara Temple, Halebeedu

While the sculpture at the Hoysaleshwara temple has been Vandelized by Islamic Invaders, you cannot miss the beauty of whatever remains. Here, on the bottom right corner, you can see Garuda locking a shield with Hiranyakashipu. You can easily identify him with his pointy nose. But, the absolute artistic brilliance of imagination lies in your bottom left corner. Narsimha is trying to rip the face of one of the demons of Hiranyakashipu. While doing so, along with his face skin, his eyes are also plucked out by the sheer brute force of Narsimha, making the demon skull exposed with empty eye sockets.

Everyone knows this story. At least some parts. But, until I visited the Hoysala temples, I did not understand the intensity of it. For the Hoysala dynasty, the home god (Griha Devata), Narsimha, was a symbol. Symbol of power, bravery, Dharma, ferocity, and courage. You can find Narsimha on the entrance, inside the temples, on the pillars, on the walls outside the temples, and even on the roof, right in the middle, surrounded by Ashta Digpalas.

The story of Narasimha and Prahlad teaches us a few things.

There is a time for everything. There is a limit to the suffering of the righteous, and there is a limit to the atrocities of evil. Narsimha could have appeared any time in front of Hiranyakashipu and slain him. But he seemed only when Demon attacked Prahlad by himself with the sword. That’s when he crossed his limits of barbarity.

Your fate is decided by your Karma and not by the family in which you take birth. Lotus can blossom in the muddiest of waters. Born in a demon family, with his virtue, devotion, and Karma, Prahlad is known as one of the greatest devotees on the earth.

Initially, Hiranyakashipu wanted immortality but was denied by Brahma. Thus, he ended up creating a very complex boon for himself, which he thought was failproof. But, fate and nature always find ways to punish the defaulters. Whether it may be a part lion – part human executioner, or it may be an invisible microbe called coronavirus. Fate always prevails.

Chennakeshava Temple, Belur Sanctum Entrance

Center Part of roof, Chennakeshava, Belur

Badami Keval Nrusimha (L) and Ananta Vishnu (R)

Ananta Vishnu Badami — Badami Keval Nrusimha (L) and Ananta Vishnu (R)

Narsimha, Bhog Nandishwar temple, Karnataka

Reference:
1. Narsimha Puranam, Sanskrit Text -English Translation and Index of Verses, Chapter 38 to Chapter 42.
2. Mahabharat, Geeta Press Gorakhpur.

जीवबादादा बक्षी: महादजींची तळपती तलवार -

Adwait Karajagi

12–15 minutes

गोवा सरकारचे ‘खेलरत्न’ पुरस्कार दरवर्षी देण्यात येतात. हे पुरस्कार राज्यातील खेळाडूंना त्यांच्या खेळातील प्रावीण्याबद्दल व त्यांच्या क्रीडा क्षेत्रातील एकूणच वैशिष्ट्यपूर्ण योगदानासाठी सरकारच्या क्रीडा प्राधिकरणातर्फे देण्यात येतात. या पुरस्काराचे नामकरण “बक्षी बहाद्दर जीवबादादा केरकर पुरस्कार” असे करण्यात आलेले आहे. गोव्यातील जनतेला हे जीवबादादा केरकर कोण आहेत याची ओळख असण्याची शक्यता आहे पण देशातील इतर जनतेला जीवबादादा केरकर कोण आहेत याची ओळख असण्याची सुतराम शक्यता नाही. तर मित्र हो,या लेखात आपण बक्षी बहाद्दर जीवबादादा केरकरची ओळख करून घेऊ. या जीवबादादा बक्षी यांची एका वाक्यात ओळख करून द्यायची म्हणजे एक शूर मराठा सेनापती व मुत्सद्दी, महादजीं शिंदे यांचा सावलीप्रमाणे साथ देणारा जवळचा सहकारी व शिंदे घराण्याची तीन दशकाहून अधिक काळ सेवा करणारा असा एक प्रसिद्धी परान्मुख व्यक्ति अशी करून द्यावी लागेल!!सन १७६१ ते १७९६ पर्यंत म्हणजे सुमारे ३५ वर्षे जीवबा दादा नि शिंद्यांच्या मुख्य सेनापतीचे व प्रमुख सल्लागारांचे काम केले.

बालपण व पूर्वचरित्र :(१७४०ते१७५६पर्यंतचा काळ)जीवबादादांचे वंशज गोमंतकातील केरी गावी राहत. केरी हे गांव पणजीपासून सुमारे ३० किलोमीटर अंतरावर आहे. मोरज गाव पासून आठ दहा मैलावर हरमल व केरी असे एकास एक लागून गावे आहेत. जीवबांचा पूर्वज केरी येथे स्थायिक झाला. त्याच्या वंशजांनी तेथे जमीन जुमला संपादन केला होता. केरी गाव तेरेखोलच्या खाडीवर आहे. खाडीच्या तोंडाशी तेरेखोलचा किल्ला आहे.जीवबाच्या आजोबांचे नाव विठ्ठल पंत. त्यांना तीन मुलगे होते. त्यांची नावे गणपतराव, बळवंतराव आणि रामकृष्णराव. जीवबाचे वडील म्हणजे गणपतराव, परंतु बळवंतराव याना मुलगा नसल्याने त्यांनी जीवबाला दत्तक घेतले. त्यामुळे त्यांचे नाव जीवबा बल्लाळ (बळवंतराव) असे झाले. जीवबाचा जन्म सन १७४० मध्ये झाला. तो लहान असताना , त्याच्या घरातल्या लोकांना मळगाव , सावंतवाडी येथे एक बैरागी भेटला , त्याने जीवाबाकडे पाहून त्याच्या वडिलांना भविष्य सांगितले, ‘ ये लडका मुसाफिर को निकल जावे तो उसको रोकना मत. ये बडा भाग्यशाली निकलगा. वो जहाँ जावे, वहा उसकी फत्ते होगी. ये मेरा बोलना ध्यान मे रखना . “
उमेदवारीची वर्षे (१७५६ ते १७६०): जीवबाचा उमेदवारीच्या वयात त्यांचा मुक्काम कोल्हापूर व पुणे इथे झाला. सन १७५६ मध्ये साधू महाराजांच्या आदेशानुसार जीवबाने घर सोडले व आपले नशीब अजमावण्यासाठी तो बाहेर पडला. सुरुवातीला तो कोल्हापूरला पोचला, तेव्हा त्याची परिस्थिती बिकट होती. तेथील देवीच्या देवळातील ब्राम्हणाने त्याला काही दिवस आश्रय दिला. कोल्हापूरला ज्यांच्याकडे उतरला होता, त्यांनी पुण्याच्या सरदार बर्वे यांच्या नवे एक पत्र दिले होते. ते पत्र घेऊन जीवबा पुण्यात सरदार बर्वे यांच्याकडे सन १७५७ साली आला. बर्व्यांच्याकडे असताना त्यांच्या घोड्याच्या पागेची जबाबदारी जीवबादादावर सोपविण्यात आली होती.बर्व्यांच्याकडे नोकरी करत असताना त्यांच्या बरोबर पेशव्यांच्या वाड्यात त्याचे जाणे येणे होऊ लागले. जीवबादादांची हुशारी, चातुर्य पाहून पेशव्यांनी त्यांची वाकनीस म्हणून दरबारी नेमणूक केली.

महादजी शिंदे यांची भेट: जीवबा दादांची व महादजी यांच्या प्रथम भेटीबद्दलची एक आख्यायिका सांगितली जाते.एकदा महादजी शिंदे यांना पेशव्यांनी मेजवानी दिली. महादजीला तिळाची चटणी फार प्रिय. ती नेमकी त्या दिवशी जेवण्यात नव्हती. हे जीवबास आधीपासूनच माहित होते. जेवताना ताटात वाढलेले सर्व पदार्थ निरखून महादजीने जीवाबाकडे पहिले. महादजीच्या मनातील विचार ओळखून ‘आज सोमवार आहे म्हणून केली नाही ‘ असे त्यांनी तत्परतेने महादजींना सांगितले. याचे महादजीस कौतुकास्पद आश्चर्य वाटले. त्यांच्या मनातील गोष्ट जीवबास समजली होती. त्याच्या चतुरतेचे आणि समय सूचकतेचे महादजींना न वाटल्यास नवल! (या प्रसंगाची हकीकत असलेले त्यावेळचे पत्र जिवाजीराव यशवंत केरकर म्हणजे जीवबादादाचे नातू, यास सापडले होते. ते त्यांनी केरी येथे पाठवले होते. हल्ली ते पत्र मिळत नाही. राजश्री भास्करराव सुभेदार ग्वाल्हेरहुन केरीस आले त्यांनी जीवबादादाची बखर लिहायला सुरुवात केली त्यात हा मजकूर आहे.) पुढे काही दिवसांनी दुर्दैवाने सरदार बर्वे अचानक वारले तेव्हा त्यांच्या सरदारकीची वहिवाट पेशव्यांनी जीवबाला दिली. जीवबाने प्राप्त परिस्थितीत हाताखालील निवडक फौजेची तसेच शिपाई, घोडे व इतर सरंजाम याची व्यवस्था नीट ठेवली.

महादजी शिंदे यांना शिंद्यांची गादी मिळण्यासाठी जीवबादादा यांची कामगिरी:महादजीला शिंद्यांची जागिरी देण्यासंदर्भात अजून एक हकीकत आढळते.जनकोजीच्या मागे राणोजीच्या औरस संततीचा नष्टांश झाला असे मानले गेले होते. तेव्हा आता शिंद्यांच्या सरदाराची वस्त्रे कोणाला द्यावी या विषयी पेशव्यांच्या दरबारात वाटाघाटी सुरु झाल्या. त्या वेळी मराठी साम्राज्याची स्थिती अत्यंत शोचनीय झाली होती. पानिपतच्या भयानक आघातानंतर नानासाहेब पेशवे जरी जिवंत होते तरी ते शोक सागरात बुडाले होते. त्यामुळे राज्यकारभार रघुनाथ राव उर्फ राघोबादादा बघत होते. पेशवे दरबारी योग्य सल्ला देण्यास मुत्सद्दी मंडळी उरली नव्हती. राघोबादादाचे महादजी बरोबर नीट पटत नव्हते व नारो शंकरावर त्यांची मर्जी होती. त्यामुळे शिंद्यांची गादी महादाजीस न देता ती नारो शंकर यास द्यावी असे दादासाहेबांनी सुचविले. नारो शंकर यांनी पेशव्यांची उत्तर हिंदुस्थानातील मुलुखाच्या बंदोबस्ताची व वसुलीची कामगिरी बजावून राघोबादादाची मर्जी संपादन केली होती.

महादजी पानिपतच्या संग्रामात प्रत्यक्ष हजार असताना, आपल्या बापाची गादी मागण्यास ते पेशव्याकडे गेल्यावर राघोबादादानी सारासार विचार न करता नारो शंकर यास शिंद्यांची गादी देण्याचा बेत केला. अशावेळी शूरपुरुष राम राघो पागे आणि जीवबादादा बक्षी यांनी महादजीचा पक्ष अभिमानाने उचलून त्यांना शिंद्यांची जहागिरी मिळण्याच्या दृष्टीने त्या अनुषंगाने खटपट चालू केली.त्यांनी नानासाहेबांची गाठ घेऊन या जहागिरी संबंधाने अन्याय होत होता तो नाहीसा केला. ‘शेणवी वीर व मुत्सद्दी ‘या बखरीत या अर्थाचा मजकूर आढळतो: एके दिवशी राघो राम पागे श्रीमंतांच्या दरबारात येत होते, मार्गात त्यांची व जीवबादादा यांची भेट झाली असता जीवबादादा बोलले की शिंद्यांची गादीचा विषय श्रीमंतांशी बोलून योग्य तो निर्णय घेऊ.लगेचच ते पेशव्यांच्याकडे जाऊन श्रीमंत नानासाहेब याना विनंती केली की शिंद्यांची वस्त्रे महादजी शिंदे राणोजींचा पुत्र यास द्यावी. यावर नानासाहेब पेशवे यांनी शंका व्यक्त केली की त्याजकडून एवढे मोठे काम कसे होईल?तुम्ही जबाबदारी घेत असाल तर तुम्हास सुभा सांगतो. त्यावरून जीवबादादा आणि राघो राम पागे ‘हिंदुस्थान सुभ्याची जहागिरी महादजीच्या नावे करून द्यावी.बाकी सर्व बंदोबस्त आम्ही करू. सरकारांनी या विषयी काळजी करू नये.’ दोघा सरदारांनी महादजीच्या वतीने असा विश्वास दिल्यावर नानासाहेब पेशव्यांनी शिंदे घराण्याची वस्त्रे महादजी शिंदे याना दिली.१७६१च्या मध्यास ही घटना घडली. महादजी शिंदे याना जहागिरी मिळाल्यावर जीवबादादा बक्षी व राघोराम पागे यांनी त्यांना राज्यकारभारात सुसूत्रता आणण्यासाठी सक्रिय साहाय्य केले. जीवबादादा हे शिंद्यांचे सेनापती होते व राज्यकारभारात इतर सेवेत देखील त्यांचा सहभाग असे. महादजींच्या गैरहजेरीमध्ये शिंद्यांच्या राज्याची धुरा ते सांभाळत असत.

जीवबादादा बक्षी यांनी केलेल्या महत्वाच्या लढाया: जीवबादादा हे शिंद्यांचे प्रमुख सेनापती असल्याने शिंद्यांच्या प्रत्येक लढाईत त्यांचा सक्रिय सहभाग असे. अशा प्रकारे त्यांनी केलेल्या काही वेचक व महत्वाच्या लढायांची संक्षिप्त माहिती आढावा स्वरूपात दिलेली आहे.
१.म्हैसूरची मोहीम: सन १७६९. म्हैसूरच्या राजाने पेशव्यांची खंडणीसाठी देण्यास नकार दिला. तेव्हा पेशव्यांचे सरदार गोपाळराव हरी पटवर्धन याना फौजेसहित जीवबादादांनी मदत केली.या मोहिमेत जीवबादादा यांनी नजरेत भरावी अशी कामगिरी केली होती.

२.चितोडची लढाई: सन १७९१ उदयपूरचा गादीवर राणा भीमसिंग बसला होता. त्याने पूर्वापार चालत आलेली खंडणी देण्यास नकार दिला. तेव्हा महादजी शिंदे सोबत बाळोबा तात्या दिवाण, नारायण राव बक्षी, सदाशिव मल्हार, कंपू व जीवबादादा होते. या लढाईत शेवटी राणा भीमसिंग शरण आला. या लढाईचे वैशिष्ट्य म्हणजे शक्तिशाली मोंगल सम्राट अकबराला चितोड जिंकायला १२ महिन्यापेक्षा अधिक काळ लागला होता, तोच गड महादजींनी आपल्या युद्ध कौशल्याने व मुत्सद्देगिरीने काही आठवड्यात जिंकला.

३.बदामीची लढाई व बदामीच्या किल्ल्यावर भगवे निशाण: १७८५पासून टिपूविरुद्ध सुरु झालेली सुरु झालेली लढाई सन १७८६ मध्ये निर्णायक अवस्थेत आली तेव्हा पेशव्याजवळ निझाम, भोसले, होळकर, जाधव, निंबाळकर, घाटगे, शितोळे, आंग्रे, पाटणकर, थोरात वगैरे राजे व सरदार व त्यांच्या सेना होत्या.१ मे१७८६रोजी मराठयांचे सैन्य बदामीवर चालून गेले. या लढाईत जीवबादादा आपल्या ३५०० सैनिकांसह चालून गेले व त्यांनी आपल्या पराक्रमाने विजयश्री खेचून आणली.

४.इस्माईल बेगचे बंड व जीवबादादाचे कर्तृत्व: सन १७९२. शिंद्यांचा एकमेव शत्रू इस्माईल बेग त्याने बंड उभारून शिंद्यांना त्रास द्यायला सुरुवात केली. इस्माईल बेगने गुलाम कादिरच्या शूर बहिणीच्या साहाय्याने कानोड येथे किल्ल्याच्या आश्रयाने शिंद्यांना विरोध सुरु केला. इस्माईल बेगची ही तयारी सुरु असताना जीवबादादांनी जगोबा बापू, लखबादादा, व पेरन हे सरदार बंदोबस्तावर पाठवले. त्यांच्या हातून मोहीम फत्ते होईना. ही वार्ता ऐकून जीवबादादाने पतियाळा येथील खंडणीचे काम आटोपून धाव घेतली. जीवबानी तेथे आल्यावर कानोदच्या किल्ल्यावर एव्हढा जोरदार मारा केला की शत्रूचे हाल झाले. शेवटी जीवबादादांनी किल्ला जिंकून इस्माईलबेग याला कैद केले.

५. गुलाम कादिरचा वध: डिसेंबर सन १७८८. गुलाम कादिर याने पातशाहाचा घोर अपमान व बेइज्जती केली होती. त्यांना शिक्षा करणे महादजी शिंद्यांना प्राप्त होते. जीवबादादा बक्षी याने इतर सरदारांच्या मदतीने गुलाम कादिर यास मेरठमध्ये पकडले व कैद करून शिंद्यांच्या हवाली केले. ६. राघोगडाची लढाई: सन १७८६: ही मसलत जवळपास १-१.५ वर्षे चालली. शेवटी जीवबादादा यांनी यात संपूर्ण विजय मिळवला.

शिंद्यांचे सेनापती जीवबादादा यांच्या हाताखालील सैन्य: जीवबादादा बक्षी यांच्या हाताखाली एके काळी असलेले सैन्य पुढे दिल्याप्रमाणे होते. १ लक्ष स्वार (घोडेस्वार, मोतद्दार, स्वार ),५०००० पायदळ कंपू ५ (एका कंपूत १०००० सैनिक),५०० तोफा ,२०० जिनशी (मोठ्या तोफा),६०००० पेंढारी (हे गरजे प्रमाणे कमी जास्त होते),१५००० शिंदे सरकारचे खाजगी हुकूमत ,३००० जनानखान्याचे खाजगी सैन्य (यात बायका पण असत),४०० हत्ती ,४०० रथ (बैल जुंपलेले),३०० सांडणीस्वार ,११००० ओझे वाहणारे व ओढणारे उंट,१३००० बैल (तोफा ओढणारे),शिवाय प्रांतोप्रांती व किल्ल्यावर सैन्य होते ते वेगळेच.

शिंद्यांची जीवबावरील इतराजी व त्याकाळात मराठेशाहीचे झालेले नुकसान: सन १७८५च्या सुमारास जीवबादादास महादजीच्या रोषास पात्र व्हावे लागले आणि त्यामुळे त्यांची पुढील तीन वर्षे कठीण गेली. तरी पण स्वामीनिष्ठेने त्यांनी पाटीलबावांची सेवा केली व शेवटी त्याला त्याचे योग्य ते फळ मिळाले. महादजीने त्याची काढून घेतलेली बक्षीगिरी त्यास परत दिली. जीवबादादावर पाटीलबावांची इतराजी मागे आपमतलबी व कावेबाज राजपूत सरदारांचा म्हणजे रांगड्यांचा हात होता. मराठ्यांचे खच्चीकरण व्हावे व त्यांचे बळ कमी व्हावे म्हणून राजपुतांनी खेळलेली ही एक राजकीय खेळी होती. पाटीलबावा व जीवबादादा यांच्यात राजपुताकडून जाणीवपूर्वक अविश्वासाचे वातावरण निर्माण केले गेले. रांगडे (राजपूत) हे वरून महादजीच्या हिताच्या गोष्टी बोलत व संधी मिळेल तेव्हा जीवबादादाच्या विरुद्ध चहाड्या करत.पाटीलबावांची जीवबादादावर असणारी मर्जी व इतर शेणवी मंडळींच्यावरील असलेली कृपा ही इतरांच्या डोळ्यात खुपणे साहजिकच होते.

शेवटी गंभीर प्रकृतीच्या पाटीलबावांची बुद्धी भ्रष्ट होऊ लागली. त्यांचे मन कलुषित झाल्याने जीवबादादाच्या प्रत्येक गोष्टीत ते संशय घेऊ लागले व त्याच्या कारभारावर बारीक नजर ठेऊ लागले. त्याची बक्षीगिरी काढून नौबतराय नावाच्या राजपुतांस देण्याचा मनसुबा केला गेला. शेवटी जीवबादादांनी पाटीलबावांचा खेदपूर्वक निरोप घेतला. परिणाम स्वरूप पाटीलबावांनी जीवबास लहान लहान स्वाऱ्याची कामे देण्यास सुरुवात केली. काही काळानंतर रांगड्यानी आपले खरे रंग दाखवायला सुरुवात केली. पाटीलबावांना वारंवार त्यांच्या चुकीची फळे भोगायला लागली. रांगड्यांचे हेतू काय होते, त्यांनी जीवाबाबद्दल कसे कुंभांड रचले याची यच्चयावत माहिती सरतेशेवटी पाटीलबावास समजली. निष्कारण आपण जीवाबाचा अपमान केला हे समजून ते दुःखी झाले. शेवटी त्यांच्यातील संशयाचे धुके विरले आणि त्यांच्यातील अबोला संपला. जीवबादादा पुन्हा सेनापती बनले. या प्रकारात शिंदेशाहीचा तीन वर्षाचा काळ व्यर्थ गेला.

मराठेशाहीचे झालेले नुकसान: खरे पाहता पाटीलबावांचा सन १७८५ते१७८८ मधील काळ खूप खडतर गेला. त्या पाटीलबुवाना सोसाव्या लागलेल्या नुकसानीचा गोषवारा असा:
१.राज्यातील व्यवस्थेची घडी बिघडली
२.सभोताली बंडे उद्भवली आणि त्यांचा प्रतिकार करणे कठीण गेले
३.त्यावेळच्या झालेल्या काही लढाईत अपयश आले (उदा. लालसोटची लढाई)
४.राज्याचा काही भाग हातातून गेला
५.राजपूत व मुसलमान एकत्र आले त्यायोगे इंग्रज,शीख,अफगाण याना बळ मिळाले
६. लष्कराची तयारी कमी झाली इत्यादी.

सारांश: जीवबादादांनी १७६१ ते १७९६ पर्यंत सुमारे ३५ वर्षे शिंद्यांची अविरत, अचल इमानदारपणे सेवा केली. शौर्य,धैर्य, उद्योगशीलता, योजकता, स्वामीनिष्ठा, दृढनिश्चय , सद्वर्तन, भूतदया, इत्यादी गुण जीवबादादा कडे दिसतात. जीवबाने गरिबीच्या परिस्थितीतून व सामान्य प्रतीच्या जनसमुदायातून उठून केवळ उद्योगाच्या व दृढनिश्चयाच्या बळावर केव्हढी कामे केली. तो काळ तरवारी चालवण्याचा होता हे खरे. पण त्याची उद्योगरती , स्वामीनिष्ठा , पितृभक्ती, देशप्रेम इत्यादी अंगाचे गुण स्पृहणीय आहेत. घरातून निघाल्यापासून धन्याच्या अनेक महत्वाच्या कार्यामुळे ज्याला पुनः आपल्या घरी सुद्धा जाता आले नाही त्याच्या ठिकाणी स्वामी तत्परता किती प्रबळ होती याची सहज अटकळ होईल. जीवबादादाच्या अतुल यशाने पेशव्यांचा दरबारी खालील श्लोक म्हणण्यात येत असे असे म्हणतात.“माधवो म्हादजीबाबा जीवबादादाssर्जुन पर:I क्षत्रिना श्रीमंतां स्वार्थे युद्धं भारत संपंन्न II अशी ही महादजी शिंदे व जीवबादादा बक्षी यांची जोडी महाभारतातील कृष्णार्जुनासारखी उत्तर मराठेशाहीत शोभून दिसते.जीवबादादांचे अवघे घराणे शिंद्यांच्या सेवेत रमलेले दिसते. जिवाजी बल्लाळ बक्षी व बंधू शिवबांना व मुलगे नारायण जिवाजी व यशवंत जिवाजी, तसेच जीवबादादाचे चुलत बंधू जगन्नाथ राम उर्फ जगोबा बापू, व बाळाजीराम इत्यादींची नांवे शिंद्यांच्या इतिहासात वारंवार दिसतात. महादजीचा कारभारच एव्हढा होता की तो एकट्या माणसाला आवरता आला नसता. त्यासाठी प्रामाणिक, शूर असे मुत्सद्दी पुरुष भोवताली असणे आवश्यकच होते. असे शेकडो सक्षम व समर्थ माणसे महादजी शिंद्यांना मिळाली. अशा या शूर, मुत्सद्दी व प्रसिद्धी परान्मुख जीवबादादांच्या नावाने खेळ पुरस्कार जाहीर करून गोमन्तक सरकारने त्यांचा यथोचित सन्मानच केला यात शंका नाही.

संदर्भ: शिंदेशाहीचा इतिहास अथवा बक्षी बहाद्दर मुजाफरदौल जिवाजी बल्लाळ तथा जीवबादादा बहाद्दर फत्तेजंग उर्फ जीवबादादा केरकर बहाद्दर फत्तेजंग चरित्र : नरहर व्यंकाजी राजाध्यक्ष, मराठा रियासत: गो. स. सरदेसाई, अलिजाबहाद्दूर महादजी शिंदे: विष्णू रघुनाथ नातू संकलन: प्रमोद करजगी

Chandragiri Hill, Shravan Belagola - Drifter Adwait

Adwait Karajagi

16–20 minutes

Welcome to my blog, where I explore the fascinating world of temple architecture, and today I will be focusing on the awe-inspiring Chandragiri Temple Complex, situated atop a historic hill in Shravanbelagola, Karnataka, India. This stunning temple complex is not only renowned for its exquisite architecture and intricate carvings, but also for its historical significance, as it is the final resting place of India’s first emperor, Chandragupta Maurya.

As I visited this magnificent temple complex, I was struck by the sheer grandeur of the site, with its towering monolithic statues and intricate rock-cut architecture. The temple complex is dedicated to Lord Chandragupta Maurya, and is believed to have been built during the 9th century AD.

The Chandragiri Temple Complex is not only a magnificent example of Indian temple architecture, but also a site of immense historical and cultural importance. It is a testament to the rich cultural heritage of India, and a place where visitors can learn about the fascinating history of the Mauryan dynasty.

Join me as I delve into the fascinating world of temple architecture, and explore the intricate details and rich history of the Chandragiri Temple Complex. Let’s begin!!!

Bharat Muni Chandragiti Temple complex — Bharat Muni at Chandragiri, Shravan Belagola

Mangalore is one of the favorite weekend gateways for Bangalore techies. As Friday evening approaches, they start making plans to spend some “Quality Time” on the Panamur or Ullal beach. Saturday morning, they start early, rushing in their TUVs and SUVs on smooth NH75 highways towards the western coastline. As they get closer to Chennarayapattana, after village Hirisave, the national highway rolls towards the west, and one small road goes towards the south.

Here, we have to say good buys to our techie friends as we have to take a road less traveled, zigzagging through small villages, surrounded by the sea of coconut plantations. After driving for about 20 km, we reach the historic town of Shravanbelagola, having a history of not less than 2300 years.

Main population of the town Shravanbelagola is Jain pilgrims. Bahubali is world’s tallest monolith statue, carved more than thousand years ago. Every day, thousands of Jain devotees come here, to pay tribute to the Sage Bahubali, who left his kingdom to his brother and walked on the path of absolute knowledge.

Very few tourists, having keen interest in history, arts and archaeology come to wonder here, on the hillock of Vindhyagiri, where ancient statue of Bahubali welcomes them. Among these interested few, a very little percentage bother to climb down Vindhyagiri hill, wear their shoes, walk across the pond, and start climbing the next mountain after removing their footwear again.

On the other side of the white pond, there lies another hill, with boulders all around it. Surrounded by a vijaynagar timed stone wall, the top of the hill have 14 different Basadis, or, temples. Thousands of year ago, many came here, sacrificing everything, in search of the salvation, knowledge and liberation. Few of them were honoured with monuments, constructed on their names on the hillock of Chandragiri. One of them belongs to the legendary emperor of India- Chandragupta Maurya.

Chandragupta Maurya and Shravanbelagoal:

It was indeed the golden era of India. Under the guidance of Chanakya, his brilliant student Chandragupta Maurya had gathered all the Kingdoms under the umbrella of his command and managed to expel the armies of Alexander the great out of the holy land of India. In 322BC, just Chandragupta was ruling the entire Indian subcontinent with an iron fist and tender heart.

Chandragupta meditating Chandragiti Temple complex — Chandragupta, Meditating

Jain scriptures describe the tale afterward. One night, Chandragupta viewed 16 nightmares at once. Curious, Chandragupta wanted to know the meaning of these dreams he saw. At the same time, he got the news that Jain monk Antim Shrutakevali Bhadrabahu Swami has arrived in Ujjain, along with his 12000 disciples.

Curious, Chandragupta then met with Bhadrabahu, describing the 16 nightmares to him. Bhadrabahu explained that these dreams announce stoicism and the tough times ahead.

Once, Bhadrabahu was invited to a devotee named Jinadas Seth, where he met a two-month-old infant. When lord Bhadrabahu approached the kid, he started repeating, ‘Go Away, Go Away’. Amused, Bhadrabahu asked, ‘for how many years?’, For twelve years, the kid replied and started to suck on his thumb with a calming smile.

With the wisdom, Bhadrabahu got to know about the upcoming 12-year drought the empire will face, and hence, along with his 12000 disciples, he started walking south. Chandragupta transferred his kingdom to his son Bindusara, and wearing the white robes, he became a Jain monk and went along with Bhadrabahu renouncing everything he owned.

As the group reached a small village near Mysore, Bhadrabahu heard the echoes from the skies that his end is near. He sent almost all of his followers further south to spread the word of Jainism, and along with Chandragupta, he stayed back in that village, today known as Shravan Belagol. In a cave, Bhadrabahu started Sallekhana meditation without consuming anything. Few months passed away, and Bhadrabahu left his mortal body in the presence of Chandragupta.

Chandragiri, Shravan Belagola
Inscription 1, depicting Chandragupta and Bhadrabahu Travelling to Southern India — Inscription 1, depicting Chandragupta and Bhadrabahu Travelling to Southern India

Jain scriptures describe that after the death of his Guru, Chandragupta Maurya stayed there for several years, meditating. Following the footsteps of his Guru, the first emperor of United India, Chandragupta Maurya gradually reduced the intake of food and liquids, and practicing Sallekhana, left the earth peacefully. This is how an ideal student, a legendary fighter, an expert politician, and a legendary King gave up his life searching for the ultimate truth and peace. His whole life, he struggled every day, perfecting perfection, and his achievements were unparallel to any other king in the world.

Chandragiri, Shravan Belagola — Inscription 2, depicting Chandragupta and Bhadrabahu Travelling to Southern India

Chandragiri, which is 3052 feet from sea level, is also known as Katavapra, Chikkabeta, and Rushigiri, as per the inscriptions found on the hilltop.

List of Noteworthy Basadis on Chandragiri Hill:

Chavundaraya Basadi, Chandragupta Basadi, Shantinatha Basadi, Parshvanatha Basadi, Kattale Basadi, Majjigana Basadi etc.

There are few more structures, naming Shasana Basadi, Chandraprabha Basadi, Parshwanatha Basadi II, Eradukatte Basadi, Savatigandhavarana Basadi, Terina Basadi, Shantishwara Basadi, and Iruve-Brahmadeva Basadi.

Basadis, dating from 600 AD to 1200 AD, are spread across the hilltop. With that, two distinct architectural features are standing here. One is Vijaya Stambha, and another one is a half-buried statue of King Bharata, brother of Bahubali. All of them are built-in Dravida architecture style.

Chandragiri Temple complex — Basadis on Chandragiri Hill

Basadi, Chandragiri, Shravan Belagola — Inside Every Basadi

Even though today, these Basadis may look like places of worship, they were much more than that thousand years ago. Also called Chaitalayas or Jainalayas, these temples used to be shelters for the Jain monks. These hillocks used to be crowded with devotees during the auspicious days, being the center of festivities like music and dancing. These were used to be centers of learning, as many students use to stay here, studying the different aspects of humanity.

Inscriptions on Chandragiri Temple Complex Hill:

Inscription, Chandragiri Temple complex, Shravan Belagola — Chandragiri Inscriptions, Carefully Preserved

Setting aside the brilliant architecture, Shravan Belagola is home to more than 800 ancient inscriptions. Several hundred inscriptions can be found on the hillock of Chandragiri. Thanks to ASI, almost all the inscriptions have been either covered with the glass or enclosed in the glass cases with the roof on their heads. Many of these inscriptions are written either in the Ganga dynasty era or in the Hoysala era, and you can differentiate between them by the language and the designs. Hoysala era inscriptions are carved on a free-standing slab, a slab of black soapstone.

There is a total of 106 inscriptions found on the Chandragiri itself. They say that till the 9th century, the Chandragiri was the spot for practicing Sallekhana- Voluntarily giving up consuming food and water to gain ultimate control over the body. Among 106 inscriptions, 47 are dedicated to the monks, 9 to the Jain Nuns, and five householders.

Pillars on Chandragiri Hill:

There are two prominent free-standing pillars you will find on the hillock of Chandragiri. One is Kuge Brahma Stambha or Brahma Piller, and the second will be a Vijay Stambha. On Kuge Brahmastambha, Brahma is in a Padmasana position, facing east on top of the pillar. You can see eight elephants at the base of the pillar, holding this free-standing pillar aloof. Standing on three platforms, elephants are accompanied by lions, Digpalas, and musicians.

Marasimha’s Manastambha:

Manastambha, Chandragiri temple complex, Shravan Belagola — Manastambha at Chandragiri

Ancient Jain architectural scriptures say, that

माणुल्लासयमिच्छा वि दूरदो दंसणेण थंभाणं |जं होंति गलिदमाणा माणत्थंभं ति तं भणिदं ||

By looking at this particular pillar even from a far distance, the proud people lose their pride, and this pillar makes them humble. Hence, these types of posts are called Manastambha. In Jain architecture, this pillar can be found near every Jain temple, keeping a certain distance.

As you enter the Chandragiri complex, you stand in front of one free-standing pillar named Manastambha. Inscription on the pillar says that Ganga King Narasimha 2 left his body in 974 AD, observing the rite of Aradhana at the location of Bankapur. So one can guess the age of this ancient pillar accordingly. This 30 feet high pillar is the home of Sarvahana Yaksha on the top. You can see 113 lines engraved on this granite pillar, describing the brilliant accounts of King Marsimha, his heroic life, and his pious demise.

Bhadrabahu Cave, Shravan Belagol:

Bhadrabahu Cave, Chandragiri Temple complex Shravan Belagola — Bhadrabahu Cave, Shravan Belagol

When you get out of the Chandragiri temple complex, take a left, and start climbing the hill in front of you. Keeping the temple complex on your back, when you walk about 100 steps, you will find yourself in front of a cave made up of boulders. This is the same cave where sage Bhadrabahu gave up consuming food and water to leave his body. Two inscriptions, carefully covered with thick glass, can be found at the entrance of the cave. The cave entrance is decorated with an ornate bracket. As you enter the cave, you have to get on your knees to go towards the middle of the cave. Right in the middle of the cave, you can find the footprints of holy sage Bhadrabahu, exactly where he practiced the Sallekhana. Every day, some devotee lights a lamp and decorates these footprints in the carved Mandalas with the flowers found o this hillock.

Bhadrabahu footprint, Chandragiri, Shravan Belagola — Bhadrabahu Footprints

If you want to go further inside the cave, you have to crawl like in any other cave. But do not make a mistake to compare this cave with any other, as this is not just a mere ordinary cave. More than 2300 years ago, one ascetic came here with his emperor turned disciple. They both stayed here. Guru got to know that his end is nearby the awakened consciousness, and hence, he gave up food and water, walking heroically towards death, rather, towards nirvana. Within few years, his emperor disciple followed his footsteps, to be one with the Divine.

Chandragupta’s Dreams and Interpretations of Bhadrabahu

The most brilliant thing about Shravanbelagola is its uniqueness and drama. Two brothers, standing on the top of two hillocks. One looking at another, and another, looking somewhere else, separated by the pond. Another unique feature of this little town is being the home of about 800 ancient inscriptions.

Most of the information on the life of the Chandragupta has been taken from Greek texts and inscriptions. However, for his death, we have to turn towards Jain inscriptions and religious texts, written hundreds of years later on. Even though often disputed, Jain texts describe precisely what happened when Chandragupta decided to come down south.

Chandragupta Basadi, a temple dedicated to Chandragupta Maurya, supports the claims of Jain scriptures. You can find two very unique inscriptions in this temple, or rather windows, ornate with beautiful comic-like strips. These comic-like strips describe what happened after Chandragupta gave away his kingdom to his son and tagged along with sage Bhadrabahu to this small town, seeking peace and salvation.

Even though many Jain scriptures support this story, many of them do not. Jainism later got divided into two main sects, viz, Digambar Jainism and Shwetambar Jainism. Many Digambara Jain scriptures claim that the king was Samprati Chandragupta, the grandson of Ashoka and great-grandson of Chandragupta Maurya, who renounced everything and became a Jain monk. According to Indologists like Jeffery D. Long, often, these two Chandragupta get confused with each other. As per the well-known Indologist V. R. Ramachandra Dikshitar, several Digambar Jain scriptures mention Prabhachandra, who usually gets mistaken with Chandragupta Maurya in several ancient scriptures. Nevertheless, these discrepancies do not reduce the historical, spiritual, and cultural importance of this place on the map of the world.

It was 10 am, and the sun was playing hide and seek behind the clouds when we sat beside the Bhadrabahu cave, enjoying the view. We could see ants like Jain pilgrims climbing the next hill at a steady pace, yet the hill we were currently sitting on was deserted. In reality, starving to death is one of the cruelest and saddest ways to die, but when we sat beside that cave, we neither felt sad nor gloomy. Because it was the ultimate choice, made by a highly intellectual human being, to gain superior control over his body while walking towards the higher consciousness, denying worldly pleasures.

That ancient temple complex on Chandragiri was surrounded by the fully blossomed Plumeria trees. Those trees were so much loaded with white flowers that not even a single green leaf was visible. Just like the Plumeria trees, loaded with white flowers, once, this hillock must have been crowded with white-robed Jain monks. We felt like a thousand-year-old past was trying to make a connection with us via these trees.

If we lose 2000 rs note, we keep on searching it for next couple of months. And for the next six months, we cannot stop cursing ourselves for the negligence and glooming over our financial loss. And here, the emperors, who fought for life and death, to teeth and nail, to gain their kingdoms, who gave everything to achieve these vast lands, were giving everything away, without even a second guess. What’s so special in these lands, what’s so unique in the waters of these rivers that make these legendary kings choose absolute knowledge over the kingdoms and give away everything they own?

Bahubali and Bharata fought for their fathers’ Kingdoms in a non-violent competition. When Bahubali won the kingdom, he gave it to Bharata and went away to pursue the ultimate knowledge. And remembering his passion and choice, people erected his larger than life sculpture on a mountain, celebrating his ultimate sacrifice. Few years passed away, and walking in his brother’s footsteps, even Bharata chose Jainism and became a monk after resolving his issues with his brother Bahubali. Later, people erected the statue of Bharata on the hillock next to Bahubali’s mountain. But, instead of a full Vigraha, Bharata received the honor in the form of a giant statue, but which starts from his knees. Coincidence? I don’t think so.

How to reach Chandragiri Temple complex, Shravan Belagola?

150 km from Bangalore, Shravanbelagola is well connected by roads. Drive about 120 KMs on National Highway 75 towards Mangalore, and take a left turn after Hirisave. 20 km drive through dense coconut plantation, you will reach Shravanbelagola.

There are few buses, which start from KSRTC Majestic depot, reaching Shravanbelagola. However, there are plenty of buses, going every fifteen minutes towards Hassan; you can get down at Hirisave town and get a share auto to Shravanbelagola.

Shravanbelagola is about 170 KMs from Kempegowda International Airport, Bangalore.

Shravanbelagol has a railway station, well connected to the main stations in India.

Parsvanath, Chandragiri, Shravan Belagola

Chandragiti Temple complex, Shravan Belagola

Kushmandini Yakshi, Chandragiri, Shravan Belagola — Kushmandini Yakshi

Chandragiri Temple complex, Shravan Belagola — Ancient path of peace

References:
1. श्रवण बेलगोल और दक्षिण के अन्य जैन तीर्थ, by राजकृष्ण जैन, publisher वीरसेवा मंदिर, दिल्ली
2. https://en.wikipedia.org/wiki/Bhadrabahu
3. New Perspectives on Jain Architecture and Sculpture at Sravana Belagola, Nalini Rao, Soka University, 6-15-2020, International Journal of Indic Religions
4. Chandragupta Maurya in Jain traditions – A study, Dr. Mune Gowda M, PU college, Yelhanka, Bangalore.

‘वज्रादपि कठोरानि, मृदुनि कुसुमादपि’ - Drifter Adwait

Adwait Karajagi

10–12 minutes

मित्रानो, आज आपण महादजी शिंदे यांच्या जीवनाचा एक आगळावेगळा पैलू उलगडून पाहणार आहोत. महादजी शिंदे यांनी आयुष्यभर हातात तलवार धरली आणि लढाया केल्या हे सर्वास ठाऊक आहेच. परंतु ज्या हातात त्यांनी तलवार धरली त्याच हातात नित्यनियमाने स्मरणी सुद्धा धरली व सवड मिळेल तेव्हा त्याच हातात लेखणी सुद्धा धरली. भगवंताबद्दल मनातील प्रेम उचंबळून आल्यावर त्या भगवंतांचे गुणगान करणारी काव्यरचना केली. महादजींनी लढाईमध्ये जितक्या कठोरपणे शत्रूचा संहार केला होता, तितक्याच हळुवारपणे शरणागतांना अभयदान सुद्धा दिले होते. दिल्लीचा मोंगल सम्राट शहेनशहाची घोर विटंबना करणाऱ्या कपटी व क्रूर अशा गुलाम कादिरला त्यांनी पकडून त्याच्या देहाची विटंबना करून ठार केले होते व बादशहाच्या बेइज्जतीचा बदला घेतला होता. अशा तऱ्हेने वेळप्रसंगी वज्राहून कठोर वागणारे महादजी चातुर्मासात श्रीमदभागवताचा सप्ताह करीत असत हे खरे वाटणार नाही. म्हणूनच या लेखाला ‘वज्रादपि कठोरानि मृदुनि कुसुमादपि’ असे शीर्षक दिले आहे.महादजींच्या या आगळ्या वेगळ्या स्वभाव वैशिष्ट्यावरील हा लेख!

पानिपतच्या लढाईनंतरचा काळ:सन १७६१, जानेवारी महिन्याचा तो काळ !पानिपतच्या युद्धात मराठ्यांची अतोनात हानी झाली होती. हजारो मराठ्यांनी जीव वाचवण्यासाठी समरांगण सोडून पळ काढला होता. लढाई संपून कित्येक महिने लोटले तरी अनेकांचा पत्ता लागत नव्हता. मराठ्यांची कुटुंबे डोळ्यात प्राण आणून त्यांच्या कर्त्यासवरत्या पुरुषांची रात्रंदिवस वाट पाहत होत्या. महादजी शिंदे देखील पानिपतावरून दक्षिणेकडे प्रयाण करणाऱ्या अशा सरदारांपैकी एक होते. निझामाच्या बीड महालाचा मातब्बर ठाणेदार सरदार सुलतानजी निंबाळकरांची भाची अन्नपूर्णाबाई ही महादजीची बायको होती. महादजीच्या बायकोस, अन्नपूर्णाबाईस मौजे खोकर मोह,परगणे जामखेड हा गाव त्यांनी आंदण म्हणून दिला होता.त्या गावाजवळ मौजे राममोह नावाचा गाव आहे. तेथे मन्सूरशहा अली नावाचा अवलिया फकीर राहत असे. त्या दर्ग्यामध्ये अन्नपूर्णाबाई जात असे व पानिपतच्या लढाईतून आपला पती सुखरूप परत येऊ दे म्हणून तेथील फकीराची दुवा मागत होत्या. आणि आश्चर्य म्हणजे काही दिवसात महादजी शिंदे दक्षिणेत सुखरूप परतले.मन्सूर शहानी महादजींच्या पत्नीची मन्नत पूर्ण केली होती, साहजिकच अन्नपूर्णाबाईंची त्यांच्यावर निष्ठा बसली आणि आपल्या पत्नीसोबत महादजी शिंदे देखील त्या फकिराची भक्ती करू लागले.

फकिरी दौलत: पानिपतच्या युद्धामध्ये शिंदे घराण्याचे मुख्य जनकोजी शिंदे यांनीही बलिदान केल्याने शिंदे घराण्याची जहागिरी कोणास द्यावी याबद्दल पेशवे दरबारात चर्चाचर्वण सुरु झाले.थोरले माधवराव पेशवे यांच्या मनात जहागिरी महादजींना द्यावी असे होते कारण ते राणोजी शिंदे यांचे पुत्र होते आणि जहागिरीला लायक होते. माधवराव पेशव्यांचे चुलते राघोबादादा याना ही जहागिरी मानाजी फाकडे या त्यांच्या मर्जीतील एका पुरुषास द्यावी असे शिजत होते. शेवटी माधवराव पेशव्यांच्या व दरबारातील इतर मातब्बरांच्या आग्रहावरून शिंदे घराण्याची गादी महादजींना देण्याचे ठरले. त्या सुमारास महादजी स्वतः बीडला आले होते आणि मन्सूर शहाच्या भजनी लागले होते.त्यांच्या कृपेनेच आपल्याला शिंदे घराण्याची गादी प्राप्त झाली म्हणून त्यांची मन्सूर शहावरील निष्ठा अधिक दृढ झाली. या घटनेमुळे शिंद्यांच्या जहागिरीचे नाव ‘फकिरी दौलत’ असे पडले असे म्हणतात.

प्रसाद म्हणून भाकरीचा तुकडा: पुढे काही महिन्यांनी सन १७६७ मध्ये महादजी हे ग्वाल्हेरच्या मोहिमेवर निघाले. तेव्हा मोहिमेवर निघायच्या आधी त्यांनी मन्सूर शहाचे दर्शन घेऊन त्यांचा आशीर्वाद घेतला होता.फकिराने त्यावेळी त्यांच्या जवळील भाकरीचा एक तुकडा प्रसाद म्हणून दिला व ‘विजयीभव’ असा आशीर्वाद दिला होता.ग्वाल्हेरच्या मोहिमेत महादजींना यश आले व किल्ला सर झाला.अशा रीतीने महादजीचा उत्कर्ष होताच त्याने या फकीरास काही गांवे इनाम देऊन संतुष्ट केले. महादजीची आपल्या गुरुवर ’मन्सूर अली शहावर’ अतोनात श्रद्धा होती. दरवर्षी आणि जेव्हा त्याला आपल्या लढायांतून वेळ मिळेल तेव्हा ते गुरूच्या चरणी आपली सेवा बजावत असत. महादजी शिंद्यांचे अध्यात्मिक मार्गदर्शक व गुरु: महादजी शिंदे यांना संतपुरुषांचे व सत्संगाचे अतिशय वेड होते. त्यांनी आयुष्यात अनेक साधूसंतांना आपले गुरु केले होते. श्री. मल्लप्पा वासकर, सोहिरोबा आंबिये, रामदासी लक्ष्मण महाराज शिरगावकर,पैठण येथील नाथमहाराज अशा अनेकांना त्यांनी गुरुपद दिले होते.

संत मल्लप्पा यांची भेट: महादजी शिंद्यांच्या काळात वारकरी सांप्रदायात विख्यात विठ्ठलभक्त मल्लप्पा वासकर होऊन गेले. ते लिंगायत समाजातील अग्रणी वारकरी होते. एके दिवशी महादजींचा मुक्काम श्रीक्षेत्र पंढरपूर येथे असताना ते मल्लप्पा यांच्या भेटीस गेले. आता पर्यंत महादजीनी आपल्या शैलीनुसार व भाषा प्रतिभेला अनुसरून अनेक अभंग रचले होते. तसेच भग्वद्गीतेवर ‘माधवदासी’ नावाची ओवीबद्ध टीका सुद्धा लिहिली होती. संत मलप्पाची भेट झाल्यावर महादजीनी ही हस्तलिखिते संत मल्लप्पा यांच्या चरणी अर्पण केली आणि आपल्या काव्यासंदर्भात त्यांना अभिप्राय देण्याची नम्र विनंती केली. यावेळेस संत मल्लप्पा यांनी महादजींना योग्य तो उपदेश व काव्यासंबंधी मार्गदर्शन केले. संत सोहिरोबा आंबिये यांची भेट: सन १७७९ मध्ये धर्मपरायण सोहिरोबा आंबिये हे ग्वाल्हेर येथे त्यांच्या दरबारात आलेले असताना महादजी शिंदे यांनी आपली कविता त्यांना दाखवली. तेव्हा महादजींनी रचलेली कविता वाचून सोहिरोबा आंबिये म्हणाले होते की तुम्ही रचलेली कविता चांगली आहे खरी पण ती एव्हढी प्रासादिक नाही. त्यावेळी संत सोहोरोबा यांनी प्रासादिकता दाखवणाऱ्या भक्तिरसाने रसाळ अशा दोन कविता दरबारात सर्वासमक्ष उस्फुर्तपणे करून दाखवल्या.

संतकवी दत्तनाथ राक्षसभुवनकर यांची भेट : महादजींच्या काळातील एक संतकवी दत्तनाथ राक्षसभुवनकर याना देखील महादजींनी गुरु केले होते व त्यांना तर ते प्रत्यक्ष रणभूमीवर पण घेऊन जात असत. स्वामी दत्तनाथ महाराज यांनी महादजी शिंदे यांच्या समवेत मथुरा व ग्वाल्हेर येथे वास केला होता. पत्थरगढच्या लढाईतून जिंकून आणलेली ढोल वगैरे वाद्ये महादजीनी नाथांच्या उज्जैन येथील आश्रमात ठेवली असे म्हणतात.

महादजींची धार्मिक वृत्ती: महादजीचे चरित्र अभ्यासताना महादजी शिंदे हे आयुष्यभर भाविक वृत्तीने राहिले असे दिसून येते. महादजी शिंदे नित्य स्नान केल्यावर भाळावर टिळामुद्रा लावायला कधी विसरत नसत. तसेच त्यांच्या हातात नित्यनेमाने स्मरणी असे व कृष्ण भजनात ते तल्लीन असत. त्यांचे पूजापाठ व जप जाप्य हे अगदी ऐन लढाईच्या काळातसुद्धा न चुकता चालू असे. गुजराथमधील इंग्रजांच्या विरुद्ध चाललेल्या लढायात महादजी रात्रभर रणांगणावर व्यस्त असूनही सकाळी नित्यनेमाने स्नान व पाठपूजा करीत असत व त्यानंतरच त्यांचा उर्वरित दिनक्रम चालू होत असे.चितोडगढची स्थापना प्रभू रामचंद्रांचा पुत्र कुश याने केली अशी आख्यायिका आहे. त्यामुळे चितोडगडावर हल्ला करण्याचा प्रसंग महादजीवर आला, तेव्हा भाविकतेपायी चितोडच्या राण्याने किल्ल्यावरून तोफांचा मारा सुरु करेपर्यंत पाटीलबावांनी त्यांच्याविरुद्ध आपल्याकडील तोफा चालविल्या नाहीत असे सांगतात.

बाबा हबीबशहा यांचा उरूस: महादजी शिंदे यांनी बीड येथील गुरु बाबा मन्सूरअली याना आपल्या सोबत त्यांच्या राजधानीचे शहर ग्वाल्हेर येथे कायम वास्तव्यास येण्याची विनंती केली. पण या वेळी बाबानी आपण स्वतः न जाता आपल्या हबीबशहा या शिष्याला त्यांच्या बरोबर ग्वाल्हेरला पाठवून दिले. या हबीबशहास महादजीने ग्वाल्हेर येथे पन्नास हजार रुपयांची सालाना जागीर करून दिली. ती अद्यापि चालू आहे असे म्हणतात. हबीबशहा यांच्या गादीवरील इसम मयत झाल्यास त्यांचा चेला त्या गादीवर बसतो. या गादीची ‘श्री साहेब’ अशी संज्ञा असून प्रत्येक सरकारी कागदावर आरंभी हीच अक्षरे लिहीत असत. १९ ऑगस्ट १७७७ रोजी हबीबशहा हा फकीर मरण पावला. म्हणून १९ ऑगस्ट या दिवशी दरवर्षी ग्वाल्हेर येथे त्याच्या स्मृतीप्रित्यर्थ उरूस भरतो, त्या निमित्ताने भंडारा व दानधर्म होतो. येथील उरूस अद्यापि चालू आहे असे वाचण्यात आले.

‘माधव विलास’नावाचा ग्रंथ: श्री समर्थ रामदास स्वामी यांचे पट्टशिष्य कल्याणस्वामी यांचे ज्येष्ठ बंधू दत्तात्रय स्वामी यांचे वंशजांचा ग्वाल्हेर येथे ‘ आबा महाराजांचा मठ ‘ आहे,येथील संग्रहात महादजी यांच्या कवित्वाबद्दल खालील उल्लेख सापडला आहे असे म्हणतात. “माधव (महादजी) महाराजांवर कसबे जामगांवी श्री गोपाळकृष्णानी निष्ठाबळे प्रसन्न होऊन स्वप्नी आज्ञा केली की मी तुझे घरी येतो. माझ्या तीन मूर्ती सुवर्णमय ओतव्याव्या, ज्या प्रतिमेस शस्त्र असून आणि जी उत्तम स्वरूपात असेल तोच मी असे जाणून नित्य स्वतः पूजा आणि अष्टमीचा उत्सवप्रसंग जन्मापासून गोपाळकाल्यापर्यंत करावा.त्याप्रमाणे लीला श्रीमदभागवताचे आधारे चरित्र करीत जावे. असा उत्सव अखंड चालवावा. माझ्या प्रसारे तुला कवित्व स्फ़ुरेल.” अशी आज्ञा होताच ‘माधव विलास’ या नावाचा ग्रंथ रचून महादजी यांनी वर दिलेला नियम आमरण चालविला. ग्वाल्हेर येथील ग्रंथालय(राजपुस्तक संग्रहालय) मध्ये ‘माधव विलास’ नावाचा ग्रंथ आहे.

ग्रंथाच्या शेवटी लिहिले आहे की –

इति श्रीमन्महाराज राजमौली मुकुटमणी मरीची मंजरी-पिंजरी कृत पारपिठानां श्रीमन्महाराजाधिराज माधवेश सार्वभौमानां गीती प्रबंध कृतौ यदुकुल कुमदिवकाश प्रकाशित पराक्रमस्य भगवतो नंदानंदकंदस्य श्रीमन्माधवस्य कृष्णचंद्रस्य जन्माक्रीडादी वर्णनं संपुर्णम.

या ग्रंथाचा लेखनकाल असा दिला आहे – श्रीमद्विक्रम भूभजे गत शरतसंघेष्ट वेदाष्ट भू !१८४८ संख्य माधव कृष्ण पंचमि तिथौ ,वारे रवे:सुनूजे !! श्री मतपुष्कर तीर्थराज निकटे श्रीमाधवास्या ज्ञया !नाम्ना बालमुकुंद मिश्र इतियेंना लेख्यद :पुस्तकं !!

महादजींची काव्यसंपदा: महादजी शिंदे यांनी आपल्या काव्य रचनेत भक्तिगीते, ओव्या, कवने, पाळणे, अभंग असे वेगवेगळे काव्य प्रकार हाताळले. त्यांनी आपली काव्य प्रतिभा मराठी, हिंदुस्थानी तसेच संस्कृत इत्यादी भाषेत दाखवली. महादजींनी मराठी व हिंदी भाषेत(हिंदुस्थानी भाषेतील) मिळून एकूण २६५ रचना केल्या. त्यापैकी मराठीतील एकूण रचना १८९ आहेत तर हिंदीमधील ७६ रचना आहेत. मराठीतील रचना अध्यात्मपर, तसेच श्रीकृष्णजन्मावरील, गोपाळकाला इत्यादींचा समावेश आहे.हिंदी भाषेत गुरुस्तुती,श्रीकृष्णजन्मावरील काव्यरचना, व स्फुट कविता दिसून येतात. महादजींच्या बहुतेक सर्व कविता कृष्ण भक्तीच्या आहेत. एक-दोन रचना गुजरातीमध्ये ही आहेत.माळवा व विशेषतः राजस्थानात (नाथव्दार) कृष्णभक्तीचा महिमा मोठा आहे. महादजींचा राजस्थानाशी व्यवहार लक्षात घेता हा ठसा त्यांच्या भावविश्वावर उमटला यात नवल नाही.

त्यांच्या काव्यातील काही प्रसिद्ध काव्ये खालीलप्रमाणे:

श्रीकृष्णाची आरती:
ओवाळू आरती सद्गुरूपा, निजरूपी साहेब शुद्ध स्वरूपा IIधृ IIनिजबुबळी वाती उजळुनी ज्योती हृद्गत स्नेही भरुनी निजमाये I१Iनि यनिरामय अद्वय अव्यय भासेI कृपे तुझे नित्य वो माय I२Iनीळ पीत स्वेत पाहुनी निश्चितI माधवी आनंद नित्य विराजत I३Iअभंग:देवासी भेटोनि, बोलावेसे वाटे! आवडी गोमटे, रूप पाहू !!१!!बाळपणी मोठ्ठा, लागतसे छंद! आवडी गोविंद, दावा कोणी !!२!!सारी दर्शनासी, पुसता शिणलो! सत्संग मी नेलो , भाग्य योगे!!३!!जायचे संगती, पूर्ण लाभ झाला! सद्गुरू भेटला, मायबाप !!४!!कृपा अनुग्रह, वरदकर होता! तत्वमसि आत,माझा मी ची !!५!!जे जे पाहे ते ते, ब्रम्हरूप भासे! गोविंद हा दिसे, अखंडित !!६!!धन्य हा सत्संग, धन्य गुरुराणा! माधव देखणा, यांचे कृपे !!७!!

एक पराक्रमी रणझुंजार योद्धा ज्याने स्वतःचे सारे आयुष्य रणांगणावर घालवले, त्या शूरवीराने त्याच उत्कटतेने भक्तिगीते, आरत्या लिहाव्यात असे उदाहरण जगाच्या इतिहासात विरळच म्हंटले पाहिजे. भक्ती आणि शक्तीचा असा समसमा संयोग एकेठिकाणी असणारे महादजी हे इतिहासातील कदाचित एकमेव उदाहरण असावे असे वाटते.

संदर्भ:
1. सातारा इतिहास संशोधक मंडळाची ऐतिहासिक लेखमाला, लेखांक २९, ६ नोव्हेंबर १७७७,
2. जीवबादादांचे चरित्र लेखक: न. व्यं. राजाध्यक्ष, इतिहास संशोधनात्मक मासिक ‘भारतवर्ष’च्या जून १८९९अंक (वर्ष दुसरे अंक तिसरा),
3. महादजी शिंदे: लेखक विश्वास दांडेकर ,
4. राजकवी महाराज महादजी शिंदे उर्फ पाटीलबाबा आलीजबहाद्दर कृत कविता:संशोधक व संपादक भास्कर रामचंद्र भालेराव,
5. अलिजाबहादूर महादजी शिंदे यांचे चरित्र लेखक: विष्णू रघुनाथ नातू

संकलन व लेखन:प्रमोद करजगी

२८ जुलै १७८७, लालसोटचा रणसंग्राम - Drifter Adwait

Adwait Karajagi

14–17 minutes

जो जीता वही सिकंदर: तुम्हीच सांगा कोण सिकंदर?

मित्र हो, आज २८ जुलै २०२१. याच दिवशी बरोबर २३४ वर्षांपूर्वी उत्तर मराठेशाहीत एक महत्वाची लढाई झाली होती. ही लढाई इतिहासात लालसोटची लढाई म्हणून प्रसिद्ध आहे. खरं तर ही लढाई लालसोटच्या वायव्येस काही अंतरावर असलेल्या तुंगा गावच्या सपाट वाळवंटी मैदानात झाली होती. याच दिवशी महादजी शिंदे यांच्या नेतृत्वाखालील मराठी फौजा राजपूत व मोंगल यांच्या एकत्रित सेनेशी राजस्थानच्या जुलै महिन्याच्या रणरणत्या उन्हात व रखरखीत वाळवंटात एकमेकांशी भिडल्या होत्या. तो दिवस होता २८ जुलै १७८७, वार होता शनिवार. सकाळी नऊ वाजता दोन्ही कडील तोफांच्या कानठळ्या बसणाऱ्या आवाजाने व उडणाऱ्या धुळीने लढाईला तोंड फुटले होते आणि संध्याकाळी सूर्यास्ताच्या वेळेस लढाई बंद करण्यात आली होती. कारण त्यावेळेस अचानक जोराचा पाऊस सुरु झाला आणि दोन्ही बाजूच्या सैन्याला रणांगणावर हालचाल करणे अवघड होऊन बसले होते. त्यामुळे नाईलाजास्तव दोन्ही फौजा आपापल्या तळावर परतल्या. दुसरे दिवशी मराठे लढाईस बाहेर पडले, परंतु राजपुतांचा पक्ष लपलेल्या खंदकातून बाहेर पडलाच नाही. आणि त्यानंतर म्हणावी तशी लढाई झालीच नाही. कारण मराठ्यांच्या फौजेत फितुरीची या आधीच झालेली लागण बाहेर आली आणि त्यांचे फितूर झालेले शिपाई राजपूत सेनेला जाऊन मिळाले. आणि महादजी व त्यांचे सरदार यांना हतबलपणे व हताशपणे हा तमाशा बघण्याशिवाय गत्यंतर नव्हते. आणि त्यानंतर सुरु झाली मराठ्यांची एक अविस्मरणीय ‘यशस्वी ‘ माघार! साधारण १ ऑगस्ट १७८७ पासून मराठ्यांनी अत्यंत शिस्तीत माघार घेण्यास सुरुवात केली. ती माघार १० ऑगस्ट सुमारास सुरक्षित स्थळी पोचल्यावरच थांबली. दोन्हीही पक्ष तुल्यबळ असल्याने ही लढाई एव्हढी भीषण झाली की मराठ्यांच्या उत्तरेतील अस्तित्वावरच प्रश्नचिन्ह उभे राहिले. म्हणूनच या लढाईला इतिहासामध्ये मराठयांचे दुसरे ‘पानिपत’ असे संबोधण्यात आले.२८ जुलै या दिवसाची स्मृती ताजी करण्यासाठी हा लेखन प्रपंच!!

लालसोटच्या लढाईचे वैशिष्ट्य म्हणजे २८ जुलैच्या रणकंदनानंतर नंतर मराठयांची खात्री झाली की ही लढाई त्यांनी जिंकली तर राजपूत सैन्य आपणच ही लढाई जिंकली म्हणून उत्सव करण्यात मश्गुल झाली. या लढाईत खरे कोण विजयी झाले हे गुलदस्त्यात आहे असे म्हणावे वाटते कारण याच्या निष्कर्षाविषयी अनेक मतांतरे आहेत. म्हणून या लेखाचे शीर्षक ‘जो जिता वही सिकंदर’ असे मुद्दामच दिले आहे. वाचक हो आपणच या लढाईत कोण ‘सिकंदर’ ते ठरवा.

लढाईची थोडक्यात पार्श्वभूमी: नोव्हेंबर १७८४ मध्ये महादजी शिंदे यांना दिल्लीच्या मोंगल सम्राटाने वकील इ मुतलक’ हा मोंगल साम्राज्याचा सर्वोच्च किताब दिला आणि मोंगल साम्राज्याचा पूर्ण कारभार मराठ्यांच्या ताब्यात आला. राजस्थानातील जयपूर, जोधपूर इत्यादी संस्थानचे राजे मराठ्यांना चौथाई देण्यास बांधील होते. तसेच ते मोंगल बादशहाचे मंडलिक असल्याने त्यांच्यात बादशहाला पण ठराविक रक्कम देण्याचा करार झालेला होता. महादजी आता मोंगल बादशहाचा प्रमुख कारभारी झाल्याने दोन्ही वसुली करण्याची जबादारी महादजीवर येऊन पडली. त्यामुळे साहजिकच महादजींनी जयपूरच्या व जोधपूरच्या राण्याकडे वसुलीसाठी तगादा लावला. त्यावेळचा जयपूरचा राणा सवाई प्रतापसिंग हा वयाने लहान, व्यसनी, दुर्बल व अनुनभवी असल्याने राज्यकारभारावर त्याचे नियंत्रण नव्हते. खंडणी मागणाऱ्या मराठ्यांना तोंड देखली थोडीशी रक्कम देऊन बाकीची नंतर देण्याचा वायदा करून मार्गी लावावे असे त्याचे बरेच वर्षे धोरण होते. सन १७८७ मध्ये ज्यावेळी महादजी स्वतः जयपुरवर चालून गेले तेव्हा जयपूरच्या राण्याने खंडणी न देता मराठ्यांशी सरळ दोन हात करण्याचे ठरवले व त्या दृष्टीने सैन्याची जमवाजमव सुरु केली. जोधपूरच्या राजा देखील मराठ्यांच्या ससेमिऱ्याला कंटाळला होते तेव्हा त्याने सुद्धा जयपूरकरांना मदत देण्याचे मान्य केले. महादजी शिंदेंची मात्र यावेळी हालत खस्ता झाली होती कारण त्यांच्याकडे पैशाची टंचाई होती. बादशहाचे दरमहा लाख रुपयाचे देणे ७-८ महिने थकलेले होते. महादजींच्या सैन्याचा पगार कित्येक महिने थकला होता. दिल्ली व अंतर्वेदीत गेले तीन वर्षे दुष्काळ पडल्याने पुरेशी वसुली झाली नव्हती. आणि सैन्यात अन्नधान्याची टंचाई झाल्याने कमालीची महागाई झाली होती. त्या सुमारास पुण्याची फौज टिपू विरुद्ध कर्नाटकात लढाईवर गुंतल्याने पुण्यातून मदत येण्याची शक्यता मावळली होती. अशा स्थितीत शिंद्यानी माघार घ्यावी असे बादशाहासकट अनेकांनी सुचविले, परंतु राजपुतांचा एकदाच काय तो सोक्षमोक्ष लावावा असे महादजीच्या मनात पक्के झाले होते. त्यातच महादजीचा मित्र अल्वरचा राजा प्रतापसिंग याने महादजीला राजपुतांबरोबर लढाई करण्यास भरीस घातले. जयपूरकडून किरकोळ खंडणी घेउन माघारी जाणे हे बादशहाच्या वकील इ मुतलक याना शोभत नाही वगैरे सांगून हरभऱ्याच्या झाडावर चढवले होते. त्यावेळेस महादजीच्या हाताखाली असलेला मोंगल सरदार महम्मद बेग हमदानी हा जयपूरच्या राण्यांच्या पैशाच्या अमिषाला बळी पडला व त्याने महादजीची साथ ऐनवेळी सोडली. तरीसुद्धा अशा कठीण परिस्थितीत महादजींनी राजपुताना धडा शिकवण्याचा निर्धार कायम ठेवला होता.

अशा प्रकारे महादजीच्या नेतृत्वाखाली मराठे एका बाजूला तर विरुद्ध पक्षात जयपूरचा राणा सवाई प्रतापसिंग, जोधपूरचा राणा बिजयसिंग आपापले सैन्य घेऊन एकत्र आले होते आणि त्यांच्या साथीला शूर व कसलेला मोंगल सेनापती हमदानी होता. राजपुतांची एकत्रित फौज सुमारे ५० हजार झाली होती. त्यामध्ये ५ हजार कडवे राठोड सैन्य होते जे जिंकू किंवा मरू असा निर्धार करून लढाईत उतरले होते. महादजीकडे विश्वासू राणेखान भाई, रायाजी पाटील, खंडेराव हरी, फ्रेंच सेनापती डी बॉयन, मुर्तझाखान बरेख, शिवाजी विठ्ठल व अंबुजी इंगळे असे अनुभवी सरदार आपले सैन्य घेऊन सामील झाले होते.

२८ जुलै १७८७, लालसोटचा रणसंग्राम (The D day ): लालसोटच्या मुख्य लढाईच्या महिनाभर आधीपासून दोन्ही पक्षात किरकोळ चकमकी व धुसफूस सुरु होती. दोघेही एकमेकांच्या शक्तीचा अंदाज घेत होते. एकमेकांची कुमक छापा घालून लुटणे , एकमेकांची गुरेढोरे पळविणे असे प्रकार महिनाभर चालूच होते. मुख्य लढाई होण्यास शनिवार, २८ जुलै उजाडला. त्या दिवशी महादजींनी आपली सैन्य रचना मोठ्या खुबीने केली होती. डाव्या बगलेवर डी बॉयन यांचा तोफखाना व कवायती फौजेच्या तीन पलटणी होत्या. त्याच्या संगत खंडेराव हरी आणि मुर्तझाखान हा तोफखान्याचा मुख्य होता. मधल्या फळीवर नजफखानाचे वेठबिगार अफगाण शिपाई होते तर उजव्या बगलेवर स्वतः राणेखान भाई, फिरंग सेनापती लेस्टीनो , काझो ,जॉन बाप्टिस्ट व ला फानोस तसेच अल्वरचा राजा माचेडीकर यांची फौज होती. शत्रूच्या बाजूने उजव्या बगलेवर जोधपूरचा शूर सेनापती भीमसिंग राठोडांची सेना होती, मधल्या फळीवर जयपूरचे सैन्य त्यांच्या लांब पल्ल्याच्या (heavy artillery) तोफखान्यासहित होते आणि डाव्या फळीवर अनुभवी सेनापती मोहम्मद बेग हमदानी होता.

लालसोटच्या लढाईचे संक्षिप्त वर्णन: लढाईला आरंभ करायच्याआदल्या दिवशी महादजींनी सायंकाळी एकाग्रपणे व भक्तिभावाने रणचंडीच्या पुजार्चनास सुरुवात केली. उषकाळ होण्याच्या आधी तीन तास आधी आपल्या सैन्यातील सर्वात थोर व शूर अशा राणेखान भाई या सर्वोच्च सेनापतीस बोलावून घेतले. त्यास उदकाने स्नान करायला लावून त्याला नवीन पोशाख घालण्यास दिले देवतांसमोर नतमस्तक होऊन साष्टांग नमस्कार घालण्यास सांगितले. नुकत्याच आटोपलेल्या होमहवनातील विभूती त्याच्या कपाळी लावली. व त्याला शिंद्यांची समशेर व ढाल यांच्या छायेत यशस्वी भव असा संदेश देऊन रणभूमीवर कूच करायला सांगितले.

२८ जुलैच्या सकाळी शिंद्यांचा वरिष्ठ सेनापती राणेखान बिडाखा येथे मोरेल नदी ओलांडून तुंगाच्या दिशेने २मैल कूच करून, पश्चिमेकडून पूर्वेकडे १मैल त्याने आपली सैन्याची फळी उभी केली. राजपुतांपेक्षा हलक्या असलेल्या बंदुका त्याने पुढे ठेवलेल्या होत्या, त्या बंदुका वाळूत खड्डे करून सुरक्षित ठेवल्या होत्या. राजपुतांनी सुद्धा आपल्या फौजेची रचना हुशारीने केली होती, त्यांनी जमिनीत खंदक करून आपला तोफखाना ठेवला होता. सकाळी ९ वाजता लढाईला तोंड फुटले. राजपुतांच्या कडे लांब पल्ल्याच्या तोफा होत्या त्यामुळे त्यांनी मारलेले गोळे मराठ्यांना लागून त्यांचे सैनिक व घोडे मोठ्या प्रमाणात जायबंदी होऊ लागले.त्यामानाने मराठ्यांच्या तोफांचा पल्ला कमी होता व गोळे राजपुताकडे पोचत नव्हते. ही बाब महादजींच्या लक्षात आल्याबरोबर महादजींनी मोठ्या आकाराच्या चार तोफा पुढच्या फळीवर आणून ठेवल्या आणि तोफांचा भडीमार सुरु केला. त्यामुळे राजपूत घोडेस्वारांची कत्तल होऊ लागली. सुरुवातीस दोन्ही बाजूंच्या काही तासांच्या तोफांच्या गोळागोळीनंतर सुमारे ११च्या सुमारास घोडदळ व पायदळ यांचे हातात हत्यार घेऊन लढाईला तोंड फुटले. राजपुतांच्या उजव्या बगलेवार प्राणार्पणासाठी तयार असलेल्या ४ हजार राठोड घोडेस्वारांनी मराठ्यांच्या डाव्या बगलेवर जोरदार हल्ला चढवला. मराठ्यांच्या बंदुकांच्या सततच्या गोळाबारीला व त्यामुळे झालेल्या प्राणहानीला न जुमानता त्यांनी बंदूकधाऱ्यावर हल्ला चढविला. बंदूकधाऱ्याना अस्ताव्यस्त करून त्यांनी मराठ्यांच्या डाव्या फळीचे कंबरडे मोडले. राठोडांच्या या हल्ल्यात शिंद्यांचे शेकडो नागा आणि अफगाण सैनिक ठार झाले. अगदी डी बॉयनच्या पलटणींचे सुद्धा काही चालले नाही आणि सैनिकांना बंदुकांचे काही बार उडवून मागच्या मागे परतणे भाग पडले. डी बॉयन याने मागे सरकून आपल्या खचलेल्या सैनिकाना परत एकत्र केले व त्यांनी पुन्हा गोळीबार चालू केला. राणेखान याने डाव्या बगलेवर मराठ्यांची ताज्या घोडदळाची कुमक मागे सरकणाऱ्या सेनेच्या मदतीसाठी पाठवली आणि डाव्या बगलेवर चढाई पुन्हा सुरु केली. बऱ्याच वेळ चाललेल्या या रक्तरंजित लढाईनंतर राठोडांच्या फौजेला मागून रसद न आल्याने त्यांची शक्ती क्षीण होत गेली आणि त्यांच्या घोडदळाने मिळवलेली आघाडी त्यांच्या हातातून अलगद निसटली. शेवटी त्यांना माघार घ्यावी लागली. राठोडांच्या मृत सैनिकांची संख्या हजारापर्यंत पोचली तर मराठ्यांचे तीनशे सैनिक मरण पावले. परंतु राजपुताना सर्वात मोठा धक्का बसला म्हणजे डाव्या बगलेवर लढणारा मोंगल सरदार महम्मद बेग हमदानीस तोफेचा गोळा लागून तो मरण पावला. त्यामुळे राजपुतांच्या सैन्याचे कंबरडेचे मोडले. हमदानीवर त्यांची खूप मदार होती आणि तोच अचानक ठार झाल्याने त्यांची शक्ती कमकुवत झाली. जयपूरकडील कच्छवे व महादजीचे सैनिक हातघाईच्या संग्रामात एकमेकांशी भिडले परंतु संध्याकाळी अचानक पाऊस सुरु झाला. रणांगणावरील सैन्याच्या हालचाली दोघांनाही जड जाऊ लागल्या. त्यामुळे मराठे व राजपूत दोन्ही फौजा आपल्या तळावर परतल्या. शिंद्यानी शत्रूच्या तोफा वा बंदुका काबीज केल्या नाहीत तसेच आपल्याकडील ही शत्रूला हिसकावून घेऊ दिल्या नाहीत. सायंकाळी आपल्या पुढच्या फळीतील चौक्या शाबूत ठेऊन प्रत्येक जण आपल्या छावणीत परतले.

२९ जुलै आणि त्यानंतरचा घटनाक्रम: २८ जुलै १७८७ रोजी सांयकाळी दोन्ही फौजा आपापल्या तंबूत परतल्या. हमदानी मृत्युमुखी पडल्याचे वृत्त मराठ्यांना रात्री खूप उशिरा समजले. २९ जुलै १७८७ रोजी रविवार होता. सकाळी मराठे लढाईच्या उद्देशाने शत्रूवर चाल करून जाण्याच्या बेतात होते, परंतु राजपूत व राठोड आपल्या खंदकातून बाहेरच आले नाहीत. नंतर हमदानीचे मृत्यूनंतरचे क्रियाकर्म उरकण्यासाठी प्रतापसिंगाने तीन दिवसाचा युद्धविराम जाहीर केला. त्यामुळे मराठे आपल्या छावणीत परतले आणि ३० जुलै नंतर लालसोट येथील खऱ्या नाटकास सुरुवात झाली. ते नाटक म्हणजे महादजीकडील उत्तरेकडील जे सैनिक होते ते थकलेल्या पगारासाठी बंड करून उठले व त्यांनी लढाईस नकार दिला. महादजींच्या सरदारांनी व खुद्द महादजींनी त्यांची समजूत काढायचा प्रयत्न केला, पण तो विफल ठरला. त्यामुळे उत्तरेतील सुमारे सात हजार फौज आपल्या बंदुका, तोफा व दारूगोळा घेऊन राजपुतांच्या लष्करी मुक्कामाकडे चालू पडली. मराठ्यांच्या दृष्टीने या मोहिमेतील हा सर्वात मोठा धक्का होता. आपल्या डोळ्यादेखत आपल्या गोटातील सैन्य उठून शत्रू पक्षाकडे चालू लागते या घटनेमुळे मराठ्यांचे मानसिक खच्चीकरण झाले असेल तर त्यात नवल कसले! महादजीवरील हा प्रसंग आणीबाणीचा होता. मराठ्यांना त्यांच्याच बाजूचे हिंदुस्थानी सैनिक आपले शत्रूवर वाटू लागले. ते आपल्यावर कधी हल्ला करतील अशा आशंकेने ते बेचैन झाले. खायला दोन घास अन्न नाही, खिशात दमडी नाही आणि आपल्या लष्करात झालेली फितुरी यामुळे मराठे सैन्य हादरून गेले. त्यावेळी महादजी व त्यांचे वरिष्ठ सल्लागार, सेनापती यांची बैठक होऊन त्यांनी दिलेला माघारी जाण्याचा सल्ला महादजींनी त्वरित मान्य केला. आणि मग सुरु झाली एका यशस्वी माघारीची गाथा! अशा तऱ्हेने ३१ जुलै १७८७ रोजी शिंद्यांना माघार घेणे भाग पडले.

उत्तर मराठेशाहीतील एक यशस्वी माघार: मराठे हे आजता गायत एक आक्रमक, चपळ व त्यांच्या अंगभूत धाडस व शौर्याबद्दल इतिहासात प्रसिद्ध होते, परंतु यावेळी परिस्थितीच्या रेट्यापायी नाईलाजाने व मनुष्यहानी वाचवण्यासाठी त्यांना रणभूमीपासून माघार घेत दूर जाणे भाग पडले. महादजीच्या नेतृत्वगुणाची यावेळी कसोटी लागली होती. कारण त्यांचे जवळपास ४० हजारापेक्षा अधिक सैन्य फारशी हानी होऊ न देता त्यांना सुरक्षित स्थळी नेण्याची जबाबदारी त्यांच्या शिरावर होती.महादजी आपली मनाची स्थिरता अजिबात ढळू न देता, संयम दाखवत मराठयांना सुखरूप परत आणले. यासाठी ते स्वतः संपूर्ण सैन्यभर सतत हालचाल करीत होते.पाठीमागून राजपुतांच्या संभाव्य हल्ल्यापासून रक्षण व्हावे म्हणून त्यांनी उचित सैन्य रचना केली होती. शक्यतो तितक्या लांबलांबच्या मजला मारत ते आपल्या स्नेह्याच्या म्हणजे अलवारचा राजा प्रतापसिंग यांच्या राज्यात येऊन पोचले.११ऑगस्ट१७८७ रोजी डिगेजवळ सिसवाडा येथे सुरक्षित स्थळी येऊन थांबले.या माघारीबद्दलची सविस्तर वर्णने इतिहासात सापडतात. या वर्णनास न्याय द्यायचा म्हंटले तर या संबंधात एक वेगळा लेखच लिहावा लागेल.

जीत मराठ्यांची का राजपुतांची??? मित्रानो, आपल्या या लेखाच्या कळीच्या मुद्द्याशी आपण येऊन पोचलो आहोत.पहिल्या दिवशीची म्हणजे २८ जुलै १७८७ दिवशीची लढाई पर्जन्य वृष्टीमुळे थांबली, पण ती संपली म्हणता येणार नाही. आणि दुसरे दिवशी लढाई झालीच नाही. त्यानंतर सुरु झाला तो घरफितुरीचा सिलसिला आणि उत्तरेतील असंतुष्ट सैनिकांच्या झुंडीच्या झुंडी मराठ्यांचा पक्ष सोडून राजपूतच्या बाजूला निघून गेल्या. आणि मग सुरु झाली मराठ्यांची माघार! अशा या घटनाक्रमामध्ये जय कोणाचा झाला म्हणायचा? अशा व्दिधा मनःस्थितीत त्यावेळच्या विविध ऐतिहासिक कागदपत्रांचा व ग्रंथाचा आधार घेणे उचित होईल.

मराठ्यांकडील व राजपुताकडील काही ऐतिहासिक आधार: लालसोटच्या लढाईच्या दरम्यान अनेक मराठी वकिलांनी पाठवलेल्या पत्रातून एक गोष्ट प्रामुख्याने दिसून येते ती म्हणजे मराठ्यांनी राजपुतांचा बिमोड केला आणि मराठे विजयी झाले. उदाहरणार्थ, शिंदेशाहीच्या इतिहासाची साधने भाग १२, तसेच महेश्वर दरबारची पत्रे भाग २ यामधून मराठ्यांनी जय मिळवला असे स्पष्ट शब्दात म्हंटले आहे. अनेक मराठी ऐतिहासिक ग्रंथातून असाच सूर दिसून येतो.शत्रुपक्षाकडील म्हणजे राजपुतांकडील जे दोन ऐतिहासिक ग्रंथ मिळले त्यामध्ये राजपुतांचा जय झाला व त्यांनी मराठ्यांना हाकलून लावले असे म्हंटले आहे. याचे उदाहरण म्हणजे हनुमान शर्मा यांचे ‘जयपूरका इतिहास’ व गौरीशंकर हिराचंद ओझा यांचे ‘जोधपूरका इतिहास’. अशा प्रकारे लढाईत भाग घेतलेल्या दोन्ही बाजूंचे म्हणणे होते की विजय त्यांचाच झाला. इतिहासकार कर्नल टॉड यांच्या राजस्थानचा इतिहास या ग्रंथात सुद्धा राजपुतांनी विजय मिळवला असे म्हंटले आहे.

अपक्ष जाणकारांचे मत: सुदैवाने या लढाईबद्दल काही अपक्ष बाजूंचे (third umpire?) काय म्हणणे आहे ते समजण्यासाठी काही संदर्भ उपलब्ध आहेत. सर यदुनाथ सरकार रचित ‘मोंगल साम्राज्याचा ऱ्हास’ या ग्रंथात लालसोटच्या लढाईत कोणालाच जय मिळाला नाही असे मत दिले आहे. या उलट लालसोटच्या लढाई संदर्भात ‘इब्रतनामा’ मध्ये लढाईच्या जय पराजयाबद्दल कोणतेच मत व्यक्त केलेले नाही.’पर्शियन रेकॉर्ड ऑफ मराठा हिस्टरी’ या पुस्तकात ही लढाई अनिर्णित झाली (stalemate)असे मत व्यक्त केलेले आहे. ‘पुणे रेसिडेन्सी करस्पॉन्डन्स’ या पुस्तकात या संदर्भात गंमतीदार निष्कर्ष काढण्यात आला आहे. त्यात लेखकाने म्हंटले आहे की रणभूमीवर उपस्थित असणाऱ्या त्यांच्या हरकऱ्यांच्या म्हणण्यानुसार जय राजपुतांचा झाला पण उंटावरील सांडणीस्वाराचे म्हणणे आहे की विजय मराठ्यांचा झाला !! ‘मराठे व राजपूत यांचे संबंध’ या विषयावरील तज्ञ जाणकार डॉक्टर चंद्रकांत अभंग यांच्या भारत इतिहास मंडळाच्या त्रैमासीकातील लेखामध्ये या लढाईला ‘एक अनिर्णित’ लढाई असे शीर्षक दिलेले आहे.

मित्रानो, या लढाईच्या निष्कर्षांसंदर्भात आपल्याला काय वाटते? या लढाईत मराठ्यांचा जय झाला का राजपूत सेनेचा का ही एक अनिर्णित लढाई झाली? आपणच सांगा कोण आहे सिंकदर??

संदर्भ: टॉडकृत राजस्थानचा इतिहास, Persian records of Maratha History ,Part II, Sindhia as Regent of Delhi by Sir Jadunath Sarkar, पुणे रेसिडेन्सी करस्पॉन्डन्स भाग १, जोधपूरका इतिहास: गौरीशंकर हिराचंद ओझा, जयपूरका इतिहास: हनुमान शर्मा, शिंदेशाहीच्या इतिहासाची साधने भाग १२,महेश्वर दरबारची पत्रे भाग २, भारत इतिहास संशोधक मंडळ त्रैमासिक वर्ष ८४, अंक १ ते ४, मोंगल साम्राज्याचा ऱ्हास:खंड ३,पृष्ठ २३६ लेखक:सर यदुनाथ सरकार, मराठी रियासत खंड ७ :ले.सरदेसाई गो.स.

संकलन व लेखन: प्रमोद करजगी

Lakshmi Narsimha Temple, Nuggehalli - Drifter Adwait

Adwait Karajagi

8–10 minutes

Welcome to my blog, where I delve into the intricate and fascinating world of temple architecture, and today I will be focusing on the beautiful Lakshmi Narsimha Temple in Nuggehalli, Karnataka, India. This stunning temple, dedicated to Lord Vishnu, is a prime example of the unique and elaborate Hoysala style of temple architecture, which flourished in Karnataka during the 11th to 14th centuries.

As I visited this beautiful temple, I was struck by the intricate carvings and sculptures on the walls and pillars, which depicted scenes from Sanatana epics and showcased the exceptional skill and craftsmanship of the local artisans. The temple’s distinct architectural features, such as the ornate ceiling, intricate cornices, and elaborately carved pillars, are all hallmarks of the Hoysala style of temple architecture, which is renowned for its intricate details and grandeur.

It is said that Hoysalas built more than 1000 temples all around Karnataka. Very few of them are still intact. Most of us (especially North Indians) have not even heard the name Hoysalas, and the fault primarily lies within our education system. Few among us, who know the name Hoysala, have very little or no information about them. And very few amongst them are lucky enough to visit the temples of Belur and Halebeedu. The rest of the temples are deserted. Apart from the local villagers and ASI-appointed guardians, no one wonders here. Today, we are visiting one such temple which will remind you about the legendary artisanship of our ancestors.
When you start traveling from Bangalore towards Mangalore, the small city of Chennarayapattana lies precisely in the middle of your journey. Leaving the Mangalore highway, the scenery changes drastically when you turn your car right and start driving to the North. Traveling about 16 kilometers, crossing tiny beautiful south Indian villages, you reach Nuggehalli. There lies this architectural gem Lakshmi Narsimha temple built during the rule of Hoysala King Someshwara.

Nuggehalli

Nugehhalli is a quiet village located in Hassan district of South Karnataka. Nuggehalli is the home of 5 ancient temples built in the 11th century. There are innumerous temples in India, which are well maintained by ASI, but very few amongst them are considered Live temples. Live temples are the ancient temples that ASI maintains, but Puja has been performed there for hundreds of generations. Nuggehalli Lakshmi Narsimha temple is one of such living 50 temples in India. Nuggehalli was part of Hoysala empire, and Vir Narayana was Agrahara. Agrahara means, income of that village is diverted towards the temple, and the educatonal systems ran by the temple.

Lakshmi Narsimha Temple

Bommanna Dandanayaka was Hoysala commander during the rein of King Vira Someshwara. The temple has a typical Vijaynagara styled entrance, with a granite structure and later-period brick-style roof. Temple is surrounded by a wall made up of granite, which will also remind you of Vijaynagara times.
Leave your footwear here, and walk inside the premises. You will be standing in front of a copper-made Vishnustambha, piercing through the roof made up with granite slabs. This granite roof is held aloof by Vijaynagara timed pillars. This construction depicts that the renovation of this temple must be done during the Vijaynagara kings.
This temple is a classic example of Trikutachala, a temple with three towers. One of which is built with the same soapstone by which the remaining temple has been created. Rest two smaller Vimanas are built during the Vijaynagara period, and hence clear difference can be seen here. It also said that this temple was a Keshava temple at first, and later, two other Sanctum Sanctorum were added, extending the temple by both sides. You will find a temple kitchen, a well, and two smaller shrines on the premises.
Leaving two elephants on each side, as you climb the stairs, you enter the actual temple. From here, you can see the Hoysala architecture.

Stambha, Lakshmi Narsimha Temple, Nuggehalli — Vishnu Stambha

Inside the Nuggehalli Lakshmi Narsimha Temple:

Inscriptions, Lakshmi Narsimha Temple, Nuggehalli — Hoysala Aged Inscription

Just before the main sanctum sanctorum, you will find Hoysala era stone inscription stone and a beautifully ornate roof over your head. If you look closely, you will see Sun with his two powers Usha and Pratyusha, holding bow and arrow. Looking more carefully, you will even be able to see the seven horses of Surya deva with his chariot driver Aruna guiding the horses.

Keshava, Lakshmi Narsimha Temple, Nuggehalli — Keshava

Nrusimha, Lakshmi Narsimha Temple, Nuggehalli — Keshava

This temple is home to three main deities related to Vaishnavism. Apart from Lakshmi Narsimha, Lord Keshava and Venugopala stand here, blessing the devotees. This sanctorum roof is divided into equal parts, with each part decorated more beautifully than the other. Devotees have covered the Vigrahas completely with beautiful colorful flowers, just enough to show their faces to us. Nevertheless, the environment, the mixed fragrance of Panchamrit, essence, and coconut carried us to when this temple used to be a center for Dharma and education. A dark yet peaceful environment will make you sit there, railing on one of the ornate pillars carved out of the black soapstone, enjoying the calmness around you. It will soothe your mind. After sitting there for a while, bow to playful yet mischievous Venugopala, bow down to the wise Lord Keshava, salute to the ferocious Lakshmi Narasimha, and get out of the Sanctorum.

Ceiling, Lakshmi Narsimha Temple, Nuggehalli

Surya, Lakshmi Narsimha Temple, Nuggehalli — Sanctum Sanctorum with Surya Image in the middle

Outer walls of Nuggehalli Lakshmi Narsimha Temple:

Hoysalas were expert craftsmen known for their sculptures on the outer walls of the temple. Standing on a Jagati, or platform, this temple has one of the most beautiful exterior walls, divided into several layers. The first layer is decorated with almost a feet tall elephants. These half feet tall elephants represent the stability of the Hoysala empire. Even though there are hundreds of elephants at the lower layer, it is said that no one elephant matches the other.
The second layer is decorated with horse riders, representing speed and courage. Same as the elephants, even not a single horse has repeated anywhere on this layer. You will find some minor differences between the two horses. The third layer is made up of vines and foliage, showing the prosperity of the temple.

The fourth smaller layer is decorated with various incidences from epics like Mahabharata, Ramayana, and Puranas. We have to take our sweet time here to identify the incidence which is shown in this strip. Most of them are either damaged by the invaders or by the natural elements. We have stopped reading our ancient scriptures as well, and these three factors contribute to our failure to recognize most of the incidences from this layer. The fifth layer of the temple is decorated with the Makara. Makara represents the ideal soldier. The small layer above that is crowded with Hamsa birds with their magnificent beauty.
Then comes the three feet tall panel strip surrounding the entire temple. This could be the main attraction of the temple. This layer has been ornate by rectangular panels of various deities.

Garuda, Lakshmi Narsimha Temple, Nuggehalli — Garuda, Krishna, Satyabhama & Parijat

Balaram, Lakshmi Narsimha Temple, Nuggehalli — Garuda, Krishna, Satyabhama & Parijat

How to reach Nuggehalli?

By Car: Nuggehalli is about 140 Kilometers from Bengaluru. Driving on state highway 75, take a right turn at village Hirisave. Nuggehalli will be 25 Kms. Bus: Get a bus for Hassan or Chennarayapattana. From there, you can book a private auto or cab to reach Nuggehalli. Train: Nearest railway station to Nuggehalli is Chennarayapattana, which is about 19 km from the temple. Air: The nearest airport is Bengaluru, which is approximately 170 km from the Nuggehalli temple.

Where to stay at Nuggehalli?

Nuggehalli is a small village. You won’t find any hotels here. There will be plenty of options available at Chennarayapattana or in Hassan city.

Trvikram, Nuggehalli — King Bali, Vamana

Vishnu, Lakshmi Narsimha Temple, Nuggehalli — Ananta Vishnu

Ananta VIshnu, Lakshmi Narsimha Temple, Nuggehalli — Ananta Vishnu

Kaliyamardan, Nuggehalli — Kaliya Mardana

Indra sachi and Airavata — Draupadi Svayamvar

Mahishasur Mardini, Nuggehalli — Mahishasur Mardini

Arjuna, Bhima and Bhagadatta - Drifter Adwait

Adwait Karajagi

10–12 minutes

Since childhood, I am a diehard fan of comics. When I got interested in our ancient heritage, I was not expecting a comic strip on walls of a thousand year old temple in Karnataka. Today we are seeing rather interesting sculpture, depicting a scene from war. This sculpture remembers the great heroes from legendary war of Mahabharata. But before we get into the sculpture, we have to go back few thousand years ago, when the gods used to walk among us.

It’s said that when Varaha saved earth (Bhudevi) from the grasp of demon Hiranyaksha, she gave birth to a demon named Narakasur. As a gift to this new born, Lord Varaha gave one of his tusk to use it as a weapon. Narkasur grew all powerful and mighty. During his childhood, he carried a nearly impossible penance of Lord Vishnu and got a boon of various celestial weapons or Astras. Bumidevi herself asked Vishnu for one more legendary weapon for his son, so that he will be invincible by both Gods and Demons alike. In Mahabharata, Lord Vyasa says,

देवानां दानवानां च अवध्यस्तनयोSस्तु मे। उपेतो वैष्णवास्त्रेण तन्मे त्वं दातुर्महसी।।
एवं वरमहं श्रुत्वा जगत्यास्तनये तदा। अमोघमस्त्रं प्रायच्छं वैष्णवं परमं पुरा।।

Bhudevi said, Oh dear Lord, please let my son be undefeated by both Demigods and Deamons alike, please empower him with your weapon Vaishanvastra. By listening to her request, I (Vishnu in the form of Krishna) gave him my legendary weapon Vaishnavastra and, by gifting this weapon, I assured Bhudevi, that this celestial weapon will protect Narkasura from all the enemies.

Being a demon, like his predecessors, he begun seeking immortality. For it, he performed penance to lord Brahma, but was failed in the attempt. Like his ancestors, he settled for such a boon, that made him nearly invincable. Thinking, no mother can kill her own child, the mighty Rakshasa asked for a boon, where he only shall be killed by his mother, and only if she wishes for it. With his might and with the help of the legendary weapons granted by the Lord Vishnu, he created havock in three worlds. By establishing a powerful kingdom named Prag Jyotisha Pura, he started tormenting the pious people of earth.

Centuries passed, and the age of Krishna begun. Lord Krishna got the news, that Nakrakasur had abducted sixteen thousand women and locked them away. Lord could not stand by idle, turning his eyes away from the atrocities of the demon. And thus war broke down between Krishna’s Narayani army against the Rakshasaj.

Satyabhama, Lord Krishna’s wife joined him in this righteous battle. After a fierce battle, Krishan killed a mighty demon named Mura, who was general of Narkasur. Becuase of that, Lord Krishna got the name Murari, or the one who killed Mura. After that, mighty Narkasyra appeared in the battlefield. Krishna fought with Narakasura, for day and night, as were equally matched for each other in strength. Seeing Krishna getting stronger and stronger, Narkasura drawn his special weapon, gifted by Varaha and struck down Krishna with it.

As the Varaha tusk hit Krishna, he fell unconscious and the demon army cheered with joy. But furious Satyabhama picked up the fight and started batteling the Demon king all be herself. Now, Narkasura didn’t knew at that time, but Satyabhama was none other than the Bhudevi herself, incarnated. She overpowered the mighty demon with little or no effort. In short time, Krishna regains the consciousness, and with him, Satyabhama killed the demon. The night on which Satyabhama and Krishna killed the demon Naraka was the dark night of Chaturdashi, still celebrated as Narak Chaturdashi or Diwali. Post that, Krishna along with Satyabhama and Garuda headed towards Swarga, where, for the first time, he saw the Parijata tree, which turned out to be yet another cause of war in between Krishna and Indra.

Many years passed by, and Narkasura’s son Bhagadatta came on the throne of Pragjyotisha kingdom. With all the weapons gathered by his father, he participated in the great Kurukshetra war from the Kaurava’s side along with his legendary elephant army. On 12^th day, agitated by the destruction caused by Pandavas, Duryodhana attacked Bhimsena with his elephant army.

स नाग इव नागेन गोव्रुषेणेव गोव्रुषः। समाहुताः स्वयम् राद्न्या नागानिकमुपाद्रवत् ॥
So, just like an elephant takes on another elephant, just like a bull takes on another bull, same as that, after being challenged by the Duryodhana, Bhima attacked the entire army of elephant.

विघमेदभ्र्जालानि यथा वायुः समुद्धतः। व्यधमत् तान्यनिकानि तथैव् पवनत्मजः॥
ते भीमबाणाभीहता: संस्यूता विबभूर्गजा:। गभस्तिभिरीवार्कस्य व्योमन्नी नानबला हका:।।

Just like a strong winds scatter the clouds, Pavanaputra Bhima decimated those elephant platoons. These dead elephants piled up on each other were looking just like the intertwined shining clods in the sky, illuminated by the sun rays.

Seeing Duryodhana in trouble, Bagadatta riding his legendary elephant Supratika came to his rescue. The Supratika was from the lineage of mighty Airavata, the vehicle of Lord Indra. Supratika attacked Bhima with his two front legs and the trunk.

Bhimas-elephant-skirmish-you-can-see-a-huge-pile-of-dead-elephants-with-their-riders-trapped-in-between — Bhima making the pile of elephant carcasses Halebeedu Temple, Karnataka

With intense anger, Supratika destroyed Bhima’s chariot. Escaping at the last moment, Bhima managed to hide in between the two legs of that gigantic creature. Then Lord Vyasa writes,

पद्भयांभिमोsप्यथो धावंम्तस्य गात्रेष्वलीयत| जानन्नञ्जजुलीकावेधं नापाक्रामत पाण्डव:||
गात्राभ्यन्तरगो भूत्वा करणेताडयन्मुहु:। लालयामास तं नागं वधाकाङ्क्षिणमव्ययम।।

To save himself from the wrath of mighty Supratika, Bhima hide under the elephant’s gigantic body, instead of runnig away from him. Bhima, the son of Pandu was an expert in art of Anjulikawedh. (Its said, that there lies a special spot in between elephant’s front feet, when patted skilfully, makes the elephant docile, even when the Mahut sitting above, pokes the elephant with sharp spear.) So, by patting the lower body of the elephant, Bhima started to pat Supratika. This made the elephant stood idle, and seeing the exact window of opportunity, Bhima got out and stood in front of the elephant.

भिमोSपी निष्कर्म्य तत: सुप्रतीकाग्रतोSभवत। भीमं करेणावनम्य जानूभ्यामभ्य ताडयत।।
ग्रीवायां वेष्टयीत्वैनं स गजो हन्तुमैहत। करवेष्टम भीमसेनो भ्रमं दत्वा व्यमो चयत।।

When Bhima stood in front of the elephant, it tried to grip Bhima in his trunk and squish min with his front legs. Supratika tried to chock Bhima with the trunk, but Bhima made him disoriented, and escaped from the firm grip of elephant. Once again, Bhima took shelter under that gigantic creature.

After making the elephant chase its tail for a while, Bhima swiftly escaped from that death trap. And as soon as he escaped, Yudhishthir surrounded Bhagadatta from every side, with the help of Panchal army.

Now, lets get back to this sculpture we are looking at. Here, you can take a look at Bhima, strangled by Supratika, by his powerful trunk. And in the same sculpture, you can see Bhima escaping from the firm grip of Supratika and jumping over the elephant, trying to hit Bhagadatta with his mace.

Bhima, Bhagadatta and Supratika at Belur Chennakesava Temple, Karnataka

Elephant Supratika’s Mahaut is trying to control the elephant with the help of goad while Bhagadatta is shooting Bhima with an arrow.

What happened to Bhagadatta in Kurukshetra?

On 12^th day, bloodiest ever battled went on, and suddenly, Supratika came in front of the Chariot driven by the Lord Krishna himself. Krishna warned Arjuna, saying, Dear Parth, look at this King and his elephant. He is as brave and as skilful as Lord Indra himself. His elephant is the mightiest elephant in the world. He can be defeated only by both of us, together. He is fireproof, and if not stopped, can finish the Pandava army today.

Bhagadatta was very old indeed. Several folds of wrinkles on his forehead were used to blind him. He use to wear a beautiful headband around his forehead, tying his forehead wrinkles and eyelids, keeping his eyes open.

War broke down between the Old warrior Bhagadatta, and Arjuna. Bhagadatta first targeted Lord Krishna and showered him with the pointy arrows which pierced Krishna in several places. Seeing this, Arjun killed Bhagadatta’s generals and he prepared himself for tough battle against Bhagadatta.

Bhagadatta threw 14 mallets towards Arjuna’s chariot, but Arjuna intercepted all of them mid-air, and turn them into small pieces. Post that, Arjuna shattered the heavy armour of Supratika.

Seeing this, yet once again, Bhagadatta shot his heavy mallet towards Arjuna. It collided with Arjuna’s crown, and it fell down on the ground. As Arjuna picked up the crown and placed it over his head, he said, O King Bhagadatta, please take a look at this world very carefully, for the last time. Hearing this, Bhagadatta picked up a powerful bow, and started showering both Krishna and Arjuna with sharp arrows.

Without losing the concentration, Kuntiputra destroyed that mighty bow of Bhagadatta. Being desperate, Bhagadatta started chanting Mantras for activating Vaishnavastra. Aiming towards Arjua’s chest, Bhagadatta released Vaishnavastra, but all of a sudden, Krishna stood up in front of this destructive weapon, and took the blow of that legendary weapon on his chest.

That mighty weapon got converted into an angelic garland, called Vaijayanti Mala. From onwards, Lord Krishna wouldn’t be depicted without this awesome garland. Seeing Bhagadatta overpowering the battle, Krishna asked Partha to aim for the band on Bhagadatta’s forehead. Without losing a second, Arjuna redirected his aim, and Bhagadattas head was free from the beautiful piece of cloth. Old King had several folds of forehead wrinkles and heavy eyelids, which made him practically blind. Without wasting any time, seizing the opportunity, Arjuna pierce Bhagadatta’s chest with a powerful arrow. Finally, old King Bhagadatta, grandson of legendary demon Narkasura was killed by Krishna’s disciple, Arjuna.

Reference:
Mahabharat, By Pundit Ramnarayandatta Shastri Pandeya ‘Raam’, Geeta Press, Gorakhpur, Bharat

Bhoga Nandishwara Temple: Repainted Masterpiece - Drifter Adwait

Adwait Karajagi

8–10 minutes

The Bhoga Nandishwara Temple is also surrounded by a beautiful natural setting, with lush greenery and stunning views of the surrounding hills, making it the perfect place for a peaceful and contemplative retreat from the hustle and bustle of city life. Join me as I explore this magnificent temple complex, learn about its rich history and culture, and marvel at its exquisite beauty.

Grand Entrance, Bhoga Nandishwara Temple, Nandi, Karnataka

Many places in Bangalore appeal to the outgoing crowd. And if you are living in this city for a while, you exactly know which sites you should go to and mainly, which places you should avoid during weekends. One of the places you should avoid during the weekends is Nandi hills, as half of the entire city arrives there, on that small hilltop to create TikTok videos and insta reels.

Road to Nandi hills is scenic, but we are not going all the way towards the Nandi hills. Instead of taking a left after Devanhalli on NH44, we drive straight towards a small Nandi village, just a few kilometers before Chikkabellapur. There lies a thousand-year-old temple named Bhoga Nandishwara temple.

Who built the Bhoga Nandishwara Temple?

Twin SHikharas of Bhoga Nandishwara Temple, Nandi, Karnataka

Archeological Survey of India has found several manuscripts, copper plates, and wall inscriptions. Inscriptions written on behalf of Nolamba ruler Nolambadiraja, the Rashtrakuta king Govinda III, copper plates of the Bana ruler, Jayateja and Dattiya, mention the presence of a Shiva temple in village Nandi.

The tiny village of Nandi has seen several power transformations over its 1500 years of history. From the 4th to 10th century, it used to be part of Bana-Nolamba territory. After that, it came under the ruling of wise kings of the Chola dynasty, later to be controlled by the Hoysalas. Several centuries after the Hoysalas, Vijaynagar Kings took back the invaders’ territories and recaptured the entire area. And hence, this unique temple encloses several defining architectural characteristics of each of these dynasties. Even though the actual historical evidence is not available on who has built this temple, as per the architectural style, experts date this temple in between the 9th and 10th centuries.

Bhoga Nandishwara Temple architecture

Bhoga Nandishwara has two big entrances, which welcome the devotees with open arms. The temple premice are enclosed with the Vijaynagar era stone wall (Prakara), with 110 by 75 meters. Even though popularly known as Bhoganandishwara temple, this ancient house of the divine is three temples with twin Shikharas dedicated to Lord Bholenath. These three temples show us the three stages of the life of Bholenath. The first one is Arunachaleshwara, depicting the playful childhood stage of Lord Mahadev. The middle one is the Uma Maheshwara shrine, stating the wedding of Lord Shiva and Divine Mother Parvati. Third one is Bhoga Nandishwara, where Shiva enjoys his married life, expressing the Grihastha-Ashrama of Lord Shiva.

From the temple premise, one can locate the tall Nandi hill, where the fourth temple, Yoga-Nandishwara, depicts the Sanyasa Ashrama or the renunciation stage of Lord, where he leaves everything behind and becomes the ultimate reality himself. Both Bhoga Nandishwara and Arunachaleshwara have their vehicle Nandi, patiently waiting in front of them.

Kalyana Mandapa of Bhoganandishwara temple:

Kalyana Mandapa, Bhoga Nandishwara Temple, Nandi, Karnataka

Uma Maheshwara Shrine, Bhoga Nandishwara Temple, Nandi, Karnataka

In front of the Uma Maheshwara Sanctum Santorum lies a miracle carved during the Hoysala dynasty, famous for their minute craftsmanship on the black soapstone. Kalyana Mantapa has a heavy roof, made up of soapstone, held aloof by four intricately carved pillars and a platform. All four posts are delicately carved and decorated with adorable small birds, flowers, and creepers. AEachpillar is dedicated to one cosmic couple. Apart from these natural elements, you will find Uma-Maheshwar, Laxmi-Vishnu, Brahma-Saraswati, and Swaha-Agni on their dedicated pillars.

Temple transformations:

First, the twin temples with Dravidian style Shikharas were erected by the Nolambas in 9^th century. Later, Cholas added the first layer of the courtyard and ornate pillars surrounding the temple in 11th. Later on, Hoysalas added the central shrine of Uma Maheshwara, along with Kalyana Mandapa, to the temple.

And a couple of centuries later, Vijaynagara kings added the main gate, wall, and one colossal water tank named Shrungeri Teertham in the premice. It said that the Shringeri Teertham water tank was built by the one and only Lord Krishandevaraya, the legendary king of Hampi. You will find two additional structures, namely Kalyana Mandapa and Tulabhadra Mandapa, both constructed during the Vijaynagara time.

Later, entire southern India went under the brutal rule of Haider Ali and his notorious son Tipu, but somehow, this temple managed to stay hidden from their evil ‘green’ eyes. Later on, when the British took over, the temple was reopened for the devotees. Now, the Archeological Survey of India watches over this ancient place of worship.

Imagine an artist who has painted a beautiful masterpiece. Then, a few years later, another painter comes and adds a few more elements to the painting. And then, three more artists came and painted three times all over the same artwork. What do you think will happen to the painting? Even though all five painters were exceptional, the artwork will be ruined. Don’t you think?

But in the case of the Bhoga Nandishwara temple happened precisely the opposite. Each addition was so seamless that it only enhanced the beauty of this architectural gem. One Hindu dynasty came after another and did their work, pouring their architectural specialties, and yet, this temple merged all these unique architectural styles to make one masterpiece. For me, it’s one of the most outstanding examples of the Hindu renaissance and unity of the Sanatana percolated through thousands of years.

How to reach Bhoga Nandishwara Temple:

By Car: Nandi Village is about 54 KMs north of Bengaluru. Get on NH 44 and start driving towards the airport. Continue on NH 44 till village Gonur and take a left towards Nandi village. 6 KMs ahead, you will reach the parking lot of Bhoga Nandishwara temple.

By Bus: Nearest bus stand is Kempegowda Majestic Bus Stand, about 60 KMs from the temple. Regular buses are operated by KSRTC/BMCTC every 2 hours, starting from Majestic and the last stop at the top of Nandi Hills. You have to descend at the base of Nandi hill, and take a public transport/auto, which will take you to the temple.

By Air: The nearest airport is Bangalore airport, which is 32 kilometers from the temple.

Veerbhadra, Bhoga Nandishwara Temple — Veerabhadra

Ugra Narsimha, Bhoga Nandishwara Temple — Veerabhadra

Jaali, Bhoga Nandishwara Temple — Shiva Gana Jaali

Devi, Bhoga Nandishwara Temple — Shiva Gana Jaali

Varuna, Bhoga Nandishwara Temple — Varuna Jaali on the backside of the temple

Makar Pranal, Bhoga Nandishwara Temple — Yaksha Pranal, Bhoga Nandishwara Temple, Nandi, Karnataka

Nataraja Jaali, Bhoga Nandishwara Temple, Nandi, Karnataka

Nataraj, Bhoga Nandishwara Temple — Nataraja Jaali, Bhoga Nandishwara Temple, Nandi, Karnataka

Kalyandundra, Bhoga Nandishwara Temple — Brahma on the Window, Bhoga Nandishwara Temple, Nandi, Karnataka

Kalyansundar Shiv, Bhoga Nandishwara Temple — Brahma on the Window, Bhoga Nandishwara Temple, Nandi, Karnataka

Inscriptions, Bhoga Nandishwara Temple — Naga Devata

Monolith Carousel, Bhoga Nandishwara Temple, Nandi, Karnataka

Source:

1. http://asibengalurucircle.in/bhoganandishwara-temple-nandi
2.https://commons.wikimedia.org/wiki/File:Bhoganandiswara_temple_and_Arunachaleswara_temple,_Nandi_Karnataka.jpg Floor plan of the 9th- to 10th-century Hindu temples pair, Nolambavadi style, Nolambas of Hemavati, By Ms Sarah Welch.

Mahakuteshwar Temple Complex, Badami - Drifter Adwait

Adwait Karajagi

10–12 minutes

Welcome to my travel blog, where I take you on a journey to explore the Mahakuteshwar Temple Complex – a serene, quiet, and ancient temple complex located in the rural Karnataka. The temple complex is steeped in rich history and is considered one of the most important pilgrimage sites for devotees of Lord Shiva in the surrounding area. The complex is a beautiful example of Indian temple architecture, with intricate carvings, beautiful sculptures, and stunning water features. The complex is believed to date back to the 6th century and has been an important site for worship for centuries. As I visited this beautiful complex, I was struck by the peaceful and meditative atmosphere and the sense of spiritual energy that permeated the air. Join me as I explore the rich history and culture of the Mahakuteshwar Temple Complex, and discover the beauty and serenity of this ancient site.

Fifteen kilometers from the Badami caves lies this ancient temple complex of Mahakuta, at the backdrop of two small hills. The place is also known as Mahakuteshwara or locally as Chikka Mahakuteshwara temple. after taking a graceful turn on the road, a modern-day arch welcomes you as you reach the temple parking lot. You leave your vehicle there and start walking on the cement paver blocks, anticipating the apparent characteristics of a modern era temple-like overwhelming crowd, tumulting noises, shouting vendors, beggars trying to get in your personal space, the well-known smell of rotting flowers and coconut water and never-ending lines to reach the sanctum sanctorum of the temple.

But Mahakuteshwar is one of the finest examples of ancient living temples, which has the essence of both the positive energy of the devotes and the fineness of the ancient architecture. There are several temples built in the sixth century that are standing tall, fighting with the time. Many have Nagara style, and the rest are built in Dravida style architecture.

Also known as Dakshin Kashi, it’s said that Agasti Rishi killed demons Vatapi and Illavila. They turned into the mountains, just behind this ancient temple. In the 1880s, when the excavation was going on, archeologists found one pillar lying beside the temple complex. Chalukyan King Mangalish erected this temple, says the inscription on that pillar. Being Vatapi or Badami as the capitol, brave Mangalesha expanded his territory beyond Northern Karnataka. His kingdom stretched far away, covering Gujrat, Maharashtra, Goa, Karnataka, and Andhra Pradesh.

Unifying south and middle India, the king attracted artists, receiving patronage under his stable regime. Among them, many of the expert architects, all over from the south and from the north, came together to construct this great temple complex. That might be why this pious temple complex has so many temples with mixed architecture styles.

Many like to portray medieval India as a land of constant disputes. They even come up with the stories of struggle between Vaishanvites and Shaivites (the devotees who pray only Vishnu and only Shiva). One thing must be mentioned here: even though Mangalesh was a Vaishanvite, he spared no expense erecting a beautiful temple dedicated to Mahadev, which stood tall, even after 1400 years.

The Mahakuta complex has three main temples, namely Mahakuteshwar, Mallikarjun, and Papanashini temple, enclosed within a thick temple wall. Among them, let’s take a look at the Mahakuteshwar temple. It’s dedicated to Mahadev and constructed in the Dravida style of architecture, with Gopura on the top. Beautiful Nandi is sitting in the Mandapa, before the main shrine. Temple has simple Mukha Mandapa, Mandapa and Sanctorum or Garbhagriha.

Shaiva doorkeepers greet you as you enter the shrine. Garbhagriha has beautiful doorframes but is now blackened due to negligence. Simple sanctum santorum has Shiva Lingam on the floor, located on Yoni Peetha. As you bow down to the Bholenath, Pujari or the temple priest blesses you, and you get out of the temple. Do not miss the outside of the temple, as outer walls are home to beautiful and handsome Lakulisha, Varaha, Trimurti, and many more tiny sculptures depicting the scenes from the Puranas, encircling all the temple.

Outer Wall, Mahakuteshwar Temple, Badami

Ardhanari Nateshwar, Mahakuteshwar Temple, Badami

Lakuleesha, Mahakuteshwar Temple, Badami — Ardhanari Nateshwar, Mahakuteshwar Temple, Badami

There are many small temples built with pink granite in the Nagara style of the architecture surrounding Mahakuteshwara. Many of them are missing the deity, probably decorating the living room of some European billionaire, who must have bought it in the black market auctions. There is a small temple of Maa Annapurna, just behind the main temple.

Mahakuteshwar Temple Pushkarni

One of the main attractions is Pushkarni, which lies precisely right in the middle of this entire temple complex. This beautiful stepwell is surrounded by giant trees, with branches peeking from the top, trying to see their reflection in the clear waters below. What makes this stepwell interesting is the two shrines in it. As you get down of this ancient water source, you see a small shrine of Mahadev, erected on six feet platform, with ornate pillars and roof. Under the top, you can see an interesting Shiva Lingam, with four faces on each side, also known as Mukhalingam.

Another temple is hidden within the walls of stonewall. If the water is relatably low, you can see a tiny three feet hidden doorway going into the darkness. There lies a Shivalingam, but you will be able to see it only if you are the great devotee of Bholenath and can hold your breath for some time, not to mention setting aside the fear of water snakes. Local devotees hold their breath and take a dip in the dark underwater hidden doorway to meet Bholenath.

Pushkarani, Mahakuteshwar Temple, Badami

Four Faced Shivalingam, Mahakuteshwar Temple, Badami

Pushkarni has few never-drying live streams, with bubbles coming out from the bottom. The nearby villages use water coming out of the springs for farming. Every day, kids come here after school and take a dip into this giant stepwell of freshwater. Devotees coming from all corners of Karnataka join them to have some fun. They will play games, splash water on each other, jump from the edges, and race across that broad well. The entire temple premises gets filled with laughter, happiness, and playfulness as they play together, forgetting their age, caste, gender, and social status. For that is the true magic of this place. Proximity and grace of the Bholenath can turn any cynic into one of his mischievous Shiva Ganas, who is ready to remove their footwear and enter into this magical Pushkarni.

The entire complex is a treat for the students of archaeology and Indology, who visit here to study the evolution of the Indian temples. You will find many smaller temples across the complex, built in different styles of architecture. Many other Vishnu and Shiva avatars can be found on these temple walls. Many godless shrines stand shoulder to shoulder, patiently waiting for their owner to come back from the foreign countries.

Aihole and Pattadakal have countless temples, but none of them are visited by the devotees. And hence, they feel like corpses, a lifeless body, without its soul- the devotees. Many feel gloomy by looking at those dark, humid, deserted godless buildings, the temples of the past. Mahakuteshwara temple is the best antidote for that feeling.

Kshetrapaal Veerabhadra, Mahakuteshwar Temple, Badami — Mahakuteshwar Temple Compound Wall

How to reach Mahakuteshwara temple:

By Car: Mahakuteshwara temple complex is about 12 Kilometers from Badami. Head north on highway NH367, and after 6.5 kilometers, turn right on Pattadakal road. Drive about 2 kilometers and turn right on Mahakut road. Drive three kilometers ahead, and you will reach your destination.

By Bus: Even though frequent buses are available to reach Pattadakal from Badami, you have to get down on Mahakut road and walk for 3 kilometers or wait for the private vehicle to take you to your destination.

By Train: Nearest railway station to Mahakuta temple in Badami, about 12 kilometers from Mahakuteshwara temple complex.

By Flight: Nearest airport to Mahakuteshwar temple is Belgum, about 160 kilometers away. You can get plenty of transport options like private cars or government buses to reach the temple from here.

India is the land of sages, temples, and the birthplace of four religions. But there is no scarcity of jockers in the land of Hinduism, that is, Bharat. They constantly entertain us with their idiotic theories. One of these jokes is Dravidistan or Dravida Nadu. Few morons came together and decided that few of the south Indian states have different identities based on culture, language, and religion, and they should demand a separate nation for themselves.

Even though the idea of separatism never took root in the holy land, few Kurta Pajama-wearing, Che-Periyar-loving new age wokes still dream about it. Our history has clear signs of national integration if anyone is ready to look with open eyes, without a pre-determined mindset. On our last visit to Badami, we came across a brilliant example of our national unity, shattering the illusion of this north-south divide called Mahakuteshwar Temple.

Varaha, Mahakuteshwar Temple, Badami — Ugra Narsimha

Ardhanari Nateshwara, Mahakuteshwar Temple, Badami

Trishul Dhari Mahadev — Ardhanari Nateshwara, Mahakuteshwar Temple, Badami

Ravana Anugraha, Mahakuteshwar Temple, Badami

Ravana Anugraha, — Naag Devata, Mahakuteshwar Temple, Badami

Gangavataran

Adwait Karajagi

20–25 minutes

Dive into the mythical world of Hinduism and explore the captivating tale of Gangavataran. This ancient story depicts the descent of the holy river Ganga from the heavens to the earth, as Lord Shiva receives her in his matted locks and releases her onto the land. With themes of sacrifice, forgiveness, and divine intervention, this fascinating tale offers a powerful lesson on the power of faith and the eternal bond between gods and mortals. Join us as we uncover the rich symbolism and spiritual meaning behind this timeless tale and discover its relevance to our lives today, explained with the help of ancient sculptures.

The Story of Gangavataran

Gangavataran, Ravan Phadi, Aihole, Karnataka

Ganga. Gangaji. Maa Ganga. The Ganges. No other river on face of the earth has been connected with humans spiritually and emotionally as much as Ganga. She is considered as the creator of one of the greatest, most ancient, yet the only surviving civilization on earth – Sanatana Dharma.

She is a life-giver, and cremation ceremonies performed on her banks ensure absolution. She is a goddess descended from the heavens for uplifting and for the salvation of the humans. In this blog, we are looking at the Ganga’s Descent, or Gangavataran, through the legendary sculptures found on the walls of ancient temples and caves.

Descent of the Ganga

So this is what happened. There was a race of Rakshasas named Kaleyas, who lived under the sea. They used to surface on earth, create havoc, and again, used to hide under the sea bed quickly. Like the Hindi movie police, Gods used to reach the crime scene very late, only to find death and destruction. This destabilized the delicate balance between good and evil on earth, tilting the scale of sins on the heavier side and empowering the dark forces. The Rakshasas, living under the sea, should have been stopped at any cost.

After much brainstorming, the Gods came up with a plan. The plan was simple indeed. All they needed was to drain the sea, find the demons, kill them all, destroy their hidden base and refill the sea. But, no one was equipped with such immense power other than the legendary sage Agastya Rishi. Gods approached the sage and explained the whole situation. In Teertha Yatra Parva of Mahabharata, Vyas Muni writes,

एतावदुक्त्वा वचनं मैत्रावरुणीरच्युत:। समुद्रमपिबत क्रुद्ध: सर्वलोकस्य पश्यत: ।।

And then, the angry son of Mitravarun, Agasti, who always stays within his limits, started drinking the seawater, and the entire world witnessed this miracle with awe.

After the great sage emptied the entire sea, Gods went after the Rakshasas, hidden beneath the deep-sea trenches. A war broke down between the armies of Gods and the Rakshasas. Gods decimated the demons in no time, and the rest ran away, hiding in the Patala.

After the war, Gods approached the sage Agastya, requesting him to refill the sea. Listening to the Gods and their King Indra, the great Agastya said, O’ dear Gods and King Indra, I have digested all that water. You must find another way to fill this giant hole on earth, where the sea used to be. Surprised and worried, Gods bowed down to that eccentric yet great sage and returned to heaven, thinking about how to restore the planet’s ecological balance. Little did they knew, that sage Agastya might have an idea of what was unfolding in the background.

Worrying about the ecological balance of earth, all the Gods and demigods went to Lord Brahma, and then, Lord Brahma assured those worried souls that after few thousand years, the sea shall be filled, yet again.

King Sagar of the Ikshwaku Clan

In Mahabharata, Yudhishthira asks sage Vaishampayan, how the Ikshwaku clan was responsible for refilling the sea? In answer to that, sage Vaishampayan narrates the story, which goes as follows…

There used to be a brave and righteous King named Sagar of the Ikshwaku clan. He had two wives named Vaidarbhi and Shaibya. Despite being healthy and beautiful, King did not have a progeny to carry his and his clan’s name forward. The Sagar, with his beautiful wives, went to Mount Kailasa and started penance for Mahadev. After a few years of hard austerities, Mahadev appeared before them. The King, along with his both queens, asked for the sons. Pleased with their devotion, Mahadev said,

षष्टी: पुत्रसहस्त्राणि शूरा: परमदर्पिता:। एकस्यां सम्भविष्यन्ती पत्न्यां नवरोत्तम।।

ते चैव सर्वे सहिता: क्षयं यास्यन्ती पार्थिव। एको वंशधर: शूर एकस्यां सम्भविष्यति।।

O’ King and Queens, your wishes shall be fulfilled. But the Muhurta (time) in which you have asked for this boon is tricky. Your one wife will be a mother to sixty thousand sons, but they all shall be killed at once. And your other wife shall give birth to only one son, who will carry name of the great Ikshwaku clan further.

Saying this, Bhagavan Mahadev disappeared. Hearing this boon, King and his queens came back to his Kingdom. And when the time came, queen Shaibya gave birth to a beautiful son who was as beutiful and healthy as the Gods. In another chamber of the palace, Vaidarbhi gave birth to one pumpkin. Astonished, King thought about throwing the pumpkin. As he was finishing this thought, skies roared with an announcement.

Akashwani (sky announcement) said, O’ king, this is happening as per the boon of Mahadev. Do not throw away the pumpkin and insult the supreme one. Instead, separate the seeds, keep each seed in a closed pot containing Ghee (clarified butter), and protect each and every one of these pots. King followed the procedure and kept each pot, keeping one woman for each pot for supervision and care. After a few days, sixty thousand babies were born from the jars filled with Ghee.

Sixty thousand Sons and Ashwamedh Yadnya

Born by the boon of Mahadev, these sixty thousand sons grew to be mighty, powerful, and able to fly. Soon, grown up with mighty powers, they started tormenting the residents of earth and heavens. Few years later, King Sagar decided to conduct Ashvamedh Yadnya. Yadnya was completed, and the horse was set free to roam on earth. Wherever it went, sixty thousand sons followed the horse, forcing the kingdoms to surrender or conquer the kings who refused to bend the knee. Many kingdoms were fallen down in front of sixty thousand sons of King Sagar.

After a while, the Ashwamedh horse reached the seashore. Despite being protected by sixty thousand mighty worriers, one night, it suddenly disappeared from the face of the earth. Seeing this, all sixty thousand of them started looking for that horse. After searching for years, one of them saw a trench, deep in the place where it used to be the sea. The trench went to Patala, and it was followed by these sixty thousand worriers. Angered and irritated, those sixty thousand sons started killing everyone who came across their path.

After creating the havoc and killing every Naaga, Rakshasa, and animal in hell, they reached the eastern side of the Patala, where they saw another gateway to earth. Going through that portal, they reached the Ashrama of sage Kapil. There, they saw the Yadnya horse tied near the sage’s hut. Shouting, cursing, and wielding their weapons, they ran towards the meditating sage at once. And then,

वासुदेवेति यं प्राहु: कपिलं मुनि पुंगवम। स चक्षुविकृतम कृत्वा तेजस्तेषु समुत्सॄजम।।

ददाह सुमहातेजा मन्दबुद्धीन स सागरान।।

Great sage Kapil, who was a form of Vasudev himself, opened his devastating eyes and threw his cataclysmic radiance on those sons of King Sagar, killing those idiots instantaneously.

A giant mountain of bones and ashes was created in front of the abode of Kapil. Meanwhile, Sagar had another son named Asamanjas (the one who lacked understanding) from queen Shaibya. Asamanjas was cruel in nature, and since childhood, he grew up tormenting children around him. After growing up, he had a son Anshuman who was righteous in the heart. Getting tired of Asamanjas’ cruelty, righteous King Sagar banished him out of the Kingdom.

Narad Muni told Sagar what happened in the Ashram of sage Kapil. Hearing this, Anshuman went to sage Kapil and threw himself at the mercy of that Sadhu. Pleased with his politeness, the sage allowed Anshuman to take Ashwamedh’s horse along with him and blessed that his grandson would be able to salvage his sixty thousand ancestors by bringing down the holy Ganges on earth. Anshuman brought the horse back to his grandfather King Sagar. Finally, King Sagar successfully completing his Ashwamedh Yadnya.

After ruling for few more years, King Sagar went to Heaven, handing over the Kingdom to Anshuman. Anshuman was followed by his son King Dilip. When Dilip came to know about his ancestors, he was deeply saddened and started thinking about ways to bring the river Ganga from the heavens to the earth to free the stuck souls of his sixty thousand ancestors. King Dilip passed on his Kingdom to his son Bhagirath and went to Himalaya to do penance, to bring down Ganga. even after performing austerities for many years, he was unsuccessful. Bhagirath was a righteous king. When he heard about the history of his ancestors, like his father, he handed over his Kingdom to his ministers and disappeared into the tall mountains of the Himalayas to do a hard penance.

After performing the hard penance for thousand celestial years by praying to the Ganges and consuming just fruits and water, the holy Ganges finally appeared in front of him, pleased with his dedication. Bhagirath told her that has to come to earth, as no one else had that kind of power to wash away the sins of his ancestors and liberate them. Hearing his request, Divine Mother Ganga said,

करिष्यामि महाराज वचस्ते नात्र संशय:। वेगं तू मम् दुर्धार्यम पतन्त्या गगनाद भुवम।।

न शक्तस्त्रिषु लोकेषु कश्चिद धारायितुं नृप। अन्यत्र विवूधश्रेष्ठान्निलकंठान्महेश्वरात्।।

Maharaj, without a doubt, I will answer your prayers. Still, it’s nearly impossible to slow down my descent while falling from Heaven. O’ King, in these three worlds, only the greatest among the gods, Maheshwar Neelkanth, can sustain my juggernaut speed.

Maa Ganga, Rock cut temple of Kailas, Ellora, Maharashtra

And then, King Bhagirath went to mount Kailasa to perform asceticism to please Mahadev. After doing rigorous asceticism for few years, Bholenath appeared in front of him and said, “O King, I will behold the Ganga on my head so that your ancestors will attain salvation”. Saying this, Mahadev came down to Himalaya, and Bhagirath prayed to Ganga.

Ganga appeared and started falling towards the earth with dangerous speed. Before it would hit the earth and destroy everything coming in front of her, Mahadev carried that mighty water on his head.

In Sarga 43, of Balakanda Ramayana, Maharshi Vishwamitra writes,

तस्यावलेपनं ज्ञात्वा क्रुद्धस्तु भगवान् हर:। तिरोभावयितुं बुद्धिं चक्रे त्रिनयनस्तदा।।

सा तस्मिन् पतिता पुण्या पुण्ये रुद्रस्य मूर्धनि। हिमवत्प्रतिमे राम जटामण्डलगह्वरे।।

(To protect the earth from her unbearable speed,) three-eyed Mahadev, aware of her pious intentions, applied his brilliance to conceal her. (O Rama,) the sacred Ganga descended and got lost in the depths of matted locks of the God. His holy head looked just like a tallest peak of Himalaya. Despite all the efforts of Bhagirath, being trapped in the endless locks of Mahadev, Ganga was not on earth.

Lost in matted locks of Bholenath Shiv, Ganga wandered there for many years. Not finding her, Bhagirath once again resorted to penance. Pleased immensely with his devotion, dedication and perseverance, Mahadev opened his locks and released the Ganga drop by drop.

तस्यां विसृज्यमानायां सप्तस्रोतांसि जज्ञिरे। ह्लादिनी पावनी चैव नलिनी च तथाऽपरा।

तिस्र: प्राचीं दिशं जग्मु: गङ्गाश्शिवजलाश्शुभा:।।

सुचक्षुश्चैव सीता च सिन्धुश्चैव महानदी। तिस्रस्त्वेता दिशं जग्मु: प्रतीचीं तु शुभोदका:।।

As she was released, she broke into seven streams. Three streams, namely Hladini, Pavani, and Nalini, flew eastwards, carrying prosperity with their auspicious waters, while auspicious Suchakshu, Sita, and a great river Sindhu flew westwards.

As the river started flowing from Himalayas,

समृद्धतमहावर्ता मीनग्राहं समाकुला।

तां दधार हरो राजन गंगा गगनमेखलाम।

ललाटदेशे पतितां मालां मुक्तामयीमिव।।

(When Ganga was descending from the heavens), giant waterspouts and mega waves were erupting from her. The water was filled with fish and other water creatures. Once, Ganga, which used to be an ornament of the heavens, was now ornating the forehead of Bhagavan Shiva, like celestial jewelry.

All the Gods living in the heavens descended down to the Himalayas to watch this extraordinary, and world changing event. Like a fickle girl, sometimes, Ganga appeared to dance like a twisted snake, colliding on the rocks of the Himalayas. Like a gorgeous woman covered in white clothes, she was engulfed in a white foam, dancing to the celestial tunes. Finally, she was on earth to wash away the ashes and bones of the sixty thousand sons of Sagar.

Seeing this, pleased Mahadev, carrying the extreme weight of Ganga on his head, left for the Kailas mountain. Riding the divine chariot, Bhagirath went ahead to show the path, and Ganga followed him with the roaring sound and at juggernaut speed. All the divinities gathered there to see this phenomenon. All the cosmic entities who were forced to live on earth as a curse were freed from their sins as they took a dip in the holy waters of Ganga. Being free from their sins, they ascended to the heavens once again.

As Ganga was following Bhagirath, riding his celestial chariot, she flowed with a wind-like speed. Unaware of her effects, she reached the Ashrama of great sage Janhu, flooding the entire area with her waters.

तस्यावलेपनं ज्ञात्वा क्रुद्धो यज्वा तु राघव। अपिबच्च जलं सर्वं गङ्गाया: परमाद्भुतम्।।

ततो देवास्सगन्धर्वा ऋषयश्च सुविस्मिता:।।

पूजयन्ति महात्मानं जह्नुं पुरुषसत्तमम्। गङ्गां चापि नयन्ति स्म दुहितृत्वे महात्मन:।।

(O descendent from the Raghu’s dynasty), Seeing this, the great sage was angered due to Ganga’s pride. He drank the entire water of Ganga with his ascetic powers. All the Devatas, Gandharvas, and sages were stunned by the act of Jahnu Rushi. They prayed to the great sage to treat Ganga as if she was his own daughter.

ततस्तुष्टो महातेजाश्श्रोत्राभ्यामसृजत् पुन:। तस्माज्जह्नुसुता गङ्गा प्रोच्यते जाह्नवीतिच।।

And then, pleased, Jahnu released the Ganga through his both ears. Since that moment, in three worlds, Ganga was known as the daughter of Jahnu, or, Janhavi.

Ganga came and washed away the giant mountain of sixty thousand sons of Sagar. They all achieved salvation, and ascended to heaven. As per the request of Bhagirath, after washing away the mountain of sixty thousand burnt corpses, Ganga filled the giant hole on the earth, refilling the sea, and restoring the ecological balance of the planet. Ramayana says,

गङ्गा त्रिपथगा राजन् दिव्या भागीरथीति च। त्रीन् पथो भावयन्तीति ततस्त्रिपथगा स्मृता।।

O Rama, since then, Ganga was also known as Bhagirathi and Tripathaga. Since she flows and purifies everything in the three worlds of Heaven, earth, and Patala, she was known as Tripathaga.
Moreover, Mahabharata syas,

पितृणां चोदकं तत्र ददौ पूर्णामनोरथ:। एतत ते सर्व माख्यातं गंगा त्रिपथगा यथा।।

And then, Bhagirath prayed for the salvation of his ancestors, and his ancestors attained Sadgati, thus fulfilling his intentions. (O’ Dear Yudhishthir,) This is how the Ganga was known as Tripathaga (flowing in all three worlds of Heaven, earth, and hell).

Across the Indian subcontinent, this story has been depicted on many temples. The first sculpture we are going to see is at the Rock-cut cave of Kailas, Ellora, Near Aurangabad, Maharashtra, India.

Sculpture 1: Gangadhar Shiva, Kailasa Temple, Ellora, Maharashtra.

Gangavataran, Rock Cut temple of Kailas, Ellora, Maharashtra.

You shall find this unique carving over the north staircase, taking you towards the Garbhagriha of the temple. In the upper left corner, you will see Bhagirath, standing on one toe, performing a hard penance. On his left, you will see a figure saluting Mahadev. If you look closely, this figure has four layers, perhaps, depicting the four generations or four kings of the Ikshwaku clan, Sagar, Asamanjas, Anshuman, and Dileepa, saluting the river Ganga and Mahadev, for liberating their sixty thousand ancestors.

In the middle, you can see Ganga, with folded hands, saluting Bholenath for carrying her on his head. Her tail-like lower body expresses the flow of the river rather splendidly. Four-handed Mahadev has opened one of his matted locks, significantly reducing the devastating speed of that mighty river. Bhagavan Mahadev is standing on an Apasmara Purusha, with divine mother Parvati on his left side. His lower left hand, adorned with the armlet of Kirtimukha, is caressing Parvati, patting on her head, reassuring her.

The lower left hand of Mahadev is resting on his lap. The way he is standing, the way he is holding his locks, and his face along with his entire posture reflects a relaxed state. Even after holding the weight of that unstoppable celestial flow on his head, he is standing there like nothing special has been done by him, and that reflects the true might of Mahadev.

From the locks of Gangadhar Bholenath, the river is falling into the hands of Rishi Janhu. He is drinking that water and releasing it from both of his years, giving the name Janhavi to the life-giving river. After being released by rishi Janhu, Ganga plummets on the mountains. If you look closely, you can see fishes and other creatures swimming in that water. Wild animals like elephants and horses have arrived to consume these celestial waters.

After hitting on the mountains, Ganga is split into seven different rivers. I think this has been shown here in the form of seven saluting women at the bottom of the sculpture. Bala Kanda of Ramayan says, “As she was released, she broke into seven streams. Three streams, namely Hladini, Pavani, and Nalini, flew eastwards, carrying prosperity with their auspicious waters. Auspicious Suchakshu, Sita, and a great river Sindhu flew westwards.” The seventh one is Ganga herself flowing in the southern direction, guided by Bhagirath.

Sculpture 2: Gangavataran, Ravanphadi Rock Cut Caves, Aihole, Karnataka

Tripathaga Ganga, Rock cut cave of Ravanphadi, Aihole, Karnataka.

The same scene, with the same essence but with different aesthetics, has been carved out in a quiet cave of Ravanphadi. This incredible sculpture greets us on the left wall, adjecent to the door, as soon as we enter this monolith rock-cut cave, a brilliant example of developed Indian architecture. When you stand in front of this sculpture, larger-than-life celestials depict the story of Gangavataran.

As Ganga travels in Heaven, earth, and Patala, it is also known as Tripathagami. This phenomenon is depicted here splendidly by showing three identical women in Namaste pose, merging together to be one. This one Ganga, made from three streams representing each world, is held aloft on the head by Mahadev. He is wearing a crown made with matted locks and half-moon. The sculpture has sculpted the aura around his head, underlining the divinity of Chandramauleshwar.

Four-handed Shiva is standing in a relaxed pose. He releases the small portion of Ganga on earth by lifting and separating a couple of his dreadlocks in the air with his upper two hands. He has kept his front left hand on his thigh, holding his Uttariya, while holding something else in his right hand.

The third eye in between his bow-shaped eyebrows is closed, and the rest of his eyes are half-closed. He has to carry the unbearable burden of Ganga on his head for the betterment of the universe. But, instead of bending beneath that crushing pressure, he has an assuring smile on his face, as yet another one of his sacrifices will change every life on earth for good.

Parvati is standing beside Gangadhar on his left hand. She is wearing a tall crown on her head, and her earrings add beauty to her divine charm. She is wearing beautiful ornaments on her neck, hands, waist, and arms, complimenting her beauty. Here, the artist communicates several emotions via this brilliant carving. She looks at what’s unfolding in front of her with her eyes wide open. Parvati is gazing at her husband with her right hand on her chin. An amalgam of feelings like amusement, astonishment, pride, contentment, and satisfaction can be seen on her face.

You can see a skeleton with a beard standing on the right side of Mahadev. He is King Bhagirath. For one thousand years, he has meditated, performing a hard penance for Mahadev. For this much time, he has stood on his right foot. You can see his weak muscles and exposed rib cage due to a constant starvation. He has grown a long beard and dreadlocks on his head. His eyes are deeply buried in his skull.

Being in such poor health condition, he continued to pray. As a result of his perseverance, his Lord has appeared before him, accepting his request to behold the mighty celestial river Ganga on his head. Finally, his dream has come true, and you can see a clear sign of satisfaction on his weak yet contentful face.

Ganga, RIding a Makara, Ellora Cave, Maharashtra.

Shiv releasing Ganga with two dreadlocks, Rock cut cave of Ravanphadi, Aihole, Karnataka.

Resources:

1. Vanaparva, Mahabharat, By Pundit Ramnarayandatta Shastri Pandeya ‘Raam’, Geeta Press, Gorakhpur, Bharat
2. Bala Kanda, Sarga 44, Ramayan, Edited by IIT Kharagpur

Kopeshwar Temple, Khidrapur, Maharashtra

Adwait Karajagi

15–19 minutes

Ancient Kopeshwar temple at Khidrapur is a fine example of the impressive architecture and engineering skills of the artisans of the 12th century. The temple is dedicated to Lord Shiva and is renowned for its stunning rock-cut architecture and intricate carvings. As I approached the temple, I was struck by its grandeur and the intricate details of the carvings on the walls and pillars. The temple is also known for its impressive Svarga Mandapa which is a stunning piece of engineering in itself. Join me as I take you on a virtual journey through this awe-inspiring temple and explore the rich history and culture of Khidrapur.

Swarga Mandap, Kopeshwar Temple, Khidrapur, Maharashtra — Swarga Mandap

Nrusinhawadi, commonly known as Narsoba-chi-Wadi, is a significant pilgrimage spot for Shri Dattatreya devotees, located in the Kolhapur district of Maharashtra. As per Gurucharitra, Nrusinha Saraswati, a Purna-Avatara of Lord Dattatreya, lived and meditated here for twelve years. Daily, thousands of devotees come here from all corners of India to visit the temple, located at the confluence of two rivers, Krishna and Panchaganga. During the Purnima and on auspicious occasions, devotees flocking to this holy pilgrimage rises to hundreds of thousands.

Devotees arrive here, and after taking a dip in crystal clear waters of ever-flowing Krishna Mai, they have a Darshana of Lord Nrusinha Swami and stay for evening prayers. Many of them decide to stay for a couple of days to spend some peaceful time at this location. Very few choose to explore the nearby villages. Those lucky and curious enough to explore stumble upon one gem of ancient architecture, named Kopeshwar temple, located in the town of Khidrapur, just 19 kilometers south of Nrusinhawadi.

Khidrapur is a calm and peaceful agrarian village that lies on the border of Maharashtra and Karnataka. In medieval times, it was known as Koppam. Khidrapur has an ancient and rich past. The Krishna river, flowing in the southeast direction, takes a sharp turn and starts rushing towards the west for a few km. Our temple lies on that marvelous river bend.

Pauranik Origins of Kopershwar:

Kpoeshwar Khidrapur, Kopeshwar Temple, Khidrapur, Maharashtra — Kpoeshwar Khidrapur

King Daksha had 16 daughters, and the youngest one was Sati. She married Shiva by going against the will of her father. After passing a few years, Yaksha decides to perform Yadnya, and he invites all the gods from the heavens, except Shiva and Sati. When Sati knows about this glorious ceremony, she decides to go there.

Shiva tries to make her understand that it’s not right to go to the function if you are not invited, but Sati rejects Shiva, saying she doesn’t need an invitation to go to her own home. Feeling inappropriate, Shiva decides to stay back but sends his Ganas and Nandi accompanying Sati (remember this point).

When Daksha sees his daughter with an army of Ganas, he gets annoyed and starts cursing Shiva at the venue. Gods tried to shut him up, but he continued to hurl mean insults toward Sati about her husband. Being deeply devoted to her husband, Sati gets deeply offended and hurt and jumps into the fire of Yadnya, killing herself.

Shiv, Kopeshwar Temple, Khidrapur, Maharashtra — Kopeshwar and Dhopeshwar

Few of the Ganas ran and narrated the story to Shiva. Shiva loses his temper and gets angry. Being angry, he beats his dreadlocks on the ground, creating an earthquake. Knowing the devastating effects of Shiva’s anger, Vishnu arrives there to calm down Shiva. In Sanskrit, anger means Kopa. From that day, the place where Shiva expressed his anger was known as Kopeshwar. Here, you will see two Lingams beside each other. One is called Dhopeshwar, representing Lord Vishnu, and another is called Kopeshwar, representing Lord Shiva.

Historical Origins of Khidrapur Temple:

Inscription, Kopeshwar Temple, Khidrapur, Maharashtra — Khidrapur Inscriptions

If you can read old manuscripts, you are in a treat, as you will be one of the few people who can read 12 inscriptions scattered across the temple premises. From various inscriptions, we get to know the temple’s history, which goes as follows.

The construction of Kopshwar begins during the reign of Chalukya King Pulakeshi Second in the seventh century. Being a Hindu King, he gave donations to Jains and Buddhist seekers for building their temples. The Famous Meguti Jain temple, located on the hillock of Aihole, was built by none other than Pulakeshi the second.

During his reign, he fought many battles, expanding his territories from the western seas to the eastern seas. During these expansions, while fighting a territorial war with Pallava King Narsimha Varman, this generous King died on the battlefield. It was a devastating blow to the Chalukya Kingdom, and trying to recover from this travesty; the temple construction got delayed.

After that, a small village of Koppam saw many power transfers, from Pallavas to Cholas to Shilaharas, when finally, Yadavas of Devagiri took over the region. Yadava King Singhandeva defeated Shilahara King Bhoja at the beginning of the 13th century. Miraj, Kolhapur, and Panhala fort, along with Koppam, were added to the Yadava territory. In 1213, King Singhandeva restored and completed the Kopeshwar temple construction. You can see this inscription on the south entrance of the temple Mandapa.

This inscription is written in Devanaari alphabets and the Sanskrit language and is considered unique, as King Singhandev has added several titles behind his name. Almost the upper half of the inscription states the titles he had taken. It goes like follows:

“Shirmad Devagara Dhishtith, Samasta Bhuvanashraya, Shri Pruthvivallabh, Maharajadhiraja Vishnu Vanshodbhava, Yadava Kulakamala Kalika, Vikasabhaskar, Samasta Ariray Jagajampa, Ityamevadi Samasta Rajavali Samalankrut Shrimat Pratapa Chakravarti, Shrimaharaj Shri Singhandev.” (phew). And then, it states that the temple was reconstructed on Monday, of Chaitra month, of the year Shaka 1136.

Further, it states, that King Singhandev has allotted the land, trees, earnings of the village Kudal, and village Kudaladamavad (Kurundwad?), located on the confluence of river Krishna, and Bhenasi to the temple. Additionally, King has donated the land till confluence of river Krishna and Kuveni along with villages Siriguppa and Jugul for the Angabhoga and Rangabhoga (Puja, management and for other activities like music) of the Lord Kopeshwar.

Kopeshwar Temple Architecture:

Nagarkhana:

Khidrapur temple was built in Dravida architecture. Located a few hundred meters from the Krishna riverbed, the temple is surrounded by a tall wall and an entrance like a fort. It may be called Nagarkhana, where the drums used to play during the time of Aarti. Keeping Krisha river at your back, when you cross the temple Nagar Khana, you stand in front of one of this temple’s most unique and defining characteristics, a Swargamandapa.

Swarga Mandapa:

Usually, temple have Mandapa, Upamandapa, Antaral, and Garbhagruha. But here, the architect has added a circular Mandapa, called Swarga Mandapa, and it’s the unique feature of this temple, just like the moon roof of the car. There are 48 heavily ornate pillars of Swarga Mandapa, with four entrances in each direction. This unique structure has no ceiling. Blue sky peeks through a circular opening of 13 feet in diameter, illuminating the Mandapa. Exactly below that opening, you will find a circular platform, which is also called Rangashila, the same size that of the space above.

In earlier days, while being on that platform, artists presented their art by singing and dancing in front of the Kopeshwara while the audience was sitting in the space surrounding the Swarga Mandapa. Forty-eight pillars have been divided into three circles surrounding the sky window. The first layer comprises 12 posts encircling the platform; the second is 16, the third circle consists of 12, and the outermost ring is made of eight pillars. Ashta Digpalas and other deities have their consorts and vehicles on top of every post of the first layer surrounding the Ranga Shila. If you stand in the middle of the circle, you will see the blue sky while all the deities bless you.

Many believe, that the roof of the Swarga Madapa has been fallen. But looking at the structure of the surrounding pillars, and the water outlet given besides the Ranga Sheela, we can safely assume, that the Swarga Mandapa has been open since the construction of this temple begun.

Sabha Mandapa:

South Entrance to Mandapa, Kopeshwar Temple, Khidrapur, Maharashtra — South Entrance to Mandapa

Entrance from Swarga Mandapa, Kopeshwar Temple, Khidrapur, Maharashtra — Entrance from Swarga Mandapa

Sabha Mandapa has three entrances, one from the Swarga Mandap and two others from the North and south direction. Each entrance is more beautiful than the other. Every entrance has been ornated with multiple door brackets or, Dwarashakhas. Dwarpaals, both male and female, greet you while you enter the temple Mandapa. The bottom layer of these door brackets is adorned with Shardulas or Vyala animals.

Thirty-six ornated pillars hold over the Mandapa. I guarantee you that you have not seen such beautiful carvings anywhere else in Maharashtra. Here, you will encounter different scenes from Ramayana and Vishnu Purana. Various styles of Keertimukha can be seen here. Looking upwards, you will see a full-blown lotus carved on the ceiling of the Mandapa.

Kopeshwar Temple, Khidrapur, Maharashtra — Mandapa Pillars

Mandapa Ceiling, Kopeshwar Temple, Khidrapur, Maharashtra — Mandapa Pillars

As you cross the Mandapa, you shall reach the Antarala or the passage between Sanctorum and Mandapa; here, two fierce-looking yet beautiful Dwarpalas will greet you. Only one dwarpala is intact, and another is kept outside the temple, near the south entrance. The doorkeeper is wielding a mace, and the carvings on this sculpture are stunning. The statue has managed to carve Rudraksha beads, snakes, rubies, and other ornaments with exquisite delicacy.

As you pass the Antarala, you arrive at the temple’s sanctum sanctorum and third unique characteristic of the temple. Usually, the Sanctorum of the temple is plain and straightforward; you won’t see many carvings in the Garbhagruha. But here, Lord Dhopeshwar (Vishnu) and Lord Kopeshwar (Shiva) are surrounded by the 18 most beautiful girls carrying Puja ingredients.

Outside the Kopeshwar temple:

Brocken Dwarpala Kopeshwar Temple, Khidrapur, Maharashtra — Brocken Dwarpala

As the temple is built in Dravida-style architecture, you can see the outer layers of the temple. The entire temple is built on a Jagati or a platform. The bottom first layer of the temple is Gaja Thar or an Elephant layer. Temple as the whole is held aloft on these three feet tall, strong animals. This is another unique feature of this temple. Usually, the bottom layer consists of just the animals, but here, the animals have riders on them, and their riders are no ordinary riders, as each one of them is a powerful deity.

Elephants of Khidrapur Kopeshwar Temple, Khidrapur, Maharashtra — Elephants of Khidrapur

Not to mention, each elephant is different from the other one. Each of them is standing in a different pose, wearing various ornaments, and even the Hauda or the elephant seat is unique. You will find 92 such elephants surrounding and protecting the temple.

On top of the Gaja Thar, there comes the Nara Thar, or layer showing humans living their ordinary life. This layer competes with the layer below in beauty, creativity, and delicateness. On this layer, you will meet beautiful women dancing, playing musical instruments, or even going to the temple, carrying the Puja material along with them. Art reflects contemporary life. On this layer, sculptures have immortalized the social norms, clothing, musical instruments, and traditions. You will find a few deities on that layer after a few mortals. The coating on top of this is decorated with different sculptures of smaller-sized Gods sitting in a cross-legged pose.

There are several temples in the nearby vicinity, which draw much larger crowds. The stunning temples of Badami are just 150 km away from the Khidrapur. So, what makes this temple so unique?

Its resilience. Elephants are considered icons of a stable, protective, and nurturing regime. There are 94 elephants on the outer walls, and invaders ensured that none of them stayed intact. The trunk of every elephant has been put under the hammers. The barbarians who arrived from dessert defaced each divinity, riding on those elephants.

Instead of appreciating the marvelous beauty carved out from the most robust stone, they decided to decimate it because it’s an honor to be called Butshikan and Kufrashikan in their holy book. Waves after waves of invaders came from the north and broke on the temple, yet it stood firm for hundreds of years. You can just imagine how hard and life-threatening it must be for the poor farmers living around the temple to come there and pay their homage to their Lord under the reign of the Sultans. But through the songs, ballads, stories, and traditions, these poor peasants kept the memory of this fine temple and the glorious past alive.

When you stand in the center of that marvelous Swarga Mandapa, do not forget to pay homage to these unknown worriers who shed their blood to defend this temple. Do not forget those grandmothers, who must have painted the pictures through tales in front of her sleeping grandchildren, how Daksha insulted Lord Bholenath and how Veera Bhadra was born. Pay homage to those Brahmins, who must have reached the sanctum Santorum of the temple stealthily and performed Abhisheka on Kopeshwara and Dhopeshwara after clearing the dust, dried leaves, and rubble fell on them. We owe it to all of these unsung warriors; thanks to them, we can see this splendid legacy of our ancestors.
Jai Kopeshwar, Jai Dhopeshwar.

Kopeshwar Dwarpalas Kopeshwar Temple, Khidrapur, Maharashtra — Kopeshwar Dwarpalas

Kopeshwar is indeed an architectural marvel. But there is a lot to this temple that meets the eye. There are lots of narrow corners that are easy to miss. Every pillar is a testament to the ancient sculptor, and hence it is imperative to understand every part of this architectural gem. Do not forget to hire a guide as a local Guide service is available on the temple premises. We met a gentleman named Shashank Salunkhe, an MTDC-approved guide and a P.H.D. student is working on his thesis on the temple Sura Sundari (beautiful ladies of the temples).

Mr. Shashank Ramchandra Chothe 8888005889

Mr. Ramachandra Govind Chothe 9881258188

How to reach Kopeshwar Temple, Khidrapur:

By Car: Khidrapur is about 60 km from Kolhapur, 40 km from Sangli, and 30 km from Jaisingpur. It’s about 50 km away from NH48 and just 20 km away from Narsoba Wadi.

By Bus: Sangli, Kolhapur, Jaisingpur, and Narsoba Wadi are well connected with MSRTC buses.

By Train: The nearest railway station is Jaisingpur, about 30 km away from Khidrapur. Another railway station in Sangli, where you will find more trains.

By Air: Kolhapur is the nearest airport; however, there might not be many flights going to Kolhapur. Pune is the nearest airport to Khidrapur temple.

Places to eat at Khidrapur: Being a small village, Khidrapur has no hotels, except couple of fast food carts serving Pav Bhaji and Bhel Puri outside the temple. Mostly surrounded by the lush green sugarcane fields, you can enjoy the freshly squeezed sugarcane juice, the freshest you will ever have. Narsoba Wadi is the better choice for food, not to mention world famous Basundi is something that should not be missed at any cost. Best option will be going to Kolhapur or Sangli for lunch or dinner.

Places to Stay at Khidrapur: Khidrapur has no place to stay. For basic accommodation, you can stay at Narsoba Wadi as it has both hotels, and Dharmashalas as well. Sangli, Kolhapur or Miraj will be the best choice if you decide to stay, as even five starred hotels are available there to cater you.

Vishnu On Garuda Kopeshwar Temple, Khidrapur, Maharashtra — Vishnu On Garuda

Patra Lekhika Kopeshwar Temple, Khidrapur, Maharashtra — Patra Lekhika

Panchatantra Kopeshwar Temple, Khidrapur, Maharashtra — Panchatantra

Ram Lakshman and Maruti Kopeshwar Temple, Khidrapur, Maharashtra — Panchatantra

Harihar Kopeshwar Temple, Khidrapur, Maharashtra — Harihar

Mandovar Kopeshwar Temple, Khidrapur, Maharashtra — Mandovar

Agni on ram Kopeshwar Temple, Khidrapur, Maharashtra — Agni on ram

Makara Pranal (Water outlet) Kopeshwar Temple, Khidrapur, Maharashtra — Makara Pranal (Water outlet)

Kirtimukha Kopeshwar Temple, Khidrapur, Maharashtra — Kirtimukha

Laksmi Narayan, and Garuda Kopeshwar Temple, Khidrapur, Maharashtra — Kirtimukha

Chandra (Moon) Kopeshwar Temple, Khidrapur, Maharashtra — Chandra (Moon)

Ganapati On Outer Walls of Kopeshwar — Ganapati On Outer Walls

Skanda @ Khidrapur, Maharashtra — Skanda

Andhakasur Vadh -

Adwait Karajagi

19–24 minutes

Andhakasur Vadha is one of the most popular sculptures you will find in the Hindu temples. The first sculpture is from the 28th cave named Sita-Ki-Nhani, from the world-famous Ellora caves. As you enter the cave, you meet with a gigantic sculpture on your left. As you face this awe-inspiring sculpture carved in the 8th century, you realize that this is a larger-than-life portrayal of the whole episode of Andhakasur Vadha and Neelasur Vadha combined.

1. Andhakasur Vadh, Sita-Ki-Nhani, Ellora, Maharashtra

Mahadev has a crown made out of his dreadlocks over his head. He is wearing various ornaments like Rundamala (garland made up of skulls), Udarbandha (belt), Manimala (neckless), and Keyur. They all are showing a swift motion.

Pashupatinath is holding his mighty trident in his front two hands. He has lifted the Andhakasura beyond the skies by impaling him with the mighty trident. As mentioned in Shiva-Mahapurana, the demon has reached the higher skies, which has been carved rather splendidly by the sculptor in the form of clouds. Despite being in agonizing pain, Andhakasura is saluting the Mahadev with a faint smile on his face.

Speaking of the faces, eight-handed Bholenath is an absolute reflection of pure and raw aggression. You might mistake him for a demon if you don’t know the story behind it. His teeth are coming out, eyes bulging, eyebrows twisted, and third eye-popping to open. His stance shows a swift motion in which he has pierced the demon. As per Murti Shastra, he is standing in the pose called Alidhasana. Every blood drop of Andhakasur falling on earth gave birth to Andha-Gana. To prevent that, Bholenath held a bowl to collect his blood.

On the upper two hands, he is holding the skin of Neelasura, or Gajasura, the demon who took the form of an elephant to kill Shiva. Gajasur swallowed Mahadev during a war, and then Mahadev came out of the demon’s stomach by tearing it. You can see the head of the elephant on the right side of Mahadev, depicting the war scene.

Mahadev is holding another demon in one of his right hands, probably an Andhak-Gana, and tossing him around effortlessly like it’s not a big deal. How Mahadev holds his double-edged sword shows that it is right in the eye of the battlefield. Parvati is sitting beside Mahadev, holding one hand on her heart. She has a calm smile, showing love, affection, and relief. She is a proud wife, and sculpture has shown this emotion with the magic of his chisel.

While the first sculpture astonishes us with its grandeur, the second one amazes us with its intricacy and attention to detail.

The second masterpiece is from the outer walls of Hoysaleshwara temple, Halebeedu, Karnataka. In the previous sculpture, you have seen the angry Mahadev. But here, you will encounter a peaceful one. Just take a look at his face. Half closed eyes, a faint smile on face, and bow-like relaxed eyebrows indicate the effortlessness of this God.

2. Andhakasur Vadh, Hoysaleshwara Temple, Haleebidu, Karnataka

Fourteen-handed Mahadev holds various weapons like Khatvanga, arrow, spear, bow, sword, and trident in his hands. Besides those weapons, Mahadev is holding his famous Damru (drum), and a Rudraksha rosary. In his uppermost left hand, you will see the Vedas. In his lower left hand, he holds a Panapatra (bowl) to collect the blood drops oozing from Andhakasur.

His rings, armbands, and wristbands are simply marvelous and very hard to describe in words. Intricately carved crown adorns his head. You can see a small Keertimukha on his gorgeous Udarabandha (belt). Coming over his left shoulder and reaching below his knee, you can see the Vanamala of Mahadev, swinging as per his body movement. Bells besides the Vanamala are swinging, and if you spend some more time in front of the sculpture, you might hear them ringing.

In the upper right corner, you will see Andhakasura. He is holding a sword in his right and a shield in his left hand. The sculpture is so intricate that you can see the smooth fingernails of Mahadev. It is so fine that at the point of contact, where the trident of Almighty Shiva is piercing the demon, you will see the demon’s skin is about to come loose.

Mahadev is dancing on another demon. The imagination of the sculpture is so vivid; you can clearly see the eyes of the demon below bulging out due to the unimaginable weight of God. At the bottom left corner, you can see Nandi looking at the demon with anger as the veins on his face pulsate. You can feel the wrath of Nandi by his wide eyes, curved eyebrows, and mouth wide open. If you look close enough, you can even see the teeth of that faithful vehicle of Mahadev.

But, in order to enjoy these sculptures to the fullest, one must understand what, why, and when all this happened. Let’s take a look at the story of Andhakasura.

The Birth.

In our Puranas, if you take a look, very few demons have been birthed under normal circumstances. Almost all of them have an interesting or unfortunate story behind their existence. The way they behave later on has roots in the circumstances under which they came to this world. Let’s take an example of a mighty demon Andhakasur. He, too, was a victim of an accident, born without any reason.

This story is straight out of Shiva Mahapuran. Thousands of years ago, Mahadev, and Parvati, along with their millions of Ganas, descended from Kailas and formed a kingdom in Kashi. After appointing Bhairav as the protector of the Kashi, Mahadev, Parvati, along with their Ganas, started living there in peace.

On one fine day, while Mahadev and Parvati were spending some alone time together, Parvati approached Mahadev from the back and covered his eyes with her hands playfully. But due to the unbearable heat of Shiva’s third eye, Parvati’s hands started to perspire. And then, two drops fell down on the land and,

गर्भो बभुवाथ करालवक्त्रो भयंकर: क्रोधपर: कृतघ्न:।
अन्धो विरूपी जटिलश्च कृष्णो नरेतरो वैकृतिक: सुरोमा ।।

Then a child was born, who was just horrible, with a terrible mouth, angry, ungrateful, with long dreadlocks, dark, ugly, very different than what humans look like, the one with many holes on his body, and he was the blind as well.

Immediately after being born, he started singing, laughing, crying, screaming, salivating, and rolling his tongue all over his face. Looking at this creepy fellow, Parvati started looking at the face of Mahadev with many questions in her mind.

Smiling with closed eyes, Mahadev explained, Oh dear divine one, why are you worrying? This has happened just because of you, closing my eyes. Listening to the reply of Mahadev, smiling, Parvati let go of her husband’s eyes. As Mahadev opened his eyes, the light fell on that baby, and he mutated into an even more terrible form, horrible than the darkness itself.

Mahadev said, Oh Ambika, when you closed my eyes, the darkness accumulated, and when my fire met with your perspiration, this demon is born. You are the mother of this infant, and his name shall be Andhakasur. So, with love in your heart, protect this child with the help of your friends. Parvati started doing so.

The Adoption.

Many years went by, and it was time for Satya Yuga. Hiranyakashipu and Hiranyaksha, two demon brothers, were ready to conquer the world with the mighty Rakshas army. Along with Bhakta Pralhad, Hiranyakashipu had four sons. Being married, demon Hiranyaksha had no kids of his own. In search of an heir to his kingdom, he decided to perform Tapasya.

Hiranyaksha went to the jungle and started meditating, chanting the name of Lord Mahadev. Pleased with his devotion, Bholenath Mahadev appeared before the demon and asked what he was seeking. Hiranyaksha replied, Oh almighty one, as you know, my brother has five mighty sons who are there to carry his name. Unfortunately, I don’t have a progeny to carry my name into the future. Who will control this demon army after me? Please bless me with the progeny. Mahadev said,

ममात्मजं त्वन्धकनामधेयं त्वत्तुल्यवीर्यम त्वपराजितं च।
वृणीश्व पुत्रं सकलं विहाय दुःखं प्रतीच्छस्व सुतं त्वमेव ।।

Adopt my son, Andhak, who is as powerful and invincible as you. Forget everything, and accept him as your own son.

Saying this, Mahadev, along with Parvati, gave away their son to Hirankyaksha. After receiving an heir to the throne, Hiranyaksha did not stop there. He continued his Tapasya for a few more years, receiving different boons from Brahma. Defeating the gods, he conquered all the worlds and started his demonic rule. In the form of Varaha, Vishnu killed him and freed earth from his demonic claws. To avenge his brother, Hiranyakashipu did the same and met his fate when Vishnu took the form of Lord Narasimha and tore his stomach.

Now, it was the time of Andhakasur.

Tapasya.

As a young boy, Andhakasur played with his cousins, and all of them teased him, being ugly, weird, wicked, and blind. They used to say, how can you be an heir to the throne of Rakshas if you can’t even see? We are the real heir to our brave uncle.

One night, Andhakasur woke up in the middle of the night and went to the jungle, leaving his kingdom and all the comforts of the kingdom behind. There, lifting his both hands in the air, just consuming the air, he started the austerity, chanting a mantra.

प्रज्वाल्य वन्हिं स्म जुहोति गात्र मासं सरक्तम खलु वर्षमात्रम।
तिक्श्णेन शस्त्रेण निकृत्य देहात समन्त्रकं प्रत्यहमेव हुत्वा।।

A few thousand years later, he ignited the sacred fire and started putting pieces of his flesh and blood in that home to please the gods. He continued this for over a year. No one in the history of the universe has done this kind of Tapasya. When he was left with just the bones and his nervous system, he decided to throw himself in the Homa. Seeing this, Lord Brahma appeared before him and asked what he wished for.

“Oh Lord, Pralhad and his brothers have abolished me from my family and kingdom. I want them to surrender and follow me. I want a powerful gift of vision, and all the gods, and Indra should pay me a tribute and taxes. Like my father and my uncle, I desperately seek immortality”.

Listening to his demands, Brahma said, “Oh pious demon, I can grant you anything you seek, but the boon of immortality, which goes against the rule of nature. So, please ask a boon that will stay well within the boundary of nature”.

Andhakasur said, “Dear world creator, grant me such a boon, if and when I will be attracted towards my mother with lust, it shall be the beginning of my downfall.” Surprised, Brahma granted the boon to the demon and touched his head gently. With the pious touch of Brahma, the demon’s body was healed, and he gained a powerful vision and a physical strength one demon king should possess. Saluting Brahma, he appeared in his kingdom. Looking at his might, all the demon princes, along with Pralhad, surrendered to him and crowned him as the King of Rakshasa.

Soon, with the help of his boons, Andhakasur won over all three worlds and started extracting taxes from all the gods and demigods staying in heaven. Marrying tens of thousands of women, he started romancing them. He spent much of his time in his harem, surrounded by countless beautiful women. Just like the Sultans of India (Muhammad Ghori, Ahmad Shah Abdali, and the list goes on), his servants roam around, and if they saw any beautiful woman, they used to abduct her, adding her to the harem of the demon king.

Thousands of years passed by, and the cycle of debauchery went on. His minions were spread across the earth, finding good-looking women for their King. While roaming the earth, his advisers Duryodhan, Vaidhas and Hasti saw an extremely beautiful woman roaming around on Mandar mountain, near a huge cave.

Just outside the mouth of the cave, there was a Rishi sitting with her, with a blue throat, dreadlocks, snake around the neck, covered in an animal skin, meditating.
Without losing time, those three came running to their King, describing the most beautiful woman they had ever seen. Listening to this, burning with lust, Andhakasur sent thousands of Rakshas worriers to bring Parvati for him.

The War.

When the Rakshasas reached the mouth of the cave, they saw Lord Shiva sitting beside the door and a doorkeeper named Veerak guarding the entrance. As the Rakshas tried entering the cave, Veerak started cutting them one by one. Seeing this, all the demons attacked that doorkeeper with all of their might. The war broke down between a single gatekeeper and a large demon army. When the dust settled, Veerak was standing tall, and all the demons were dead on the spot.

Mahadev was in deep meditation. He got disturbed by all the war noises. Seeing Veerak had killed the demons, he called Parvati and told her that he was in the middle of Pashupat Vrat. The Vrat must be completed; hence, he must go away to complete his Tapasya in isolation and peace. Mighty Veerak shall protect the cave from Demons. Saying this, he disappeared. Worried, Parvati went inside the cave, going into her Antahpura (queen’s chamber, where no male is allowed).

The second wave came and broke on the cave mouth. This time, the Rakshas army, Andhakasur, Pralhad, and all of his brothers arrived at the Mandar mountain. Already tired, Veerak was mortally wounded. With a fatal blow from one of the powerful demons, he fell down on earth, unconscious.
It was a critical time. With Veerak unconscious and Lord Mahadev nowhere to be found, Parvati and her friends summoned gods for help. No male except Shiva was allowed to enter the cave. Realizing this, all the gods sent their powers to aid Parvati.

ब्रह्मा तया संस्मृतमात्र एव स्त्री रुपधारी भगवांश्च विष्णु:।
इंन्द्रैश्च सर्वै: सह सैन्यकैश्च स्त्री रुपमास्थाय समागतास्ते ।।
भूत्वा स्त्रीयस्ते विविशुस्तदानीं मुनींद्र संघाश्च महानुभावा:।
सिद्धाश्च नागास्त्वथ गुह्यकाश्च गुहान्तरं पर्वतराजपुत्र्या:।।

At the moment of her summoning, Brahma, Vishnu, Indra, and all the soldiers arrived in a female form. Being in a woman form, those gods, sages, great souls, ascetics, and Nagas appeared within the cave of the daughter of Himalaya Parvat.

These thousands of fearless goddesses started blowing their Conch, and with that accumulated noise, clouds started to shatter. Veerak woke up and took a stance to fight. Who were there among these fearless worriers? There was Danda (batten) wielding Brahmhi, furious Gauri. Narayani, carrying Conch, mace, disc, and lotus. Besides her, there was Danda wielding Vyomalaka, along with Vaishvanari with thousands of eyes and horrible faces. Ferocious Yamya was carrying the baton of Yama, and carrying a sword and destructive bow, Nirruti joined her.

Carrying the noose of Lord Varuna, Toyalika started poncing on the demons on her Makara. Looking forward to quenching her battle thirst, arrived Yaksheshawri, with her sharp nails, teeth, and poison. She was not alone.

She was accompanied by the goad-wielding power of Vayudev and mace-carrying Shakti of Kuber. With permission from Parvati, these women made Veerak their commander, and they fell down on the demon army. After a terrible fight, the Rakshasas started running with fear, retreating.

And at that moment, Bhagwan Vishnu and Bhagwan Mahadev completing his Pashupat Vrata appeared on the battleground. He thanked the Matrikas with all his heart, and then, Matrikas disappeared.
Now, it was the time for the last attack. Blowing his Conch, Devadhidev Mahadev gathered all of his violent Ganas along with all the other celestial forces of the universe. Leading from the front, both Mahadev and Andhakasur controlled the battle formations. Despite the powerful righteous forces on the side of Mahadev, the battle went on for years. Why?

Gods realized that despite them killing the Asuras, they were coming back, thanks to the Chiranjivi Vidya of Shukracharya. With this power, Shukracharya could bring any demon who was dying on that battlefield.

तदा बद्ध्वाSSनीत: पशुरिव गणैर्भूतपतये।
निगिर्णस्तेनासौ त्रिपुररीपुणा दानवगुरू:।।
And the Ganas tied up Shukracharya like an animal and threw him on the ground in front of Mahadev. And then, Tripurari Shiv swallowed the Danav Guru.

Now, there was no one to resurrect the demons, and thus, without wasting any time, the celestial forces of the gods completely annihilated the demonic armies. Being in the battle, now Andhakasur was standing in front of Vishnu. With his mace, Vishnu started beating the Andhakasur, and the demon started losing blood quickly. When each drop of his blood started touching the floor, new warriors called Andhaka Gana began to emerge. This created absolute havoc in the god armies.

Now, Bhagavan Bholenath came forward to control the situation. Like Lord Vishnu, he started piercing Andhasura’s body with his mighty Trishul (trident). But new Andhaka-Ganas continued to emerge. Seeing this,

तदा विष्णुयोर्गात्प्रमथपतिमाहूय मतिमान्। चकारोग्रं रूपं विकृतवदनं स्त्रैणमजितम्।।
करालं संशुष्कं बहुभुजलताक्रांतकुपितो। विनिष्क्रांत कर्णाद्गणशिरसि शंभोश्च भगवान्।।

Lord Vishnu, the one with great intelligence, summoned Mahadev and, with his Yogic powers, turned himself into a woman. That horrible woman was with a warped mouth, extremely violent, insuperable, formidable dried up body with many hands, and emerged from the ear of Lord Mahadev. And then,

Shiva with Vishnu in female form, collecting blood of Andhakasur, Ellora, Maharashtra — Shiva with Vishnu in female form, collecting blood of Andhakasura, Ellora, Maharashtra

क्षुधार्ता तत्सैन्यं दितिजनिसृतं तच्च रुधीरं। पपौ सात्युष्णं तद्रणशिरसि सृक्कर्दममलम्।।

Born from Mahadev, restless with thirst, standing amidst the warzone overflowing with the mud of blood, that goddess started drinking every drop of warm blood from the King of the demons.

But the credit must be given to the demon, who kept fighting, even without a single drop of blood in his body. He faced Mahadev with fists, nails, arms, and his head. This angered Lord Shiva, who is well known for his calmness. Mahadev impelled the demon in the heart with his mighty trident and lifted him up in the skies.

Due to the extreme heat in the space, his body would dry up, thunderstorms would make him wet again, to feel the agony of the trident in the heart. Hanging there, he started apologizing and praying to Lord. Seeing this, Bholenath forgave him and gave place among his Ganas, naming him Bhrungeesh or Bhrugiriti.

The Symbolism.

Dancing Mahadev with Sapta Matrikas, Ravanphadi Caves, Aihole, Karnataka

So what does all this represents? Andhakasura is not just a blind demon. He represents the darkness and ignorance caused due to the lack of knowledge. Andhakasura performed a tough Tapasya, and he got his vision in the form of a boon. This represents how knowledge could help us.

After Andhakasur acquired his vision and Kingdom with Tapasya, he stopped there and got distracted, enjoying himself, engaging in depravity and corruption. Without gaining the full knowledge, he became satisfied with his current knowledge. This shows why half-knowledge leads to your downfall. As his blood touched the ground, a new demon was created on the battlefield from every drop. This shows how easy it is to influence others with half-knowledge.

And lastly, let’s talk about how Mahadev pierced the heart of Andhakasur and lifted him into the air. This represents what happens when you spend some time with a knowledgeable person. As Mahadev extracted every drop of blood from the body of the demon, when you come in contact with a truly knowledgeable person, he removes all the misconceptions enrooted deep within you. As Lord Shiva lifted the demon in the air with his mighty trident, knowledgeable people uplifted the ignorant to the higher consciousness with their knowledge.

Andhakasur, Kailasa Cave, Ellora, — Andhakasura, Kailasa Cave, Ellora, Maharashtra

Dancing Shiva in Katisama Mudra with Matrukas, Cave 21, Ellora, Maharashtra

Sapta Matrika, Somnatheshwar Temple, Karnataka

Reference:

Shree Shiva Mahauran, Part 1, Fifth Edition, Geeta Press Gorakhpur, Uttarpradesh, India.
Bharatiya Murtishastra, N. P. Joshi, Prasad Prakashan Pune, Maharashtra, India.
Shivamurtaye Namah, G.B. Deglurkar, Snehal Prakashan, Pune, Maharashtra, India

Durga Temple, Aihole, Karnataka - Drifter Adwait

Adwait Karajagi

11–14 minutes

Welcome to my travel blog where I share my incredible experience of visiting the stunning Durga Temple situated in the ancient town of Aihole in Karnataka, India. This temple is a true architectural masterpiece and is a living testament to the rich cultural heritage of India. The temple is dedicated to Goddess Durga and is believed to have been built during the Chalukya dynasty. The temple’s intricate carvings and exquisite sculptures are a testament to the outstanding skill and craftsmanship of the local artisans. As I entered the temple, I was captivated by its stunning beauty and the sense of peace that permeated the air. Join me on my journey as I take you on a virtual tour of this incredible temple and explore the rich history and culture of Aihole.

Durga Temple, Aihole, Karnataka — Durga Temple, Aihole

Indian temples have two main types and several architectural sub-styles. But how do you differentiate the Indian temples? Look at their Shikhara, outer layers, Mandapa, circumambulation path, Vigraha style, etc. But what if the temple was built during the times all these defining characters were developing? Additionally, how do you support your claim when the temple has been dismantled by the barbaric invaders who arrived from the desert?

Badami is considered the cradle of temple architecture. This line has been used so often that it might have lost its true impact. But when you go on a temple spree here, these ancient ruins grab your attention and force you to think about that marvelous time in which the temple building science had begun to take a specific shape. It does not just amuse you but adds a few more cents to your confusion.

Durga temple is one of the most important temples in the Aihole complex. Built-in the pinkish granite stone, this temple has an outer shape like the back of an elephant (Gaja prushthakar). Interestingly, the temple has two Parikrama paths. One with plain walls and the outer one with brilliant sculptures.
Temple has rather exciting nomenclature. Initially, its believed to be a temple dedicated to Narayana (Vishnu). Then, being closed to the Durg (fort) wall, it was known as the Durg temple. When the temple ruins were rediscovered, due to the vague similarities with Buddhist Chaitya Gruha or due to their agenda of divide and rule, a British expert declared it a Buddhist monument. Later, with the help of a newly found inscription written in 700 CE, KV Ramesh and S Padigar proved it to be the Aditya (Surya) temple.

Durga Temple Aihole Architecture

Like most temples, you cannot enter the temple facing the main deity. Instead, the architect has made two entrances in the north and south directions. Believed to be built in the seventh century, the temple is constructed on the Adhishthana (platform). Many outer temple pillars have been decorated with marvelous sculptures. Many of the posts are decorated with couples embracing each other. At the bottom of many pillars, you will find the team of Kubja Ganas (Shiva Disciples), dancing, singing, and playing different contemporary musical instruments.

When you stand inside the Mandapa facing the sanctum sanctorum of the temple, you get mesmerized by the complexity of the multiple components engraved on the ceiling. The ceiling has been divided into two equal parts. Part closer to the entrance has been engraved with a giant wheel and spokes made up of fishes, surrounded by the lotuses. Both fish and the lotus are the Lanchhanas (icons) of Lord Vishnu.

The second part of the ceiling is dedicated to Shesha. This is one of the most beautiful ceilings you will ever see in your life. Shesha’s head is covered with seven-headed Naga. He is wearing minutely crafted ornaments on his ears, neck, wrists, and shoulders, along with a beautiful crown. In their left hand, he is holding an offering in a bowl, and in another hand, he is holding his rattle snake-like tail. He is surrounded by the rotations of his own tail, with beautiful scales engraved on it. He has long ears, and his lips depict a smile. The lord of Snakes represents the endless loop of creation and destruction of the universe. Shesha is surrounded by four gorgeous smiling women holding the offerings.

Usually, pillars are connected to the ceiling, and Bharavahakas carry the roof load. But here, the top of the two pillars is taken out and connected to the ceiling top, with semi-circular holders coming to and fro from Makara’s, supporting the ceiling bar.

There are some exquisite door frames to the sanctum sanctorum of the temple. Called Dwarashakhas, you will find five-door frames bracketing each other beautifully. At the bottom of each frame, beautiful doorkeepers welcome you inside the temple. The innermost frame is made up of the Nagas. This door frame is beautified with the scales and Nagas saluting the Divine. The second frame is adorned with flowers, mangos, and vines. The third frame comprises a pillar-like design containing Kalasha and Shardul animals. Fourth, Dwarashakkha is adorned with beautiful women trying to distract you from your goal, the Lord Suryadev. The outer frame is made up of nongeometrical patterns. If you are a tall person, your head almost touches the door frame. The place where your head feels the doorframe is called Lalatabimba. You will see Garuda, the vehicle of Lord Vishnu, holding all these doorframes in his mighty hands like he is holding snakes.

Not to miss in the Temple:

On the outer circumambulatory path, you will see these defining features.

Swastika Watayana: Windows serve two functions, bringing the light and fresh breeze through the thick walls of this temple. Many believe that the Divine watches over us through these openings, and hence, all they need is small openings.

Mahadev: Here, eight-handed Mahadev is railing on Nandi. He is a depiction of word effortlessness. Round-faced Mahadev has closed eyes and is carrying the moon on his crown. He is wearing beautiful ornaments, but the most interesting is what he is wearing on his thighs. He is wearing tiger skin on his hips, and you can identify it by the head on his right leg. Mahadev has knotted the right front and left hind leg of the tiger skin on his front gracefully.

Shiv, Durga Temple, Aihole, Karnataka — Aihole Mahadev

Vitana with Ganga and Yamuna: This one is a unique window. Usually, the temple windows do not have frames like a door. But this window has two beautiful door frames with Rived Ganga and Yamuna at the bottom. Ganga is standing on the Makara and Yamuna on the turtles. Each of them is holding a pot of water. The inner window frame comprises snakes, and the outer one is made from flowers with four petals. Where there are snakes, there shall be Garuda. On top of the door frame, you can see Garuda controlling the snakes.

Jaali, Durga Temple, Aihole, Karnataka — Vitana with Door Frame and Lalatabimba

Vijaya/Kewal Nrusinha: After killing demon Hiranyakashipu, he relaxes. He is also called Kewal or Vijaya Narasimha. This Vigraha has astonishing similarities with the one in the Badami caves. He is railing on his mace, and we can see a beautiful conch shell in his other hand. Unfortunately, all the other hands have been broken, or it would have been a true masterpiece.

Nrusinha, Durga Temple, Aihole, Karnataka — Keval Narsimha

Vishnu: Four-handed Vishnu is standing rather than riding the Garuda. Here, Garuda is depicted in anthropomorphic form, resembling a curly-haired baby or more like a cupid. The feather in its wings is flattering to the wind. He is looking at his master with pride. Round-faced four-handed Vishnu is standing on him rather gracefully. His one foot is touching the ground, and the other has been broken. Even though damaged, the sharpness of the Sudarshan chakra is something you should imagine. On the other hand, he is holding the Panchajanya Shankha. You can see Mother Lakxmi on his left. She is the best to be admired. Standing almost in Tribhanga style, one hand is on her heart, maybe holding a flower. Her crown is simply gorgeous, and the folds of her Uttariya are carved splendidly by the sculptor. Her face reflects a mixture of pride, peace, and contentment.

Vishnu, Durga Temple, Aihole, Karnataka — Vishnu with Garuda and Lakshmi

Varaha: Varaha is lifting Bhudevi in the air. He has rescued her from the demonic clutches of Hiranyaksha. The way she is taking support from the broad shoulders of Lord Varaha says a lot about this whole situation. Varaha’s lower right hand is rested on his thigh, and his upper hand is holding his legendary and fearsome Sudarshan disc. But the thing we need to admire here is Shesha and his consort Nagalakshmi. Shesha has supported the ascent of his lord, and he has helped the Varaha to lift the Bhudevi. The pattern on his endless tail is simply astonishing. His head is hooded with the three-headed cobra. Shesha is saluting his master, but we will never be able to guess his facial expressions, as they have been wiped out by the invaders.

Varaha, Durga Temple, Aihole, Karnataka — Varaha, Bhudevi, Shesha and Nagalakshmi

Mahishasur Mardini: Do you want to experience the true power of the divine feminine? Look at this sculpture. Eight-handed Mahishasur Mardini kills the buffalo demon. You can feel her wrath by the way she is standing. From whatever has remained, we know she is holding an arrow, disc, mighty trident, and a bell. Her righteous right foot is grounded firmly, and her left foot puts pressure on that buffalo. It’s said that the fight went on for nine days, and finally, she killed that demon with her trident. Despite fighting for nine nights, she has killed the demon effortlessly, and that’s been reflected on her smiling face. Mane of her lion folds on the thick skin of buffalo, and its flared nostrils are worth observing.

Harihar: Harihar is the combination of Hari (Vishnu) and Hara (Mahadev). To show that there is no difference between these, the sculpture has combined both these celestial powers into one. Harihara is holding a Sudarshan Chakra and the conch.

Haihara, Durga Temple, Aihole, Karnataka — Harihar

How to reach Aihole Durga temple?

By car: Aihole is a remote location, only accessible by road. It’s about 35 km from the town of Badami, Karnataka. By Bus: Bi-hourly buses are available from Badami bus station. The town of Badami is well connected with buses coming from Hubbali and Belgav.
By Airplane: The nearest airport is Hubli, about 140 Kms from the site.
By Train: Badami is the closest railway station, which is 35 km away from Aihole.
Places to stay at Aihole: Being a small rustic town, there are very few options available for visiting Aihole. The only hotel available in KSTDC Mayura Yatri Nivasa, just 400 meters from the location. The town of Badami has plenty of options available to stay.

Being one of the very first temples laying the foundations of temple architecture, Durga temple has a lot to offer for the students of temple architecture. Even though Aihole has several temples on its site, this temple is unique in many senses. Being the first temple in the complex, we tend to overlook it for a bit as we have to cover many temples like these, but I suggest you take your time here and grasp a few new things. Have you visited this marvelous temple? What Vigraha is your favorite? Please tell me in the comment section.

Vyaghrambar, Durga Temple, Aihole, Karnataka

Prabhu Ram, Laxman, Sita, Durga Temple, Aihole, Karnataka

Dwarashakha, Durga Temple, Aihole, Karnataka

Parikrama Path, Durga Temple, Aihole, Karnataka — Corridor

GajendraMoksha

Adwait Karajagi

12–15 minutes

GajendraMoksha is one of the most favorite topics of sculptures, sourced from the epics like Vishnu Puran and Pancharatni Geeta. Vishnu freed the elephant from the jaws of Makara or Nakra. This avatar of Vishnu is also popular as Karivad, Varadaraj, or Hari, as he gave the blessings of life to Kari (elephant). Here, Vishnu is shown with four hands; in his upper hands, he usually holds Shankha and Chakra. His lower hands are shown in Varada and Katihasta Mudra. Usually, the crocodile or Makara holds the elephant’s leg, but during Gupta time, the crocodile was depicted as a snake.

The first sculpture is from the Hoysala walls, Bucheshwara temple, located at Koravangala. In this temple, built even before 800 years, you will see a vertical sculpture panel packed with story. On the top, you will see Bhagavan Vishnu under a parasol. He holds Mace, Chakra, Lotus, and conch in his four hands while riding in the anthropomorphic Garuda. You can see the Garuda under Vishnu, supporting his lord with his two hands. Beneath the Garuda’s feet, you can see an elephant offering prayers along with the lotus to Vishnu. His hind leg is stuck in the powerful jaws of Makara. Lord Huhu is depicted riding the crocodile. You can see the underwater fishes and a Yogi meditating waters.

Gajendra Moksha, Hoysaleshwar Temple, Halebeedu, Karnataka.

The second sculpture is from the mystic walls of Hoysaleshwar temple, Halebidu. Entrapped in the enchanting border of creepers, this is probably one of the most beautiful and detailed depictions of the GajendraMoksha. In the right hand, Shri Hari Vishnu is holding an arrow, mace, and is Sudarshan Chakra. His lowermost right hand is in Varada Mudra. On his left, Vishnu holds a flower, shield, Sharanga bow, and conch Panchajanya. He is sitting in Vama Lalitasana.

By looking at the Garuda carrying his lord, you can clearly see that the sculpture has invested his imagination and perhaps months of his time in this artwork. Garuda’s face is rather fierce, and you can feel this with his protruding teeth, pointy nose, and wide-opened eyes under his curved yet graceful eyebrows. From top to bottom, Garuda is covered with ornaments like crowns, earrings, Mala, Katibandh, Vanamala, bracelets, and anklets. You can see his flattering wings on both sides, and the way he supports his lord with his two hands is simply astonishing and reflects pride, poise, and respect for his master.

Bellow him, you can see an elephant struggling to survive. He is holding a lotus and presenting it to Vishnu. Under the right knee of Garuda, you can see the crocodile holding down the elephant in his killer jaws. Riding him, you will see the Gandharva saluting the Hari, as crocodiles and elephants are now set free from the materialistic world by a divine force.

Gajendra Moksha, Virupaksha Temple, Pattadakal

The third sculpture is from the pillar of Virupaksha Temple, Pattadakal. This sculpture is believed to be a 1282-year-old piece of art, as the temple was constructed in 740 AD. Four-handed Vishnu is carrying a disk and conch in his upper hands, and his lower hand is in Katisama Mudra. Another hand has been chopped by the vandals or perhaps by the invaders.

Floating lotuses with their thin stems are carved here rather splendidly, and they are floating on the tides created due to the fight that’s going on between the elephant and the creature holding its leg. But here, instead of the crocodile, the turtle is depicted pulling the elephant’s leg. This makes the sculpture unique and one of a kind.

Gajendra Varada Temple:

Immortalizing this incident, Cholas built a temple in Tamilnadu. This temple was built in the 8th century with Dravida-styled architecture in a small village named Thirukkavithalam near the town of Kumbhakonam. Six-day festival is conducted here in July, during which Gajendra-Leela is celebrated here. Initially built by the Chola Kings, the temple was expanded by the contribution of the Vijaynagara Kings and later by the Nayakas of Madurai.

Gajendra Varadar or Vishnu is the primary deity, reclining on the Aadi Shesha, or Bhujanga Shayanam Asana. In another sanctum sanctorum, you can see the Vigrahas of Vishnu riding on Garuda, a crocodile, and an elephant holding a flower.

Story of GajendraMoksha:

This is a story before time. There was a legendary mountain named Trikuta, located in the middle of Ksheer Sagara. Trikuta had three peaks of gold, silver, and iron, glazing proudly under the sun. The entire mountain was covered with plush vegetation and many waterfalls; beneath, the soil was rich with minerals and precious jewels. The dense jungle beneath the hill was filled with different animals, birds, trees, and creeps.

तस्य द्रोण्यां भगवतो वरुणस्य महात्मन: । उद्यानमृतुमन्नाम आक्रीडं सुरयोषिताम् ॥
(Bhagvat Puran, Canto 8, Chapter 2, Shloka 9)

Siddhas, Caraṇas, Gandharvas, Vidyadharas, serpents, Kinnaras, and Apsaras used to come here to play, dance and sing, making this mountain an absolutely heavenly place. In those jungles, there was a garden named Rutumat, belonging to God Varuna. The park had many trees that yielded flowers and fruits during all the seasons. The garden had a clear lake, crystal clear waters, densely populated with shining golden lotuses, flocks of water birds, colorful fishes, etc.

One day, from the jungle, appeared a giant elephant named Gajapati, and he dipped his strong feet in the clear lake waters. The entire elephant herd followed him to the lake and started playing with the intoxicating water of the lake. Then, this King elephant quenched his thirst with the lake’s cold, crystal-clear water, losing his fatigue. Filling his trunk with water, playful Gajapati sprayed the water all over his wives and children. And then,

तं तत्र कश्चिन्नृप दैवचोदितो ग्राहो बलीयांश्चरणे रुषाग्रहीत् । यद‍ृच्छयैवं व्यसनं गतो गजो यथाबलं सोऽतिबलो विचक्रमे ॥
(Bhagvat Puran, Canto 8, Chapter 2, Shloka 27)

Suddenly, a strong crocodile was provoked and strangled the elephant’s leg in the water. The elephant was stronger and tried to set free from the crocodile’s jaws.

With all of his might, Gajendra tried to set himself free from the jaws of death, but the attempt was unsuccessful. This war of tug went on for thousands of years and seeing this, all the demigods simply felt amused. Due to such a prolonged fight, the elephant became weak, drained of his energy as the days passed. Contrary to that, anticipating the end, crocodiles’ energy, enthusiasm, and physical strength were on the rise.

The elephant realized that his end was near. He realized that his fellow elephant friends, relatives, and wives could not save him anymore. In helpless agony, he decided to seek shelter with divinity. In this agony, the great elephant began chanting the mantra, calling the lord.

तं तद्वदार्तमुपलभ्य जगन्निवास: स्तोत्रं निशम्य दिविजै: सह संस्तुवद्भ‍ि: ।

छन्दोमयेन गरुडेन समुह्यमान- श्चक्रायुधोऽभ्यगमदाशु यतो गजेन्द्र: ॥

सोऽन्त:सरस्युरुबलेन गृहीत आर्तो द‍ृष्ट्वा गरुत्मति हरिं ख उपात्तचक्रम् ।

उत्क्षिप्य साम्बुजकरं गिरमाह कृच्छ्रान्नारायणाखिलगुरो भगवन् नमस्ते ॥
(Bhagvat Puran, Canto 8, Chapter 3, Shloka 31, 32)

Seeing the desperate elephant and responding to his prayers, the omnipotent Bhagvan appeared in front of him, riding a Garuda, and carrying disc, mace and many other weapons. Seeing him, even during that severe pain, Gajendra offered lotus and respectful obeisances to Hari, despite of being in this tormented condition. And then,

तं वीक्ष्य पीडितमज: सहसावतीर्य सग्राहमाशु सरस: कृपयोज्जहार ।

ग्राहाद् विपाटितमुखादरिणा गजेन्द्रं संपश्यतां हरिरमूमुचदुच्छ्रियाणाम् ॥
(Bhagvat Puran, Canto 8, Chapter 3, Shloka 33)

Seeing Gajendra in trouble, Vishnu descended from Garuda and, with his Sudarshan chakra, freed the head of the crocodile from the rest of his body while all the demigods gazed from above.

At this point, both Gajendra and the crocodile remembered what they were in the previous birth.

Indradyumna was a legendary Pandya king, a descendant of king Manu, who was an avid follower of Bhagavan Vishnu. He was a righteous king, who performed a lot of Yadnyas, carried out the donations of millions of cows, and cared for his pupil like his own progeny. Once, while he was busy performing the meditation with the vow of silence, Guru Agasti walked into his chambers. Lost in devotion, the King did not stand up and welcomed his Guru Agastya Muni.

तस्मा इमं शापमदादसाधुरयं दुरात्माकृतबुद्धिरद्य।विप्रावमन्ता विशतां तमिस्रंयथा गज: स्तब्धमति: स एव ॥
(Bhagvat Puran, Canto 8, Chaper 4, Shloka 10)

Seeing this, Agastya Muni cursed the King, saying that he was degraded and uneducated and the one who insulted Brahmins. He shall enter the kingdom of darkness with the body of the dull and dumb elephant.

To make him understand the value of humility, Agasti cursed him to be an elephant and said, Once you surrender yourself entirely to the divine, letting the ego and pride, Lord Vishnu himself will take you to salvation. King turned into an elephant and went towards the mountain Trikuta. There, he became the leader of the elephant herd and started living there peacefully, attending to his penance.

Thousand years passed, and almost everyone forgot what happened, even the name Indradyumna.

Somewhere else, there lived a Gandharva named Huhu. He was the King of his Gandharva kingdom. Once, sage Deval arrived in his kingdom. The following day when both of them were performing the Arghya puja to the sun, standing in the river, Huhu decided to pull mischief on the great sage, who was completely immersed in his morning rituals. Huhu went underwater and pulled the leg of sage, pretending to be some underwater creature. Sage Deval had no patience for such mischief and cursed the Gandharva to spend eternity as a crocodile, as he was a fan of creeping under the water and attacking his victims.

Immediately realizing the mistake, Huhu dove toward the feet of the sage, apologizing and pleading for forgiveness. After all, it was the curse, given by a righteous person, not to be taken back. Realizing King has regretted his mistake, Deval modified the curse. He said, dear King, this curse shall not last for eternity. You will stay in the lake for many eons and shall be liberated by lord Vishnu himself.

Back to the current time, when the crocodile was killed, Gandharva Huhu got his original form. He performed circumambulations around Hari, singing his praises, and with Brahma, he returned to the Gandharvaloka. And elephant, now transformed into its original form. Sitting on Garuda, Shri Hari Vishnu went to Vaikuntha, taking the King with him.

What can we learn from GajendraMoksha?

Gandharva King Huhu tried to pull mischief on a great sage, and he had to spend his next life underwater tormenting the Vishnu devotee. This explains there is a time and there is a place to make fun of people, or thather, you should never make fun of others. If done, one has to pay heavy consequences.

Lost in meditation, King Indradyumna forgot about his duties towards his guests, sage Agastya Muni. He failed to live upto the Atithi Devo Bhava tradition. As a result, he had to take birth as an elephant. Even in the form of an elephant, he continued his devotion. This underlines that even when a devotional person falls down, he is never degraded.

As the elephant struggled harder, the crocodile’s jaws tightened around his feet, dragging him to death. This explains the true nature of Maya or the illusionary world. The more you entertain it and take it too seriously, it pulls you downwards.

Just like the strong jaws of a crocodile, materialistic things constraint and divert the devotees. When the elephant sees his end, he gives up the struggle and surrenders completely to God. That’s the point when Shri Hari appears in front of the elephant to save him. In short, GajendraMoksha is the everlasting fight in the devotee’s mind, where his consciousness is torn between his devotion and materialistic world.

References:

1. Shrimad Bhagavatam, Canto 8, Chapters 2 and 3
2. Bhartiya Murtishastra, N. P. Joshi, Second Edition (1 January 2013), Prasad Prakashan, Pune, Maharashtra, India.
3. Murtividnyan, Dr. G.H. Khare, Bharat Itihas Snashodhan Mandal, Pune, Maharashtra, India.

SaptaSaalChhed and Vali Vadh - Drifter Adwait

Adwait Karajagi

10–12 minutes

SaptaSaalChhed is an important event in Shri Ram’s life, when he destroyed seven trees to prove his strength to his friend Sugriv before the Vali Vadh. This is one of the favorite sculptures of ancient temple architects, which is actually a combination of two incidents that happened in Ramayana, packed with very nuanced details.

It doesn’t only narrate the two critical stories underlining the mindset of Prabhu Ram as Maryada Purushottam, but it says a lot about the in-depth studies these ancient sculptures had to do with regard to the historical scriptures and deep-rooted philosophies they unfold. You will find this sculpture on many temple walls and on the temple pillars.

Sapta Saal Chhed on Upper Sivalaya, Badami Fort, Badami, Karnataka

Sculptures will have Prabhu Ram with his devastating Sharang Bow, shooting an arrow. You can see Lakshman standing beside him. In front of them, you can see seven trees that have been intersected by a single arrow, coming from the direction of Shri Ram and Lakshman. Next to these seven trees, you can see Vali and Sugriv fighting. Many sculptures show the arrow in the back of Vali, who will be looking at the direction from which the arrow has been shot, with rather curious expressions on his face. Bellow seven trees, you can see a five-headed snake lurking towards the fighting Vanaras. Many fine copies of these sculptures can be seen on the ancient walls of Sanatani temples. Till this date, I have found these sculptures n the walls of Shivalay Temple-Badami, Hoysaleshwar temple-Halebeedu, Kedareshwar Temple-Halebeedu and on the north wall of the legendary Kailasa Temple of Ellora. In the comments bellow, please let me know if you have encountered one of these in some other temples.

The story of SaptaSalaChheda and Vali Vadh

Vali was no ordinary Vanar indeed. He was a son of Indra who even challenged the sea and the Himalaya for a fight. Valmiki Ramayana says,

समुद्रात्पश्चिमात्पूर्वं दक्षिणादपि चोत्तरम्। क्रामत्यनुदिते सूर्ये वाली व्यपगतक्लमः।।

-Kishkindhakand, Sarga 11, Shloka 5.

Before sunrise, Vali would cross the ocean, swimming from west to east and south to north (performing Sandhya) without getting tired. Even though Maharshi Valmiki’s Ramayan doesn’t depict it, various other folklore has depicted what Vali was. He was the one who had defeated the mighty Ravana in hand-to-hand combat. He was the one who had a boon from Brahma, that whoever faced him in a duel, the opponent would lose half of his strength to Vali.

When Sugriv met Prabhu Ram, they made a pact, an unbreakable bond of friendship, to help each other. Prabhu Ram would help Surgiv to kill his brother Vali. Vali had forcefully abducted Sugriva’s wife, Ruma, and banished his brother from the kingdom, both of these offenses punishable by death. Listening to Sugriv, Prabhu Ram decided to end the tyranny of Vali’s deeds by killing him.

But being beaten brutally by Vali, Sugriv wanted affirmation about the powers of Ram, and whether he truley posseses the strength to kill Vali. In the 11th Sarga of Kishkindha Kanda, Sugriv says,

बहवस्सारवन्तश्च वनेषु विविधा द्रुमाः। वालिना तरसा भग्ना बलं प्रथयताऽत्मनः।।

Vali would break several trees growing in the forest, with his vigour and speed, showing off his strength. To free the firend’s mind off the worry is the duty of a friend. Thinking this, obeying the request of Sugriv to cut one Saal tree with one arrow, Prabhu Ram picked an arrow to mount it on his legendary Sharanga Bow. And then,

Sapta Sala Chhed and Vali Vadh on Bhairavnath Temple, Kikali, Maharashtra

स गृहीत्वा धनुर्घोरं शरमेकं च मानदः। सालमुद्दिश्य चिक्षेप ज्यास्वनैः पूरयन्दिशः।।

स विसृष्टो बलवता बाणस्स्वर्णपरिष्कृतः। भित्त्वा सालान् गिरिप्रस्थं सप्त भूमिं विवेश ह।।

प्रविष्टश्च मुहूर्तेन धरां भित्त्वा महाजवः। निष्पत्य च पुनस्तूर्णं स्वतूणीं प्रविवेश ह।।

-Kishkindhakand, Sarga 12

Prabhu Ram, the one who is the destroyer of the enemy’s ego, strung his terrifying bow, generated the twang that carried in all directions, and discharged the arrow at one Sala tree. Released with a great force, that arrow decorated with gold pierced through seven Saal trees and entered the earth. At that same moment, it immerged from the shattered earth and re-entered the quiver with great speed.

This is when Sugriv knew what his friend was and what he can do on this earth. Now, fast-forwarding to the second battle, let’s arrive at the moment when Prabhu Ram shot Vali from behind. In the 14th Sarga of Kishkindha Kand, Maharshi Valmiki writes,

ततो धनुषि सन्धाय शरमाशीविषोपमम्।पुरयामास तच्चापं कालचक्रमिवान्तकः।।

Prabhu Ram fixed an arrow equivalent to the poisonous snake on his bow and stretched like a wheel of the lord of death – the Yama himself.

तस्य ज्यातलघोषेण त्रस्ताः पत्ररथेश्वराः। प्रदुद्रुवुर्मृगाश्चैव युगान्त इव मोहिताः।।

Listening to the terrible twang of the bowstring, birds and animals in the jungle started running, fearing the time of the destruction of the universe.

मुक्तस्तु वज्रनिर्घोष: प्रदीप्ताशनिसन्निभः। राघवेण महाबाणो वालिवक्षसि पातितः।।

A mighty arrow released by Prabhu Ram made the sounds like a thunderbolt went, like a bolt of blazing lightning, and pierced Vali’s chest.

ततस्तेन महातेजा वीयौटत्सिक्तः कपीश्वरः। वेगेनाभिहतो वाली निपपात महीतले।।

…and then, Vali, the king of monkeys, the radiant one, proud of his power fell down on earth with great speed.

Sapta Saal Chhed and Vali Vadh, Hoysaleshwar Temple, Halebeedu, Karnataka

There is a fashion nowadays to accuse Prabhu Ram for killing king Vali who was busy fighting his brother. These people are either easily gullible, have a specific agenda, or lack proper knowledge of what happened in the past. Grate sage Valmiki has narrated what happened next in detail. Let’s read about it.

While falling down on earth, Vali saw who had released the arrow. Lying down on earth, he asked Prabhu Ram,

हत्वा बाणेन काकुत्स्थ मामिहानपराधिनम्। किं वक्ष्यसि सतां मध्ये कर्म कृत्वा जुगुप्सितम्।।

I have done you no harm whatsoever, and yet, Oh scion of Kakutsa, performing an abominable act, you have killed me with an arrow. Being amongst the holy men, how will you ever prove this sinful act righteous?

Going further, Vali cursed Prabhu Ram and blamed him for being unworthy of being called the son of Righteous Dashratha. He said, Oh, Ram, you killed me like some farmyard animal. You cannot possibly be a protector of the earth, you claim, as you are a wicked person, treacherous, dishonest, mean, disguised with false humility, and a sinner to the core. If you had approached me instead of Sugriv, I would have brought Sita back to you in one day.

Listening to Vali’s harsh words, Prabhu replied with calmness,

त्वं तु संक्लिष्टधर्मा च कर्मणा च विगर्हितः। कामतन्त्रप्रधानश्च न स्थितो राजवर्त्मनि।।

अहं तु व्यक्ततामस्य वचनस्य ब्रवीमि ते। न हि मां केवलं रोषात्त्वं विगर्हितुमर्हसि।।

You have violated your Dharma, and you stand condemned for your actions because you have put your passions before your priority, straying away from the true path of the Kings. It is not very proper that you should blame, and despise me with a (blind) rage. I shall explain you clearly the reason for striking you down.

Sapta Saal Chhed and Vali Vadh, Kedareshwar Temple, Halebeedu, Karnataka

अस्य त्वं धरमाणस्य सुग्रीवस्य महात्मनः।रुमायां वर्तसे कामात्स्नुषायां पापकर्मकृत्।।

तद्व्यतीतस्य ते धर्मात्कामवृत्तस्य वानर। भ्रातृभार्यावमर्शेऽस्मिन्दण्डोऽयं प्रतिपादितः।।

(Even though a younger brother is considered as a son, and his wife as a Daughter in law,) You are filled with lust. You are a sinner for living with Ruma who is your daughter in law, when Sugriv the great is alive. This punishment is very much justified to the monkey, who have violated the morality by performing the sins against his brother’s wife.

आर्येण मम मान्धात्रा व्यसनं घोरमीप्सितम्। श्रमणेन कृते पापे यथा पापं कृतं त्वया।।

In the past, Sramana committed the similer mistake, and was punished very harshly by King Mandhata, the noble anscestor of mine.

न मे तत्र मनस्तापो न मन्युर्हरिपुङ्गव। वागुराभिश्च पाशैश्च कूटैश्च विविधैर्नराः। प्रतिच्छन्नाश्च दृश्याश्च गृह्णन्ति सुबहून्मृगान्।।

Oh greatest of monkey, I do not have an anguish, nor I regret this action. People trick and catch all sorts of animals by hiding or being out in the open, with the help of nets or ropes.

People hunt animals, alarming or without alarming them. They kill animals whether they are running or standing still. No blemish is attached to the hunters if the animal is alert or not.

यान्ति राजर्षयश्चात्र मृगयां धर्मकोविदाः।तस्मात्त्वं निहतो युद्धे मया बाणेन वानर ।अयुध्यन्प्रतियुध्यन्वा यस्माच्छाखामृगो ह्यसि।।

Even the Royal Saints who are the experts of Dharma go for hunting. Whether you were fighting or not, as you are a monkey, I (can) strike you down.

प्रत्युवाच ततो रामं प्राञ्जलिर्वानरेश्वरः। यत्त्वमात्थ नरश्रेष्ठ तदेवं नात्र संशयः।।

मामप्यगतधर्माणं व्यतिक्रान्तपुरस्कृतम्। धर्मसंहितया वाचा धर्मज्ञ परिपालय।।

With folded hands, Vali replied, “Oh best among men, whatever you have said is undoubtedly true. Oh the one with the knowledge of Dharma, I have not followed the Dharma in the past. I have violated the bounds of Dharma. Please pardoned and protect me.

Sapta Saal Chhed and Vali Vadh, Halebeedu, Karnataka

Sapta Saal Chhed and Vali Vadh, North wall of Kailasa Temple, Verul/ Ellora, Aurangabag, Maharashtra

Forgiving him, Prabhu Ram took Prince Angad under his protection, and Vali transferred the Kishkindha Kingdom to Sugriv. This clearly concludes and underlines the righteousness of Prabhu Ram in this Kishkindha Kand episode of the epic Ramayan. I appreciate you for stopping by and giving your precious time to read this blog. You’re welcome to ‘Like’ or add a comment if you enjoyed this blog post. If you’d like to be notified of any new content, why not sign up by clicking the ‘Follow’ button. If you’re interested in using any of my photography or articles please get in touch. Till then, keep travelling.

Siddheshwar & Laxmi Narasimha Temple, Dhom, Wai - Drifter Adwait

Adwait Karajagi

11–13 minutes

Nestled in the lush green hills of Maharashtra, India, this ancient Siddheshwar Temple is a popular destination for tourists and devotees alike. The temple is dedicated to Lord Shiva and is believed to be over 300 years old. It is adorned with intricate carvings and sculptures that showcase the exquisite craftsmanship of the local artisans. As I set foot inside the temple, I was struck by its peaceful aura and the sense of spirituality that permeated the air. Join me as I take you on a virtual journey through the history, architecture, and significance of this magnificent temple.

Entrance Laxmi Narasimha Temple, Dhom — Entrance

Dhaumya Rishi

The Pandavas narrowly escaped the burning of Lakshagriha and, following Vyasa’s instructions, set out towards Panchal country to attend Draupadi Svayamvar ceremony.

While on the way, Arjun had an archery duel with Gandharva ChitraRath. After Arjun defeated ChitraRath, the Gandharva King presented Arjun with various gifts along with his friendship. With it, he gave one valuable suggestion to them- to have a family Purohit (priest). He was the one who suggested Pandavas request Sage Dhaumya to be their family Purohit.

Post that, sage Dhaumya never left the side of Pandavas, even accompanying them in the 12 years of Vanvasa, constantly guiding them, teaching them about the minuscule nature of Dharma, righteousness, and the duties of the Kings.

While in exile, Pandavas were attacked by the demon Kirmeer, who was the brother of Bakasur and the friend of Hidimb. The monster was an expert in the illusions and baffled Pandavas with his Maya. Then, Dhaumya Rishi destroyed that illusion and helped Bhim to kill that demon. He was the one who guided Pandavas in their secret exile (Adnyatvas). He was the one who carried the last rituals of Pandava’s soldiers, performed the coronation of Yudhishthir after the war, and long before that, he was pious enough to witness the homecoming of Prabhu Shri Ram after killing the Lankesh Ravan.

He guided Yudhishthir on how to be a great king, and his principles are applicable even today. This quiet little temple on the banks of river Krishna is the place where this legendary sage took Samadhi.

While tourists get in line to enjoy the cool weather and fresh strawberries of Mahabaleshwar, very few take a right turn on Wai Pachgani road and reach Dhom village, located on the north bank of Krishna river, trying to sneak a peak into the glorious past. Dhom is known for the temples, especially for Laxmi Nrusinha and Siddheshwar Mahadev Temple, and for the majestic backwaters of Dhom dam.

Temples

The Laxmi Nrusinha and Siddheshwar Mahadev Temples are surrounded by a strong fortification. The main entrance door has strong bastions on each side, similar to any medieval Maratha fort. On the right bastion, you could see a rather interesting sigil of a Ganapati in the frame, along with a half curve moon hovering above the Shiv Lingam.

East facing main entrance is decorated with a splendid arch, Ganesh Patti over the door frame, and three windowed NagarKhana (drum chamber) above the door. Even though the door is simple, it reflects the true strength and character of the temple.

As you enter the premises, you have to walk in a rather narrow alley, as the entrance is a bit crowded with buildings. On your immediate right, you will see the Nrusinha temple on an unusually taller platform. On the left, you will see a temple office and the path leading to the stone wall. In front, you meet with the Nandi Mandapa and Mahadev temple. Let’s take a tour of Siddheshwar Mahadev first.

Siddheshwar Mahadev Temple

Nandi mandap Siddheshwar Temple Dhom Wai Maharashtra — Nandi mandap and Siddheshwar Temple

Every Indian temple has a unique and defining characteristic. For example, Kopeshwar temple, Khidrapur, has a brilliant Svarga Maondapa, and Chennakeshava temple Belur has a splendidly carved roof. Siddheshwar Mahadev is no exception to this rule. It has a very unique Nandi Mandapa.

Nandi Mandapa of Siddheshwar Mahadev Temple

The Nandi Mandapa in front of the temple is raised in the two feet deeper lotus-shaped basin with a twenty feet diameter sunk in the basalt pavement. Over the two feet surface octagonal platform, you will see a typical Maratha-styled Nandi, carved and polished out of the basalt stone, under the stone canopy.

This entire structure is standing on the giant back of the turtle. When the water is filled in the pond, it appears like the fifteen feet giant turtle is swimming in the water while holding the Nandi Mandapa intact on its back, which makes it a unique structure in India. You will find Maratha styled eight feet high Shikhara or the tower above Nandi Mandapa complementing the entire structure in an aesthetic sense.

Siddheshwar temple is raised on a five-foot platform. Except for the Shikhara, the entire tower has been built with solid basalt. To enter a fourteen-foot wider temple, you must climb an ornate staircase to the three arches. But don’t be in a hurry to enter the temple just yet.

Shiv in the Garbha Griha — Garbha Griha Entrance

Just below the staircase, you will see a small locked gate going under the platform, which has great significance in the cultural history of ancient India. This is the place where Rishi Dhaumya went for a Samadhi, leaving his mortal body. Bow to this historical place, and climb the stairs, taking you to the Mandapa with three arches.

Temple walls are rather plain, with one placeholder for each wall, now vacant. Garbha Griha, or the sanctum sanctorum of the temple, is on the ground level, and the entrance is moderately decorated with the Kirtimukha at the bottom of the door frame and Lord Ganesh on top of it. As the sanctum is on the ground level, you have to descend into the dark room where Lord Mahadev resides in the lingam from. A copper vessel suspended from the ceiling releases a constant stream of drops over Mahadev, cooling him off.

Laxmi Narsimha Temple Dhom

Laxmi Narasimha Temple, Dhom, Wai — Lakshmi Nrusimha

Keval Krusimha, Courtesy Nilesh Beldare, Google Images — Lakshmi Nrusimha

This temple is an ideal example of Maratha-style architecture, with an interesting combination of temple and Wada styles. The temple is built over a six-foot circular platform made of stones, and you must climb a few narrow circular stairs to reach the deity.

The entire circular platform is surrounded by wooden pillars with ornate canopies connecting to the roof. The slanting wooden roof and surrounding wooden pillars yield a look of Wada-style architecture.

When you climb the circular platform, you realize the temple has one deity in two forms, back to back. On the western side, you have Ugra Narsimha, tearing the demon Hiranyakashipu on his lap. On the east side, you come across the Kewal Narimha, with Vamangi Laxmi sitting on his left lap.

Ever wondered why she would be sitting on his left side? It’s because his heart is on our left side. Both the Vigrahas are carved out of shining black stones, with four hands, crowned, and shining silver eyes kept over the original Vigraha. In December 1769, Narayanrao requested Pundits to offer prayers to the Narsimha for improving the deteriorating health of Madhavrao Peshwe. Take the Darshana of both Narsimhas, and descend the platform.

Panchaytan of Siddheshwar Temple, Dhom, Wai

Ganapati Bappa — Surya, Arun and Seven Horses

Panchaytan Puja was introduced by the great visionary Adi Shankaracharya in the eighth century. The temple at Dhom follows the same pattern. Main Shiv temple is surrounded by small shrines of Surya, Laxmi-Vishnu, Parvati, and Ganapati. All these Vihrahas are carved out of a marble brought from Agra. All these surrounding miniature temples were built in 1780 by Pune’s moneylender, Mahadev Shivram. The constructions beyond the temple were done by a person named Narayan Vaidya. The Ganesh temple adjacent to the pond was also constructed in the year 1780.

As you descend down from the Nrusinha temple platform, you stand in front of the rather interesting pole with a marble Shiv Lingam mounted on the top. But this Shiv lingam is not ordinary, as it has five faces, four on each side and one at the top. Something you should not miss.

The temple is adjacent to the broad sloping walls of Dhom dam, which has acquired its name from the Dhom village, and the village got this name from Dhaumya Rishi. If you are visiting the temple in winter or rainy season, remember to take a little stroll towards the road, which will take you to the banks of this beautiful and picturesque dam.

How to reach Laxmi Narasimha temple, Dhom:

By Car: While traveling from Pune to Bangalore, take a left turn before Surur Village, following the board that says Mahabaleshwar. When you reach Wai city, take the Dhom dam road, which will take you to the wall of Dhom dam. The temple is located fifty feet away from the dam wall. It is about 95 km from Pune. (Instead of Dhom dam road, you can take the Menawali road as well, as both roads run parallel to each other, taking you to Dhom village.

By Bus: There are plenty of Maharashtra State corporation buses from Pune, Satara, Mumbai, and Kolhapur taking you to Wai. You can catch a bus that goes to Mahabaleshwar and alight at Wai. Temple is 9 km away from Wai bus depot. From here, you will have to rely upon share rikshaws or a private vehicle which will take you to Dhom village. Temple is located on the outskirts of the village.

By Train: The nearest railway station is Pune, and you have to take a bus or private vehicle, which will take you to the temple.

By Air: The nearest airport is also Pune, and you must take a bus or private vehicle to take you to the temple.

Places to stay near Laxmi Narasimha temple, Dhom

Being a small village, you will not find any hotels in Dhom. But just a few km away, adjacent to the Dhom backwaters, you will have many hotel, camping, and homestay options. Wai has plenty of economical and luxury options available for a stay. Not to mention, famous tourist destinations Pachgani and Mahabaleshwar are just 25 km away from the temple, where you will get thousands of hotels to spend a great night.

Food: No food option is available in Dhom, but plenty of hotels cater to you in Wai city. Mapro food park is must visit for pizza and sandwich lovers, with an adventure park, factory tour, and shopping for fruit products on the side, making Mapro garden the perfect weekend gateway spot.

References:

1. Maharashtra Rajya Gazzetier, Satara District, Dr. Arunchandra Pathak, Gov. Of Maharashtra, India, 1999

2. Maharashtra State Gazzetier, Satara District, 1963

3. Mahabharat with Sanskrit to Hindi Translations, Geeta Press, Gorakhpur, UP, India.

Nagraj at the back of Shiv Temple Laxmi Narasimha Temple, Dhom, Wai — Nagraj at the back of Shiv Temple

Sigils on the Temple Bastion Laxmi Narasimha Temple, Dhom, Wai — Shri Ganesh

Temple Surroundings Laxmi Narasimha Temple, Dhom, Wai — Temple Surroundings

Ornate Temple Walls — Panchaytan Temples

Temple Premises Siddheshwar Temple Dhom Wai Maharashtra — Temple Premises

Five faced Shiv-Lingam Siddheshwar Temple Dhom Wai Maharashtra — Five faced Shiv-Lingam

Beautiful Temple Arches, Siddheshwar Temple Dhom Wai Maharashtra — Beautiful Temple Arches

The Saga of Jay Vijay - Drifter Adwait

Adwait Karajagi

13–17 minutes

Deterioration. That’s what happens when the Divine flips the calender on the Yugas. As Sage Vaishampayan explains Janmejaya in Mahabharata, with each Yuga passed, Dharma deteriorates, and with the Dharma, all that is righteous, auspicious, and decent decays. But the same rule of deterioration applies to the Rakshasas as well. The line between a demon and a human being fades away. Once, those used to be mighty, powerful, potent, and distinguishable demons end up becoming more and more like human beings, losing their demonic strengths as the Yugas proceed. This is the story of how Jay Vijay were cursed and how they achieved salvation from the sins they once committed.

Jay Vijay of Chennakeshava Temple, Somnathpur, Mysur, Karnataka — Door Keeper of Chennakeshava Temple, Somnathpur, Mysur, Karnataka

The Inauspicious Beginnings

It was evening time, and Diti, the daughter of Prajapati Daksh, was eagerly waiting for her husband, sage Brahmarshi Kashyap to get out from his meditations. Due to some reason, Diti was aroused and was expecting her husband to fulfill her desires. It was believed that the evening time belonged to the demons, ghosts, corpses, and Rakshasaj. In the Shrimad Bhagvatam, Maharshi Kashyap says,

अथापि काममेतं ते प्रजात्यै करवाण्यलम् । यथा मां नातिवोचन्ति मुहूर्तं प्रतिपालय ।।
I will satisfy your desire to have the kids as per my abilities. But you must wait for one more Muhurta (time) so that others won’t criticize me.

Even after explaining to her, that why it was highly inappropriate to procreate at this inauspicious time, she didn’t listen, and still remain adamant on her wish. So, giving up on her wish, Maharshi Kashyap went ahead and did what Diti was expecting from him. Afterwords, realizing her mistake, she apologized to her husband and pleaded Mahadev to forgive her and her future progeny. Listening to her remorse, Sage Kashyap said,

अप्रायत्यादात्मनस्ते दोषान्मौहूर्तिकादुत । मन्निदेशातिचारेण देवानां चातिहेलनात् ।। भविष्यतस्तवाभद्रावभद्रे जाठराधमौ लोकान् सपालांस्त्रींश्चण्डि मुहुराक्रन्दयिष्यतः ||
प्राणिनां हन्यमानानां दीनानामकृतागसाम् । स्त्रीणां निगृह्यमाणानां कोपितेषु महात्मसु ।।
तदा विश्वेश्वरः क्रुद्धो भगवाल्लोंकभावनः । हनिष्यत्यवतीर्यासौ यथाद्रीन् शतपर्वधृक् ।।

You were overpowered by lust; the time was highly inauspicious, and you completely ignored my advice and insulted the gods. Oh, inauspicious one, you will give birth to two extraordinarily ill-omened and vile children. They will repeatedly torture all the worlds and the Gods altogether. When they cross all the boundaries of killing innocent and poor lives, the women will suffer horrendous tortures due to their ominous effects when they torture the sages, the Almighty God Jagadishwar, in a fuming rage, shall take a birth. Just like Indra dominating the mountains, these two will suffer death at the hands of the Almighty.

Realizing the mistake, righteous Diti accepted her and her children’s fate. She replied, Instead of getting killed by receiving the curses from the Sages, it would be better for my children if they were going to die at the hands of God himself. (so that they will be liberated from the endless cycles of rebirths).

Hearing her remorse, sage Kashyap said, You will have plenty of mighty powerful grandsons. one of your them shall be respected even by the sages, honest and righteous people all over the world. Due to his unparallel devotion, Shri Hari Vishnu will have to take a birth on earth. Hearing this, Diti was pleased. (Shreemad bhagvatam-1-510)

प्राजापत्यं तु तत्तेजः परतेजोहनं दितिः । दधार वर्षाणि शतं शङ्कमाना सुरार्दनात् ।।
लोके तेन हतालोके’ लोकपाला हतौजसः । न्यवेदयन् विश्वसृजे ध्वान्तव्यतिकरं दिशाम् ।।
As Diti was afraid of the possibility of her children being harassed by the gods, she kept that radiance of Kashyap (which could overshadow all the radiance in the world) inside her womb for a hundred years. And due to the radiance emitted from her womb, all the Suns, stars, and Lokpalas (lords of the directions and worlds) began to fade away, spreading the darkness in the universe. Seeing this, all the Gods, demigods, sages, and Maharshis went to Brahma, requesting him to do something about it.

Ever smiling, Brahma assured them with a story.

Jay VIjay Door Keepers of Chennakeshava Temple, Belur, Karnataka, India — Door Keepers of Chennakeshava Temple, Belur, Karnataka, India

मानसा मे सुता युष्मत्पूर्वजाः सनकादयः । चेरुर्विहायसा लोकाँल्लोकेषु विगतस्पृहाः ।।
त एकदा भगवतो वैकुण्ठस्यामलात्मनः । ययुर्वैकुण्ठनिलयं सर्वलोकनमस्कृतम् ।।

My godsons Sanat Kumaras (Sanaka, Sanatana, Sanandana and Sanat) who were the anscestors of the heavenly deities, used to roam around in the universe, denouncing all the worldly affections. Once, they reached to the Vaikuntha, the abode of Shri Hari Vishnu, located above all the heavens.
When they reached Vaikuntha with their Yogic powers, they were ecstatic to meet Bhagvan Vishnu.

तस्मिवतीत्य मुनयः सज्जमानाः कक्षाः समानवयसावध सप्तमायाम् ।
देवावचक्षत गृहीतगदी परा-केयूरकुण्डलकिरीटविटङ्कवेषी ||
मत्तद्विरेफवनमालिकया निवीती विन्यस्तयासितचतुष्टयबाहुमध्ये |
वक्त्रं वा कुटिलया स्फुटनिर्गमाभ्यां रक्तेक्षणेन च मनाग्रभसं दधानी ||

Neglecting other visual objects, longing for the divine Darshan, when they reached the seventh stage, they faced two equal-aged Powerful deities decorated with many priceless ornaments like bracelets, earrings, armbands, and crowns. A beautiful garland was adorned in the middle of the four dark arms. The curved eyebrows, flaring nostrils, and eyes showed signs of irritation on their faces.

Even though the age of Sanaktumar was more than thousands of years old, they physically stopped growing after five years, looking like toddlers. Like toddlers, they used to roam around naked, being free from materialistic things. Both the Vaikuntha doorkeepers stopped them and started laughing at them. Due to this grave and unnecessary insult, all the Sanatkumars got furious. And then,

तद्वाममुष्य परमस्य विकुण्ठभर्तुः कर्तुं प्रकृष्टमिह धीमहि मन्दधीभ्याम् ।
लोकानितो व्रजतमन्तरभावदृष्ट्या पापीयसस्त्रय इमे रिपवोऽस्य यत्र ।।

You are the councilor of the Lord Vaikunthnath, but your intelligence is subpar. Therefore, to do good to you, we think of a punishment worthy of your crime. You shall leave this Vaikunthalok by the fault of your discrimination and go to those sinful earthly realms, where lust, anger, greed-these three enemies of the living beings dwell.

Realizing their mistake immediately, they realized their mistakes. All of a sudden, Shri Hari Vishnu appeared there, knowing everything. Sanatkumars bowed before Vishnu and started singing praises about their beloved divine. Shri Vishnu accepted their prayers with a smile and said, “Dear Kumars, I completely accept the punishment you have given to the Jay-Vijay.

एती ती पार्षदी मह्यं जयो विजय एव च । कदर्थीकृत्य मां यद्वो बह्वक्रातामतिक्रमम् ||
यस्त्वेतयोर्धृतो दण्डो भवद्भिर्मामनुव्रतैः । स एवानुमतोऽस्माभिर्मुनयो देवहेलनात् ||
तद्वः प्रसादयाम्यद्य ब्रह्म दैवं परं हि मे । तद्धीत्यात्मकृतं मन्ये यत्स्वपुम्भिरसत्कृताः ॥
यन्नामानि च गृह्णाति लोको भृत्ये कृतागसि सोऽसाधुवादस्तत्कीर्तिं हन्ति त्वचमिवामयः ।।

Shri Bhagwan said – sages! These Jai Vijay are my pupil. They have committed a great crime against you by not caring about me. You are a devotee of mine; Therefore, I agree to the punishment you have given to them for disobeying me. Brahmins are my supreme worshipers; The disdain that has been done to you by my followers, I consider it as my own doing. That’s why I apologize to you. The world points out to the master when the servants commit crimes. That infamy contaminates the master’s fame like a skin disease.

एतौ सुरेतरगतिं प्रतिपद्य सद्यः संरम्भसम्भृतसमाध्यनुबद्धयोगी |भूयः सकाशमुपयास्यत आशु यो वः शापो मयैव निमितस्तदवैत’ विप्राः ।।
एतत्पुरैव निर्दिष्टं रमया क्रुद्धया यदा । पुरापवारिता द्वारि विशन्ती मय्युपारते ।।

Shri Bhagwan said – sages! The curse you gave them – know the truth, it has happened due to my inspiration. These will soon be born as Daityas (monsters). Due to the extremely focused haterade towards me, they will return to me shortly after having attained a great Yoga. (and then, by turning towards the Jay-Vijay, Shri Vishnu said,) Once when I was deeply immersed in the Yoga Nidra, you stopped Lakshmi Ji at the door, and that time, being furious, she had already cursed you the same. So, spend your time on earth, being born in the monster bodies, and achieve your freedom after some centuries.

तावेव हाथुना प्राप्तौ पार्षदप्रवरौ हरेः । दितेर्जठरनिर्विष्टं काश्यपं तेज उल्बणम् ||
-And then they entered into the womb of Diti, where Sage Kashyap’s radiance was residing.

Jay Vijay in Satya Yuga

Varaha Hiranyaksha — Prabhu Varaha Killing Rakshas Hiranyaksha, Hoysaleshwar Temple, Halebeedu, Karnataka, Bharat

Narsimha HiranyaKashyapu, Hoysaleshwar Halebeedu — Prabhu Narsimha Killing HiranyaKashyapu, Hoysaleshwar, Halebeedu, Karnataka, Bharat

दितिस्तु भर्तुरादेशादपत्यपरिशङ्किनी । पूर्णे वर्षशते साध्वी पुत्री प्रसुषुवे यमौ ॥
As per Kashyap, Diti was afraid of her children’s devastating nuseance to the universe. That’s why when the whole hundred years passed, then that Sadhvi gave birth to two Yamaj (twin) sons.
They were named Hiranyaksha and Hiranyakashipu. Hiranyaksha was killed by Varaha, the boar incarnation of Shri Vishnu. On the other hand, Hiranyakashipu was killed by Narasimha, the lion-headed ferocious Avatar of Shri Vishnu.

Jay VIjay In Treta Yuga

Rakshas King Ravan Fighting Prabhu Ram, Hoysaleshwar Temple, Halebeedu, Karnataka, India

In the Treta Yuga, Jay-Vijay took another rebirth.

ततस्तौ राक्षसी जाती केशिन्यां विश्रवःसुती । रावणः कुम्भकर्णश्च सर्वलोकोपतापनी ।।
तत्रापि राघवो भूत्वा न्यहनच्छापमुक्तये ।

Both of them were born as demons from the womb of Keshini (who were fathered) by sage Vishrava. Their names were Ravana and Kumbhakarna, and because of their havoc, all the worlds were set on fire. And then, to set them free, Shri Vishnu had to take Ram Avatar and kill them.

Jay Vijay In Dwapar Yuga

Devki Vasudev and Shri Krishna Delhi Museum — Devki Vasudev and little Shri Krishna, Gupt Era, Fifth century, Devgadh, UP, Delhi Museum

In the Dwapar Yuga they had to take their last birth. In Bhagvat Puran, Brahmarshi Narad tells Yudhishthir,

तावेव क्षत्रियौ जातौ मातृष्वस्रात्मजौ तव अधुना शापनिर्मुक्तौ कृष्णचक्रहतांहसौ ।।
वैरानुबन्धतीव्रेण ध्यानेनाच्युतसात्मताम् । नीतौ पुनर्हरेः पार्श्वं जग्मतुर्विष्णुपार्षदौ ||

Both Jay-Vijay were born in the Kshatriya clan in the form of your aunt’s sons, Shishupala and Dantavaktra. All of their sins were destroyed by the touch of Lord Krishna’s chakra, and they were freed from the curse of Sanatkumars. Due to enmity, they constantly thought about Lord Krishna. As a result of the intense negative focus, they reached to God and once again became his pupil reaching back to him.

In the Shishupal Vadh Parva, which is included in the Sabha Parva of Shri Mahabharat, returning of the Jay-Vijay has been depicted beautifully. It says,

एवमुक्त्वा यदुश्रेष्ठश्चेदिराजस्य तत्क्षणात् । व्यपाहरच्छिरः क्रुद्धचक्रेणामित्रकर्षणः ।।

Enraged by saying this, Yadukulatilak, the enemy of the enemy, Lord Krishna, at that very moment, cut off the head of Chediraj Shishupala with his Sudarshan Chakra. And then, something amazing happened.

स पपात महाबाहुर्वज्राहत इवाचलः । ततश्चेदिपतेर्देहात् तेजोऽग्रयं ददृशुर्नृपाः॥
उत्पतन्तं महाराज गगनादिव भास्करम् । ततः कमलपत्राक्षं कृष्णं लोकनमस्कृतम् ।
ववन्दे तत् तदा तेजो विवेश च नराधिप॥
The mighty Shishupala fell to the ground like a mountain-top struck by thunderbolt. King! After that, all the Kings witness; that from the body of Chediraj (Shishupal) an excellent effulgence is rising up; As if the sun has risen from the sky. That glory bowed down to the world known Kamaldal Lochan (the one with the eyes like lotus petels) Shri Krishna and at the same time entered into Him.

What Murti Shastra says about Doorkeepers of Shri Vishnu

Apart from Jay-Vijay, Roopmandan depicts a few other doorkeepers of Shri Vishnu, like Chanda, Prachand, Dhata, Vidhata, Bhadra, and Subhadra. They go into detail explaining the characteristics of each one., how they should be made dwarf-sized, and how they are considered auspicious in every aspect.

तर्जनीं शङ्खचक्रे च चण्डो दण्डं दधत् क्रमात् । वामे स्थाने प्रचण्डोsस्यापसव्ये दक्षिणे शुभः ॥

In the east direction of the temple) Chand is carved on the left side. One of his hands is in the Tarjani Mudra posture, and in the remaining three hands, he holds a conch shell, disc, and rod. To its right side, Prachanda will be standing, holding these weapons in counterclockwise order (rod, disc, conch, and Tarjani Mudra posture).

पद्मं खड्गं खेटकञ्च क्रमाद् विभ्रद् गवां च यः (जयः) । विलोमे पद्मगदयोविजयस्तो क्रमाल्लिखेत् ।।
Jaya (in the southern direction of the temple) is on the left and will be holding a lotus, sword, Khetaka, and mace, respectively. Vijaya will be standing on his right, holding these weapons in reverse order, and in his left hand, he holds a lotus and a mace.

तर्जनी (नीं) बाणचापौ च गदां धाता च सृष्टितः । मुदा (सव्या) पसव्ये तैरस्त्रविधाता वाम-दक्षयोः ॥
The posture and weapons of Dhata’s hands are Tarjani Mudra posture, arrow, bow, and club, respectively. He will be on the left side. These are the weapons that the Vidhata holds in reverse order. That is, the weapons of the right hands of the Dhata are held by the Vidhata in the left hands, and the weapons of the left hands of the Dhata are held by the Vidhata in the right hands.

तर्जनीं कमलं शङ्ख गदां भद्रः क्रमाद् दधत् । शस्त्रां (सव्यापसव्य योगेन सुभद्रस्तौ क्रमान्न्यलेत् ॥
One hand of Bhadra is in Tarjani Mudra posture, and in the remaining hands, he holds lotus, conch, and mace, respectively. Subhadra keeps all the same things in reverse order.

Vishnu, Gupt Era, fifth century, mathura, UP — Anant Vishnu, Badami

Ravan Lifting Kailas, Halebeedu — Shri Narsimha, Badami, Karnataka

References:
1.Shrimad-Bhagvat-Mahapuran, Pratham Khand, Geetapress, Gorakhur, 21st Edition, Kolkata, India
2. Shrimad-Bhagvat-Mahapuran, Dvitiya Khand, Geetapress, Gorakhur, 21st Edition, Kolkata, India
3. Roopmandan, Doc. balram Shrivastav, Second Edition, 1996, Motilal Banarasidas, Delhi, India
4.Mahabharat, Geeta Press, 17th Edition, Gorakhpur, Up, India

Lingodbhav Shiv - Drifter Adwait

Adwait Karajagi

14–17 minutes

Brahma, Shiv and Vishnu, Halebeedu, Karnataka

Lingodbhav Shiv-Enchanting tale involving war of Shri Vishnu & Brahmaji, Shiv appearing as a celestial pillar & birth of Bhairava.

Within the Sanatan texts, Lord Brahma is not lauded for his combat prowess, but rather for his role as the architect of the cosmos. Yet, amidst the legendary clashes between divinities and demons chronicled in the epic Mahabharata, Brahma emerges as a notable observer of the tumultuous events. In this tale from our Puranas, however, you shall bear witness to Brahma both taking up arms and succumbing to falsehoods.

Many eons had passed since the Purvakalpa had dawned. It was during this time that Shri Vishnu lay slumbering upon the serpent Shesha. Suddenly, Brahma materialized before him. As the architect of the cosmos, Brahma was accustomed to being revered by all who laid eyes upon him. Thus, he took umbrage when he discovered that Shri Vishnu continued with his pursuits, barely acknowledging Brahma’s very presence.

The Heated Debate

Brahma took offense. He said,

“कस्त्वं पुरुषवच्छेषे दृष्ट्वा मामपि दृप्तवत्। उत्तिष्ठ वत्स मां पश्य तव नाथमिहागतम् ॥
आगतं गुरुमाराध्यं दृष्ट्वा यो दृप्तवच्चरेत् । द्रोहिणस्तस्य मूढस्य प्रायश्चित्तं विधीयते ॥
इति श्रुत्वा वचः क्रुद्धो बहिः शान्तवदाचरन् । स्वस्ति ते स्वागतं वत्स तिष्ठ पीठमितो विश ॥“

“Who are you Oh arrogant man? Even after my arrival how you could be still sitting? Dear, get up, and greet your Lord, Me! There is a way of ablution for those who insult their great Gurus. “

Even after this arrogant statement, keeping his cool, Shri Vishnu welcomed Brahma and offered a throne to him. Reacting to Hari’s calm demeaner, Brahma replied, you must have forgotten that I am the father of the world, and you are under my protection. To that, Shri Hari replied,

Brahma emerging from the Naval of Vishnu, Bucheshwar Temple, Koravangala, Karnataka — Brahma emerging from the Naval of Vishnu, Pateshwar Caves, Satara, MaharashtraBucheshwar Temple, Koravangala, Karnataka

Brahma emerging from the Naval of Vishnu, Pateshwar Caves, Satara, Maharashtra

“मन्नाभिकमलाज्जातः पुत्रस्त्वं भाषसे वृथा। एवं हि वदतोस्तत्र मुग्धयोरजयोस्तदा ॥“

“As you have been emerged through a lotus that have been rooted in my naval, you are my son, and you are saying illogical things”.

The debate took a rather dark turn, and in no time,

“युयुधातेऽमरौ वीरौ हंसपक्षीन्द्रवाहनौ । वैरञ्च्या वैष्णवाश्चैवं मिथो युयुधिरे तदा ॥“

“Riding on the swan and Garuda, those both braves started a war, and ganas (pupil) from each side participated in that war of the nurturer and the creator of the universe”.

With furious intensity, they launched a volley of deadly celestial weapons at each other. The heavenly pantheon convened to behold the cataclysmic combat that unfolded between these two titans. Agni Astra and other lethal arms were hurled, each one seeking to pierce the heart of the other. Witnessing this spectacle, the gods grew restless, their hearts laden with deep sorrow. And then, the inevitable occurred…

ततो विष्णुः सुसंक्रुद्धः श्वसन् व्यसनकर्शितः। माहेश्वरास्त्रं मतिमान् सन्दधे ब्रह्मणोपरि ॥
ततो ब्रह्मा भृशं क्रुद्धः कम्पयन् विश्वमेव हि । ॥ अस्त्रं पाशुपतं घोरं सन्दधे विष्णुवक्षसि ॥ ततस्तदुत्थितं व्योम्नि तपनायुतसन्निभम्। सहस्रमुखमत्युग्रं चण्डवातभयङ्करम् ॥
अस्त्रद्वयमिदं तत्र ब्रह्मविष्ण्वोर्भयङ्करम् ॥

While calming himself, Shri Vishnu took a deep breath, and recalled fierce Maheshwar Astra, aiming Brahma. At the same time, being furious, Brahma recalled the macabre Pashupat Astra, aiming at Shri Vishnu’s heart, agitating the entire universe. Both the celestial weapons, that were like a thousand sons combined with dangerous thunderstorms appeared in the skies.

Brahma, Kailas, Ellora, Maharashtra — Vishnu, Delhi Museum

The onlookers could scarcely believe their eyes, as they beheld the prospect of universal annihilation looming before them. Fearing the end of all existence, they raced to Kailas – the divine abode of Mahadev – to recount the harrowing events. Accompanied by his heavenly band of Ganas, who played a symphony of instruments, Mahadev hastened to the site of the great battle. Confronted with the grim reality that these two deities would rend the world asunder, Mahadev bade his Ganas to silence their music, and in an instant, he vanished from that battlefield.

Emergence of a Giant Pillar and the Bet

ईशोऽपि तं निरीक्ष्याथ ह्यकालप्रलयं भृशम् । महानलस्तम्भविभीषणाकृतिर्बभूव तन्मध्यतले स निष्कलः ॥
ते अस्त्रे चापि सज्वाले लोकसंहरणक्षमे । निपेततुः क्षणेनैव ह्याविर्भूते महानले ॥
दृष्ट्वा तदद्भुतं चित्रमस्त्रशान्तिकरं शुभम् । किमेतदद्भुताकारमित्यूचुश्च परस्परम् ॥
The incorporeal Mahadev, seeing this impending holocaust, appeared between them in the form of a giant fiery pillar. Both those celestial weapons, capable of destroying the world, immediately calmed down as soon as that great pillar of fire appeared with its radiance. Seeing this wondrous and auspicious (Agnistambh) which had pacified the divine weapons- all the existing beings started to wonder about this amazingly shaped pillar.

Lingodbhav Shiv, Los Angeles County Museum of Art, — Lingodbhav Shiv, Los Angeles County Museum of Art

Simply amazed by this phenomenon, both of those worriers set aside their war and decided to check out the things unfolding in front of them. Seeing the sheer magnitude of the pillar emerged in front,

आवयोर्मिश्रयोस्तत्र कार्यमेकं न सम्भवेत् । इत्युक्त्वा सूकरतनुर्विष्णुस्तस्यादिमीयिवान्॥
तथा ब्रह्मा हंसतनुस्तदन्तं वीक्षितुं ययौ । भित्त्वा पातालनिलयं गत्वा दूरतरं हरिः ॥
नापश्यत्तस्य संस्थानं स्तम्भस्यानलवर्चसः । श्रान्तः स सूकरहरिः प्राप पूर्वं रणाङ्गणम् ॥

This work will not be accomplished if both of us stay together-saying this, Shri Vishnu took the form of a boar and went in search of its root. Similarly, Brahma also assumed the form of a swan and set out to find its end. Shri Vishnu could not see the base of the pillar that was bright as fire, even after digging a long distance into the Paatal Loka. Then Sukrakriti (boar formed) Vishnu returned to the battlefield exhausted.

As Brahmaji journeyed through the sky, he chanced upon a magnificent Ketaki (Kevda) flower cascading down his path. Despite having fallen for countless years, its freshness and fragrance remained unmatched. Inquisitive, Brahmaji addressed the celestial blossom, “Oh Pushparaj! Who had held you captive, and why have you descended from your lofty abode?”

“I have been falling from the middle of this ancient and irrational pillar for a long time, still could not fathom its origin. Therefore, you should also give up the hope of seeing the end of this column.” -replied that gorgeous flower.

Brahmaji declared, “Behold, I have transformed into a swan and ventured forth to witness the end of this pillar. However, my dear friend, you must comply with my wishes. Accompany me to Vishnu and proclaim, ‘Brahma has beheld the end of this structure. Oh Achyut! I bear witness to this fact.'” With a humble bow, Brahma beseeched the Ketaki flower and reassured it that in times of great need, even false testimony can be deemed virtuous – as per the scriptures. Turning towards Shri Hari, Brahmaji relayed his message,

स्तम्भाग्रमेतत् समुदीक्षितं हरे तत्रैव साक्षी ननु केतकं त्विदम् । ततोऽवदत्तत्र हि केतकं मृषा तथेति तद्धातृवचस्तदन्तिके ॥
हरिश्च तत्सत्यमितीव चिन्तयं- श्चकार तस्मै विधये नमः स्वयम् । षोडशैरुपचारैश्च पूजयामास तं विधिम् ॥

“Oh Hare! I have witnessed the front side of this column, and the Ketaki flower can attest to this fact,” declared Brahma. Despite the flower’s complicity in relaying false information to Vishnu, it corroborated Brahma’s story. Shri Vishnu, convinced of Brahma’s account, humbly bowed to him and bestowed upon him the honor of a complete Shodshopachar worship ceremony.

At that moment, Shiv appeared in between them looking furious. He turned towards Shri Vishnu and said, वत्स प्रसन्नोऽस्मि हरे यतस्त्व- मीशत्वमिच्छन्नपि सत्यवाक्यम् ।
ब्रूयास्ततस्ते भविता जनेषु साम्यं मया सत्कृतिरप्यलप्सि ॥
इतःपरं ते पृथगात्मनश्च क्षेत्रप्रतिष्ठोत्सवपूजनंच ॥

“My dearest one, I am immensely pleased with you for adhering to the truth even in your desire for superiority. As a result, you shall be granted equal reverence and admiration among all beings,” expressed Shiv. He continued, “Oh Hare, henceforth you shall be immortalized as an idol and enshrined in holy sanctuaries, where you shall be celebrated and worshipped with grandeur and festivity.”

Blessing Shri hari with this boon, omnipotent Shiv turned towards Brahmaji who was ashamed of his lie.

Birth of Bhairava

Fierce Bhairava, Hoysaleshwar temple, Halebeedu

ससर्जाथ महादेवः पुरुषं कञ्चिदद्भुतम् । भैरवाख्यं भ्रुवोर्मध्याद् ब्रह्मदर्पजिघांसया ॥
स वै तदा तत्र पतिं प्रणम्य शिवमङ्गणे । किं कार्यं करवाण्यत्र शीघ्रमाज्ञापय प्रभो ॥

Mahadev created a wonderful entity named Bhairav from the middle of his eyebrows with the desire to eradicate the pride of Brahma. That Bhairav bowed down to his Lord Shiv in the battlefield and asked, O Lord! You order quickly, what work should I do for you?

शिव उवाच
वत्स योऽयं विधिः साक्षाज्जगतामाद्यदैवतम् । नूनमर्चय खड्गेन तिग्मेन जवसा परम् ॥
Shiv said – Oh dearest one! This is Brahma. He is the original deity of this universe, you (should) worship him with a sharp sword (that is, kill him).

सवै गृहीत्वैककरेण केशंतत्पञ्चमं दृप्तमसत्यभाषिणम् ।
छित्त्वा शिरो ह्यस्य निहन्तुमुद्यतः प्रकम्पयन् खड्गमतिस्फुटं करैः ॥

Then, by holding the hair of Brahma, Bhairav chopped one of the five heads that spoke the lie. And then, he got ready to kill Brahmaji wielding his sword.

Confronted with the prospect of a gruesome fate at the hands of Bhairav, Brahma surrendered himself to Lord Shiv and beseeched him for forgiveness, repeatedly expressing remorse for his transgression of bearing false witness and accepting prayers from Shri Hari under false pretenses. In a display of mercy, even Shri Vishnu pardoned Brahma and entreated Lord Shiv to forgive him.

In his benevolence, Bholenath spared Brahma’s life and decreed that while there would be few temples dedicated to him, Brahma would not be the object of worship or prayer. However, no Yadnya would be considered complete without offering an appropriate sacrifice to Brahma. The Ketaki flower, having lied on Brahma’s behalf, was cursed such that it would never be offered to the Gods. Only on Kartiki Paurnima would Ketaki flowers be offered to Shiv.

Then the Gods proclaimed, that

अनलाचलसङ्काशं यदिदं लिङ्गमुत्थितम् । अरुणाचलमित्येव तदिदं ख्यातिमेष्यति ॥
अत्र तीर्थं च बहुधा भविष्यति महत्तरम् । मुक्तिरप्यत्र जन्तूनां वासेन मरणेन च ॥

This fiery pillar, shaped like a Shivling, shall henceforth render this site renowned as Arunachal. A host of important pilgrimages shall be held here, and those who pass away or reside in this sacred locale shall receive salvation.

Murti Shastra of Lingodbhav Shiv Murti

Lingodbhav Shiv, Kashi Vishveshwar, Pattadakal

Lingodbhav Shiv murti refers to a specific depiction of Lord Shiva in Hinduism where he is shown emerging from a fiery pillar (lingam) that represents his infinite and supreme nature. This form is believed to symbolize the creation of the universe and the power of Lord Shiva to create and destroy worlds.

The Lingodbhava murti is often depicted with a pillar and Lord Shiv in between the pillar. Each side of the pillar would be flanked with Lord Brahma and Shri Vishnu. In Chola versions, often Shri Vishnu would be depicted in the form of Varaha, diving at the bottom of the pillar, and Brahmaji would be flying on the upper corner. In 15^th cave of Ellora, both of these Divinities can be seen in duel forms, as, Shri Hari is shown in anthropomorphic as well as in boar form, and Brahma is shown in his flying as well as in the normal form with three heads.

KashyapaShilpam describes this idol as follows:

लिङ्गोद्भवमूर्तिलक्षणम्

अथ वक्ष्ये विशेषेण लिंगोद्भवविधिं शृणु | लिंगाकारस्य मध्ये तु चंद्रशेखरमूर्तिवत् ||1||
नळकात्तु पदान्तं तु लिंगे गूढं भवेदिह | पितामहो हंसरूपी ऊर्ध्वास्यो वामपार्श्वके ||2||
विष्णुर्वराहरूपेण दक्षिणांशे त्वधोमुखः| विष्णुर्दचिणपार्श्वे तु वामपार्श्वे पितामहः ||३||
हृदयाञ्जलिसंयुक्तौ स्थितौ तौ लिंगमिष्यते | रक्तश्यामहिरण्याभाः ईशविष्णुपितामहाः ||४||
एवं लिंगोद्भवं ख्यातं वृक्षसंग्रहणं शृणु ||५||
– इति काश्यपशिल्पे लिंगोद्भवमूर्तिलक्षणं नामैकाशीतितमः पटलः ||

Translation:
Characterestics of Lingodbhavamurti
Now listen to what Lingodbhavamurti depicts. In the center of the Lingam is an idol of Shankara like Chandrasekharamurthy. Shiv is depicted till his knees. (His rest of the feet are not shown.) On the upper limb on the left is Brahma in the form of a swan and Vishnu in the form of a boar on the lower limb on the right. Vishnu is standing on the right side and Pitamah (Brahma) is standing on the left side with hands on the chest in Anjalimudra (i.e. salutation pose). This is called Linga-Udbhavamurti. Linga, Vishnu and Brahma are red, black and golden in color respectively. This is what Lingodbhava Murti says.
Now listen to the methodology of a wood collection. (Not relevant here)
The seventy-eighth panel entitled Lingodbhava of the Kashyapasilpa under Anshumedbheda is finished. Other ancient architectural scriptures like Silparatna shows Vishnu as a bear and Brahma as a swan.

Lingodbhav Shiv, Kailas Cave, Ellora 16 — Lingodbhav Shiv, Kailas Cave 16, Ellora, Maharashtra

Lingodbhav Shiv, Ellora Cave No.15 — Lingodbhav Shiv, Kailas Cave 16, Ellora, Maharashtra

Lingodbhav Arunachaleshwar Temple, TamilNadu

Bhairav holding Brahma's head — Bhairav, Halebeedu

Bhairav, Naro Shankar Temple, Nasik, Maharashtra

Lingodbhav Shiv, Virupaksha temple, Pattadakal

References:

1. Shri Shiv Mahapuran, Volume 1, Geeta Press Gorakhpur, UP, Bharat.
2. KashyapShilpa, March 1987, Dr. R.P.Kulkarni, Maharashtra Rajya Sahitya aani Sanskrutik Mandal, Maharashtra, Bharat
3. Shivamurtaye Namah, Dr. GB Deglurkar, Snehal Publications, Nov 2021, Pune, Maharashtra, Bharat
4. Shiva Emerging from the Linga (Lingodbhavamurti), India, 12th century, On view at The Met Fifth Avenue in Gallery 240, Credit Line: Fletcher Fund, 1962, Accession Number: 62.81, The Metropolitan Museum of Art.
https://www.metmuseum.org/art/collection/search/38137
5. Shiva as the Cosmic Pillar, India, Tamil Nadu, early 12th century, Sculpture Granulite with traces of paint, South and Southeast Asian Art, Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles, CA 90036
https://collections.lacma.org/node/240775

Garuda - Drifter Adwait

Adwait Karajagi

18–23 minutes

Greetings, fellow Indology enthusiasts! Today, we’re going to talk about a bird that’s not your average tweetie-pie. We’re talking about Garuda, the legendary bird with a wingspan as wide as your local shopping mall.

Now, I know what you’re thinking – “Garuda? Isn’t that just a predatory bird?” Well, let me tell you, this bird is no one-hit-wonder. Garuda has been around for centuries, making appearances in ancient mythology, epic poems, and even modern art.

In fact, Garuda is such a big deal that architects and sculptors have been trying to capture his essence for thousands of years. From temple carvings to modern sculptures, Garuda has been depicted in countless ways, each reflecting the unique style and culture of the era.
But before we dive into the world of Garuda sculptures, let’s first explore the origins of this magnificent bird through our ancient scriptures. Trust me, it’s a story that’ll make you wonder why birds don’t rule the world…yet.

Garuda on the ceiling, Cave No 3, Badami.

The curse that led to the Birth

Prajapati Kashyap was performing a holy Yadnya ritual intending to have a son. Given its divine nature, the Gods and sages contributed to the proceedings. Indra, the Lord of the heavens, and other sages were assigned the task of gathering Samidhas (dry twigs used as offerings in the sacred Yadnya fire), and they carried out their duties with utmost dedication and according to their abilities.
As the mighty Lord, Indra was carrying a mountain of twigs for the Yadnya offerings when he came across a rather amusing sight. The Balakhilya Rishis, who was no bigger than half a thumb, struggled to carry a single tiny twig toward the venue with great effort.

प्रलीनान् स्वेष्विवाङ्गेषु निराहारांस्तपोधनान् । क्लिश्यमानान् मन्दबलान् गोष्पदे सम्प्लुतोदके ||

They had given up the food. Austerities were their only wealth. They seemed to be rather shrunk in their own bodies. They used to have a lot of trouble even in crossing the Pugmarks of the cow filled with water. They had very little physical strength.

Indra-Sachi and Airavata Elephant, Nuggehalli

तान् सर्वान् विस्मयाविष्टो वीर्योन्मत्तः पुरन्दरः । अवहस्याभ्यगाच्छीघ्रं लङ्घयित्वावमन्य च ।।
तेऽथ रोषसमाविष्टाः सुभृशं जातमन्यवः । आरेभिरे महत् कर्म तदा शक्रभयंकरम् ॥

Indra, intoxicated with the pride of his power, looked at them all with astonishment and, laughing at them, humiliatingly overcrossing over them and hurried forward. Balakhilya sages got furious due to Indra’s behavior. Heavy anger rose in their hearts. So they started such a great action at that time, the result of which was terrible for Indra indeed.

The Maharishis, who practiced the most rigorous austerities with complete self-restraint, declared, “Another Indra should be born for all the gods, who would strike fear in the heart of the present Devaraj Indra. This new Indra should be bold and courageous, with the power to move at will throughout the universe. He should be a hundred times more formidable and swift than the current Indra, moving faster than even the speed of thought.” With these words, they set about working on this ambitious project of another Indra.

Upon learning of this, Indra was left disappointed and furious, and he eventually surrendered himself to Prajapati Kashyap. Prajapati Kashyap then approached the Balakhilyas and enlightened them on the fact that Brahma had appointed Purandar as the current Indra, governor of the three worlds. However, in respecting the Balakhilyas’ intentions, Prajapati Kashyap said:

न मिथ्या ब्रह्मणो वाक्यं कर्तुमर्हथ सत्तमाः । भवतां हि न मिथ्यायं संकल्पो वै चिकीर्षितः ।।
भवत्वेष पतत्त्रीणामिन्द्रोऽतिबलसत्त्ववान् । प्रसादः क्रियतामस्य देवराजस्य याचतः ।।
Saints-Mahatmas! Do not misrepresent the words of Brahmaji. Along with this, I also want that your desired resolution should not be in vain. Therefore, this future son, full of great strength and excellent qualities, may be the Indra of the birds. Devaraj Indra has come to you as a supplicant; please bless him.

The situation had become quite complex. Kashyap performed a Yadnya for progeny, while the Balakhilyas had a Sankalpa for another Indra. To resolve this dilemma, the Balakhilya sages urged Prajapati Kashyap to accept the fruit of their Sankalpa as their own progeny. Pleased with this solution, Sage Kashyapa and his wife Vinata accepted it. Prajapati Kashyap also warned Indra not to underestimate the sages’ power, which was mightier than even Indra’s thunderbolt.
Later on, Vinata gave birth to two sons, Aruna and Garuda. Aruna was crippled and chosen as Lord Surya’s charioteer, and Garuda was made the Lord of the birds.

The bet

Vinata had a sister named Kadru, who is known to be a mother of serpents. Once, Vinata and Kadru made a bet about the color of the tail of Uchchaihshravas, the divine horse. Kadru claimed that the tail was black, while Vinata claimed that it was white.

To settle the bet, they approached their sons for help. Kadru’s sons, the Nagas, agreed to help their mother by coiling themselves around the tail of Uchchaihshravas, making it appear black. As a result of losing the bet, Vinata became the servant of Kadru and her serpent sons. Snakes promised to release Vinata from the captivity of Kadru only if Garuda brought them the Amrit. Garuda, who was devoted to his mother, agreed to help her.

Adventures of the Garuda

After Garuda was born, he felt an unimaginable hunger. His parents pointed towards an island which was the home of Nishadas (immoral meat eater hunters).

तदाननं विवृतमतिप्रमाणवत् समभ्ययुर्गगनमिवार्दिताः खगाः । सहस्रशः पवनरजोविमोहिता यथानिलप्रचलितपादपे वने ।।
ततः खगो वदनममित्रतापनः समाहरत् परिचपलो महाबलः । निषूदयन् बहुविधमत्स्यजीविनोबुभुक्षितो गगनचरेश्वरस्तदा ।।

Thousands of birds, disoriented and distressed by the wind and dust in a storm-shaken forest, take to the sky in frenzied flight. Similarly, thousands of Nishads, dazed by the relentless onslaught of wind and dust, found themselves unwittingly swallowed up by Garuda’s enormous gaping mouth. Garuda, the swift, powerful, and formidable King of birds known for causing trouble to his enemies, narrowed his jaws to destroy the many Nishads who earned their livelihood by killing fish.

Despite this, Garuda remained unsatisfied. He proceeded to a nearby lake and picked up a colossal turtle and an enormous elephant, holding one in each talon. He took flight and, after covering thousands of miles, alighted upon a colossal tree with branches stretching for hundreds of miles. The tree shook violently, on the brink of collapse, when Garuda spotted Valakhilya Rishis practicing asceticism while hanging upside down from a branch.

ऋषयो हात्र लम्बन्ते न हन्यामिति तानृषीन् । तपोरतान् लम्बमानान् ब्रह्मर्षीनभिवीक्ष्य सः ॥
हन्यादेतान् सम्पतन्ती शाखेत्यथ विचिन्त्य सः । नखैर्दृढतरं वीरः संगृह्य गजकच्छपी ।।
स तद्विनाशसंत्रासादभिपत्य खगाधिपः ।शाखामास्येन जग्राह तेषामेवान्ववेक्षया ॥

Seeing those Brahmarshis performing penance hanging on the branch of the tree, Garuda thought – ‘Rishis are hanging in it. If they are not killed by me, this falling branch will definitely kill these sages.’ Thinking of this, Garuda, the mighty King of the birds, firmly caught hold of the elephant and the tortoise with his claws and, fearing the destruction of those great sages, snatched that branch in his beak. Garuda did such a wonderful feat in protecting those sages.

अतिदैवं तु तत् तस्य कर्म दृष्ट्वा महर्षयः । विस्मयोत्कम्पहृदया नाम चक्रुर्महाखगे ।।
गुरुं भारं समासाद्योड्डीन एष विहंगमः । गरुडस्तु खगश्रेष्ठस्तस्मात् पन्नगभोजनः ।।
Seeing such a supernatural act of Garuda, which even the Gods could not do, the Maharishis were astonished. Their hearts trembled, and they named that great bird Garuda (the derivation of his name Garuda is like this) -This serpent-eating bird flying in the sky has flown with a heavy load; That’s why (according to this etymology, ‘ gurum aday uddin iti garudah’) they will be called Garuda.

Vishnu and Lakshmi flying on Garuda, Gondeshwar temple, Sinner

Afterward, the Valakhilya rishis departed from the branch at the behest of Garuda, who subsequently left the enormous branch on the ground. Following this, Garuda consumed a turtle and an elephant atop a mountain peak. Then, he turned towards Swarga to fulfill his promise and free his mother from slavery.
A warning was issued to Indra and the other Gods by Bruhaspati about Garuda’s power. In response, the divine armies assembled, equipped with celestial weapons and vehicles, to confront the King of the birds. Vishvakarma was assigned to protect the Amrut.

Garuda’s gigantic wings created a storm that covered the entire universe with dust, making it impossible for the gods to see what was happening. Garuda then attacked the Gods with his sharp claws and wings. Indra ordered Vayu to remove the dust with stronger winds, but Garuda continued to assail the Gods relentlessly.

Pakshiraj defeated Sadhya, and Gandharva fled toward the east. The Vasus and the Rudras took refuge in the south, while the Adityas fled west. The Ashwini Kumaras sought refuge in the north. These mighty warriors fled in panic, constantly looking back over their shoulders.
After killing them, Pakshiraj proceeded to obtain the nectar, but he was confronted by a raging fire that engulfed the sky with its flames. The flames grew higher and higher, leaving him unable to obtain the nectar.

ततो नवत्या नवतीर्मुखानां कृत्वा महात्मा गरुडस्तरस्वी । नदीः समापीय मुखैस्ततस्तैः सुशीघ्रमागम्य पुनर्जवेन ।।
ज्वलन्तमग्निं तममित्रतापनः समास्तरत्पत्ररथो नदीभिः । ततः प्रचक्रे वपुरन्यदल्पे प्रवेष्टुकामोऽग्निमभिप्रशाम्य ।।

Then the fierce Mahatma Garuda, having manifested eight thousand one hundred mouths in his body, drank the water of the rivers and again, coming there with great speed and poured all that water on that burning fire. In this way, Garuda, the vehicle of torture to the enemies, took another very small form with the desire to reach the nectar by extinguishing that fire with the water from the rivers, and he went ahead to snatch the pot filled with Amrut.

After that, as the speed of water enters the sea, in the same way, Garuda, the King of birds, assuming a golden form shining like the rays of the sun, forcefully entered the place where the nectar was kept. There, he saw an iron wheel with a very sharp edge, continuously rotating around the pot of Amrut.

There, under the chakra, two great snakes were appointed to protect the nectar. Tehir radiance seemed like a burning fire. Like lightning, these mighty snakes had fluttering tongues, a resplendent face and shining eyes. Their eyes were full of anger and poison, they never use to blink and anyone who sees even one of them could be instantly reduced to ashes.

तयोश्चक्षूंषि रजसा सुपर्णः सहसावृणोत् । ताभ्यामदृष्टरूपोऽसौ सर्वतः समताडयत् ॥
तयोर समाक्रम्य वैनतेयो ऽन्तरिक्षणः । आच्छिनत् तरसा मध्ये सोममभ्यद्रवत् ततः ॥
समुत्पाटयामृतं तत्र वैनतेयस्ततो बली । उत्पपात जवेनैव यन्त्रमुन्मध्य वीर्यवान् ॥

The beautiful winged Garuda suddenly closed their eyes by blowing dust and being invisible to them; he started killing and crushing them from all sides. Vinata Kumar, the great warrior roaming in the sky, attacked with speed and cut the bodies of both snakes in the middle; Then he rushed towards the nectar, and by breaking the disc, he flew away with great speed, lifting the pot of nectar.

Shri Hari Vishnu and Garuda

As promised to the snakes, without touching even a drop of the nectar, Garuda just lifted the whole pot and left quickly. Disregarding the sun’s light, he took a flight without any sign of fatigue. While flying ahead, he encounters someone he didn’t expect.

ShriHari Vishnu and dwarf Garuda, Aihole

विष्णुना च तदाकाशे वैनतेयः समेयिवान् । तस्य नारायणस्तुष्टस्तेनालौल्येन कर्मणा ॥
तमुवाचाव्ययो देवो वरदोऽस्मीति खेचरम् । स बजे तब तिष्ठेयमुपरीत्यन्तरिक्षणः ॥
At that time, Vintanandan Garuda met Lord Vishnu in the sky. Lord Narayan was greatly impressed with Garuda’s insatiable prowess. Therefore, that imperishable Lord Vishnu said to the sky-carrying Garuda – ‘I want to give you a boon.’ “Lord! May I be situated on you (in the flag)” asks Garuda.

उवाच चैनं भूयोऽपि नारायणमिदं वचः । अजरश्चामरच स्याममृतेन विनाप्यहम् ।।
Having said this, he again spoke to Lord Narayan like this – ‘Lord! Without drinking nectar, may I become immortal’.

Then Lord Vishnu said to Vintanandan Garuda – ‘Evamastu’- So be it. Garuda said to Lord Vishnu- “God! I also want to give you a boon. May God also ask for one.” Shri Harine asked Mahabali Garuda for a boon to be his vehicle, which Garuda proudly accepted.

After successfully obtaining the immortality elixir, Garuda faced a difficult decision. He had promised the Nagas, a group of serpents, that he would bring them the Amrit in exchange for his mother’s freedom. However, he knew that the elixir could not fall into the wrong hands, as it would upset the balance of power in the universe.

Indra, the King of gods, saw Garuda’s dilemma and offered him a solution. He approached Garuda with an extended hand of friendship and gave him an idea to keep his promise to the Nagas without endangering the universe. Garuda agreed to the plan and carried the elixir pot to the Nagas.

As the Nagas were about to drink the elixir, Garuda reminded them to cleanse themselves before consuming it. Once they were clean, the Nagas were allowed to drink the Amrit. Garuda fulfilled his promise, and the Nagas freed his mother, Vinat, from slavery.

सोमस्थानमिदं चेति दर्भास्ते लिलिहुस्तदा । ततो द्विधाकृता जिह्वाः सर्पाणां तेन कर्मणा ॥
As all the snakes went to take a bath, Indra appeared and picked up the pot of elixir. He returned it to its original place in Svarga, as planned. However, during the commotion, a few drops of the Amrit fell on the sharp blades of grass. The snakes licked the grass, resulting in their tongues split. Since that day, snakes have had split tongues.

In conclusion, Garuda’s loyalty and intelligence helped him keep his promise to the Nagas without upsetting the balance of power in the universe. Indra’s assistance and Garuda’s quick thinking prevented chaos, and a unique quirk of nature was created. Sagas and Puranas mention many stories related to Garuda, but to avoid diversion, we will discuss them some other time.

What does Murti Shastra say about Garuda sculptures?

Vishnu Dharmottara Purana, while describing the form of Garuda, has written that his body is green, eyes are round, the nose is like Kaushik, and he has four arms and two wings. His two arms are in Anjali mudra; in two others, he holds a parasol and a full pot, representing Amrut. There is a great deal of similarity in the descriptions of the Puranas. Vishnu Dharmatottara accepts the notion of four arms of Garuda, while in some other scriptures, it is said to be equipped with eight more weapons like chakra, pestle, Ankush, etc.

In ancient scripture of Roop Mandan, it is said, that,

ताक्ष्यों मकड़ कतः प्रक्षः (मरकतप्रस्यः) कौशिकाकारनासिकः । चतुर्भुजस्तु कर्त्तव्यो वृत्तनेत्रमुखस्तथा ॥
गोरुजानुचरणः पक्षयविभूषितः । प्रभासंस्थानसौवर्णः कलापेन विभूषितः ॥
Garuda’s complexion is like turquoise and his nose is like the nose of an owl. He should be made four handed, and his face and eyes in a round shape. Garuda’s thighs, legs and feet are like those of a vulture and he is adorned with two legs. His aura (Prabhavali) is of his own color (like turquoise).

छत्रश्च पूर्णकुम्भञ्च करयोस्तस्य कारयेत् ।करद्वयञ्च कर्त्तव्यं तथा विरचिताञ्जलि’ ॥
नवताल: प्रकर्तव्यो गरुडो मानसूत्रतः । पादजानुकटिर्घा (टिया) वदचयां वाहनस्य दृक् ॥
Parasol and full pot should be made in both his hands and other two hands should be made in Anjali Mudra. According to Maan-Sutra, the idol of Garuda should be made in nine Taalas. The feet of his statue and the part from the knees to the waist should be bent from the feet to the waist in such a way that it can be Vishnu-Vahana.

यदुश्च भगवान् पृष्ठे छत्रकुम्भधरौ करौ । किञ्चिल्लम्बोदरः कार्यः सर्वाभरणभूषितः ॥
वामोग्रे कुञ्चितः पश्चादन्यपादस्तु जानना । पृथिवीं संस्थितो यत्र गारुडं स्यात्तवासनम् ॥
Lord Yadu (Krishna) is seated on his back while the Garuda holds an umbrella and a pot in his hands. He is somewhat pot-bellied and is adorned with all kinds of ornaments. The left leg is slightly crooked (Kushchit) and the other leg is turned back from the Janu and is situated on the earth. This is called Garudasan.

In conclusion, Garuda is not just a fascinating creature from ancient Indian mythology but also a symbol of strength, loyalty, and determination. His stories and depictions in various art forms, including the intricate sculptures of the Murti-Shastra style, have captivated people for centuries and continue to inspire artists and writers today.

From the bet between Vinata and Kadru to Garuda’s heroic journey to obtain the elixir of immortality, Garuda’s stories teach us valuable lessons about the power of determination, friendship, and honor. And as we delve deeper into Garuda’s legend, we can also appreciate the richness and complexity of Indian mythology and its enduring impact on art, culture, and philosophy.

Gajendramoksha, Pattadakal — Gajendramoksha, Halebidu

So the next time you see a majestic bird soaring in the sky, imagine Garuda and his incredible feats. And if you’re lucky enough to come across a sculpture or painting of Garuda, take a moment to admire its beauty and the intricate details that bring this mythical creature to life. You may even find some inspiration in Garuda’s story and take on your challenges with renewed vigor and determination, just like the King of Birds.

As we end another fascinating journey through the rich Itihasa of India, I hope you have enjoyed learning about the unique architecture and captivating sculptures that adorn our ancient temples. My mission with DrifterAdwait.com is to shed light on the wonders of our heritage and inspire a love for our shared cultural legacy.

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

Garuda in Anjali Mudra — Garuda holding Parijata

Bucheshwara Temple, Koravangala — Garuda in Anjuli Mudra

Garuda Vanquishing the Naga Clan, Gandhara Period, TheMET

Garuda, Gandhara style, 2 century, The British Museum — Garuda Vanquishing the Naga Clan, Gandhara Period, TheMET

The Hindu God Vishnu's Mount, Garuda, LCMA — The Hindu God Vishnu’s Mount, Garuda, LCMA

Vishnu Riding on Garuda, 300 AD — The Hindu God Vishnu’s Mount, Garuda, LCMA

Lakshmi Narayan And Garuda on Piller Khidrapur

References:

1. Bhartiya Murtishastra, N. P. Joshi, Second Edition (1 January 2013), Prasad Prakashan, Pune, Maharashtra, India.
2. Mahabharat Vol. 1, Geeta press Gorakhpur.
3. https://collections.lacma.org/node/2267306
4. https://www.metmuseum.org/art/collection/search/38213?ft=garuda&offset=0&rpp=40&pos=18
5. https://www.clevelandart.org/art/1961.46
6. https://www.britishmuseum.org/collection/object/A_1888-0806-2
7. https://philamuseum.org/collection/object/95885

Bhima and Nagas

Adwait Karajagi

12–15 minutes

Buckle up, dear readers, because we’re about to take a journey through time, space, and mythology. Today’s topic is one of the most fascinating sculptures in India, depicting the legendary tale of how Bhima, one of the heroes of the Indian epic Mahabharata, gained superhuman strength thanks to a snake king and some magic elixir. It’s a story of resilience, friendship, and sneaky cousins, and it’s told through the stunning artistry of ancient Indian bas-relief.

विघमेदभ्र्जालानि यथा वायुः समुद्धतः। व्यधमत् तान्यनिकानि तथैव् पवनत्मजः॥
ते भीमबाणाभीहता: संस्यूता विबभूर्गजा:। गभस्तिभिरीवार्कस्य व्योमन्नी नानबला हका:।।
Just like a strong winds scatter the clouds, Pavanaputra Bhima decimated those elephant platoons. These dead elephants piled up on each other were looking just like the intertwined shining clods in the sky, illuminated by the sun rays.

This miniscule sculpture has been carved on the ancient walls of Hoysaleshwara temple, Halebidu, about 800 years ago. Here, you will see the heap of elephants slaughtered by Bhima. In front of that mound you can see the battle of Vrikodara Bhima with the giant elephant Supratika. With his left hand he is holding the trunk of an elephant and with his right hand he is striking it with a mace.

You will also see a soldier crushed under the foot of an elephant. If you look closely at the mound, you will see a mahout trapped between two lifeless elephants. You can see the clouds over that elephant’s trunk. As if the sculptor was telling us that the pile of elephants killed by Bhima had reached the sky.

But, you must wonder, that from where Bhima got his elephantine strength? How he managed to slaughter hundreds of elephants in the great war of Kurukshetra? The answer has its roots when Pandavas arrived at the gates of Hastinappura.

The seed of Hatred

The Origin of Hatred The Mahabharata, a catastrophic war that forever altered the course of the world, is widely believed to have been sparked by Bhishma’s vow of celibacy or the disrobing of Queen Draupadi during a game of Dyuta. However, while admiring a stunning Hoysala temple adorned with depictions of the Mahabharata, I stumbled upon a sculpture that shed new light on the war’s origins. Upon delving into the Mahabharata texts, my initial perspective evolved into a fully-formed idea, and perhaps even an opinion. Let us explore the details of this sculpture and its significance in the story of the war’s beginnings.

The scene is set in the aftermath of the death of King Pandu and Queen Madri, as Kunti returns to Hastinapura with her five children in tow. Recognizing the gravity of what is to come, Veda Vyas arrives in Hastinapur, leading Queen Matsyagandha, Ambika, and Ambalika to the Vanaprasthashrama, where they depart from their mortal bodies.

Meanwhile, in Hastinapur, the Pandavas are taken in by their Kuru elders and begin to play and learn alongside their cousins, the Kauravas – the 101 sons of Dhrutarshtra. As they settle into their ancestral home, the Pandavas thrive both physically and mentally, enjoying the pleasures of life. While playing with the Kauravas, they use to win all sorts of games. May it be the running, fetching, eating or even in the wrestling, Bhima use to defeat each and every one of them.

Unaware of his own immense strength, Bhimsen would quietly observe the Kauravas engaged in their sports and games, waiting for the perfect moment to pounce. Despite the formidable strength of Dhritarashtra’s one hundred and one sons, Bhimsen effortlessly subdued them all with his bare hands. He would grab their hair, forcefully smash their heads together, and drag them across the ground, ignoring their cries of pain as their knees, foreheads, and shoulders were scraped raw.

In the water, Bhima’s strength was equally unmatched. He would seize ten Kauravas at once in each arm, diving deep below the surface and holding them there for extended periods of time. Only when they began to struggle for breath would he release them, emerging from the water victorious.

Bhima Shaking tree, and Kauravas falling down

फलानि वृक्षमारुह्य विचिन्वन्ति च ते तदा । तदा पादप्रहारेण भीमः कम्पयते द्रुमान् ।।
प्रहारवेगाभिहता द्रुमा व्याघूर्णितास्ततः । सफलाः प्रपतन्ति स्म द्रुतं त्रस्ताः कुमारकाः ।।
As the Kauravas would climbed the trees to pluck fruit, Bhimasena would launch a swift attack by kicking the tree with all his might. The trees, hurt by the sudden assault, would begin to shake violently, causing the Kauravas perched on the branches to tremble in fear and lose their grip. With the fruit in their hands, they would come tumbling down to the ground, no match for Bhimsen’s tree-shaking feat.

एवं स धार्तराष्ट्रांश्च स्पर्धमानो वृकोदरः । अप्रियेऽतिदत्यन्तं बाल्यान द्रोहचेतसा ।।
Bhimsen also used to engage in extremely unpleasant activities while competing with the Kauravas, but he did not have hatred towards the Kauravas, he used to do the same because of his childish nature.

Opportunity to Kill Bhima

Duryodhana, the shrewd son of Dhritarashtra, was envious of Bhimasena’s incredible strength and began to harbor ill intentions towards him. He conspired with his brothers, recognizing Bhimasena as the most powerful of the Pandavas, and resolved to trap him through deceit. Though Bhimasena was not only strong and mighty, but also brave, he alone posed a challenge to all of them.

Duryodhana’s plan was to wait for Bhima to fall asleep in the city garden, whereupon they would seize and hurl him into the Ganges, trapping him in a watery grave. His ultimate aim was to imprison Bhima’s younger brother, Arjuna, and elder brother, Yudhishthira, and claim sole dominion over the entire earth. This treacherous determination drove Duryodhana to constantly seek an opportunity to harm Bhima. And Duryodhana crated the opportunity, like any of the great individual.

Duryodhana, the cunning and ambitious son of Dhritarashtra, constructed peculiar and colossal structures made of woolen and cotton fabrics along the banks of the holy Ganges for water-sports. These magnificent houses were adorned with all sorts of luxuries and amenities, and their summits were embellished with towering flags that fluttered in the wind. Inside, Duryodhana had created a multitude of chambers, each with its unique design and purpose.

उदकक्रीडनं नाम कारयामास भारत। प्रमाणकोटयां तं देशं स्थलं किंचिदुपेत्य ह ।।
Duryodhana meticulously arranged this grand structure on a sacred site of Pramankoti, located on the banks of the Ganges. He named the place Udakakridan…

The garden was embellished with regal gathering spots featuring pristine white balconies, elegant nets, windows, and refreshing portable water sprinklers. The skilled artisans who constructed the palace diligently swept and polished the garden and the sports arena. Expert painters added their finishing touches, adding to the grandeur of the space. The garden was further enhanced by the presence of water-filled stepwells and ponds, where the sparkling water shimmered and blooming lotuses added a touch of natural beauty.

Then all the valiant Kauravas, accompanied by the Pandavas, came out of the city riding on chariots and the best domesticated elephants. Thereafter, the Kauravas and the Pandavas, who had come to play in that beautiful garden, began to feed food items to each other. At that time, the sinner Duryodhana, with the desire to kill Bhimsen, mixed poison named Kalkut in his food.

At the end of the day, when the water sports were over, all those Kuru prins dressed in clean clothes and adorned with beautiful ornaments, decided to spend the night in the Udakakridan. Strong Bhimsen was very tired. He came to that house of Pramankoti with the desire to take rest with those youngsters who had come for water sports and slept in a place there.

Bhima, was not only exhausted but also suffering from the effects of poison. The venom had permeated through his body and weakened his organs. Thus, when he finally found a spot with cool air to rest, he lay down in such a manner that he resembled a motionless root.

ततो बद्ध्वा लतापासेर्भीमं दुर्योधनः स्वयम् । मृतकल्पं तदा वीरं स्थलाज्जलमपातयत् ।।
Duryodhana, with his cunning mind, took advantage of Bhima’s weakened state and ensnared him with tight knots of sturdy vines. While Bhima being on the brink of death due to poison, Duryodhana heartlessly pushed him from the elevated bank of the sacred river Ganga into its depths.

And the Nagas tied up Bhima, Lakshmi Nrusimha temple, Nuggehalli

स निःसङ्गो जलस्यान्तमथ वै पाण्डवोऽविशत् । आक्रामन्नागभवने तदा नागकुमारकान् ।।
ततः समेत्य बहुभिस्तदा नागैर्महाविषैः। अदश्यत भृशं भीमो महादंष्ट्रेर्विषोल्बणैः ।।
In a state of unconsciousness, Bhimsen sank under the water and eventually arrived in Naglok. He had fallen on top of many Nagkumars and was bitten by numerous super-venomous snakes, their big fangs dripping with fierce poison.

After being bitten by the snakes, the Kalkut poison’s effect was nullified. The venom of the snakes proved to be more potent and effectively countered the poison that was administered to Bhima. Unable to pierce deeply his iron-like skin, the sharp fangs of the snakes were barely scratching the surface of his skin (just enough to administer the poison). Now, Bhima was awakened and back to his might. And then,

ततः प्रबुद्धः कौन्तेयः सर्व संछिद्य बन्धनम् । पोथयामास तान् सर्वान् केचिद् भीताः प्रदुदुवुः ।।
When Kuntinandan Bhima regained consciousness, he immediately took action. With great strength and agility, he managed to break free from all the bonds that had restrained him. Without hesitation, he then proceeded to grab hold of all the snakes that had been coiled around him and forcefully threw them onto the ground. As a result of his actions, many of the snakes fled in terror.

After the fierce battle with Bhima, the surviving snakes made their way to the radiant Nagraj (King of the Nagas) Vasuki. They reported that they had encountered a man who had been tied up and thrown into the water. The snakes believed that the man had consumed poison as he was found in a state of unconsciousness. However, when they stung him, he suddenly woke up and quickly broke free from his bonds, launching a ferocious attack on them. The snakes pleaded with Vasuki to identify the man, as they were in awe of his strength and courage.

Upon hearing this, Snake King Vasuki (along with other snake King Aryak) accompanied the snakes to see the man in question. As they approached, they saw Bhimsen, the fiercely mighty and strong boy. Nagaraj Aryak, who was the maternal grandfather of Kunti’s (Bhima’s mother) father Shurasena, also saw Bhima and immediately hugged him tightly to his chest recognizing him as his descendant. Both Aryak and Vasuki were deeply impressed by Bhima’s strength and bravery.

Aryak, in particular, was so impressed that he recommended that Vasuki should offer Bhima a drink from the fountain of power. This fountain was said to contain a miraculous elixir that would grant the drinker the strength of one thousand elephants with just one bowl. Vasuki followed Aryak’s recommendation and offered Bhima the powerful elixir, which he eagerly accepted. Vrikodar (means who has a thin waist line) Bhima finished eight bowls of the elixir, and slept away, articulating the power of thousands of elephants within him.

Bhim killing Dusshasana, and Draupadi tying her hair — Result of Hatred: Bhima killing Dusshasana, and Draupadi tying her hair

And that, my dear readers, is the epic tale of how Bhima got poisoned, drowned, revived, and became as strong as an army of elephants thanks to some sneaky snake magic. What can we learn from this story? Well, first of all, don’t mess with Bhima, because he’s a tough cookie. Secondly, don’t underestimate the power of relatives, even with creatures that may seem strange or scary at first glance. And thirdly, always check your food and drinks for poison, because you never know when a jealous cousin might try to pull a Duryodhana on you.

But seriously, folks, I hope you enjoyed this travel, philosophical, and architectural journey through the fascinating world of Indian sculpture and Itihasa. If you want to see more cool sculptures and learn more about their stories, be sure to check out my other blog posts and follow me on social media. And if you have any funny or interesting anecdotes about your own travels or cultural experiences, feel free to share them in the comments below. Until next time, keep exploring and keep smiling!

Referance:

Mahabharat Vol. 1, Geeta press Gorakhpur.
Bhima shaking trees and Kaurava Falling down , an Image by Shri Sudheer Nigade Ji.

Gargoti Museum, Sinnar, Nasik -

Adwait Karajagi

8–10 minutes

Hey there, fellow adventurers! If you’re ever in the Nashik region of Maharashtra, India, you absolutely have to check out Gargoti, the mineral museum. It’s like a candy store for mineral enthusiasts but with way more rocks and way fewer dental cavities.

Located in the MIDC area of Sinnar, Nashik, Gargoti is home to one of the largest collections of Indian Zeolites and Minerals in the world. And let me tell you, these rocks are seriously impressive. They come in all sorts of colors and shapes, and they’re just begging to be Instagrammed.

But the best part about Gargoti isn’t just the amazing collection of minerals. It’s the fact that the Museum was founded by a true visionary, Krishna Chandra Pandey. This guy dedicated his life to getting Indian minerals and Zeolites the recognition they deserve, and boy, did he succeed.

Gargoti: How Zeolite Minerals & Crystals are formed?

So, how do these beauties come to be? Well, it all starts deep underground, where minerals and volcanic rocks mingle and get cozy with each other. It’s like a giant mineral party, and everyone’s invited!

Zeolite minerals and crystals are formed through a process called crystallization. This occurs when certain minerals dissolve in water and then re-form into a solid crystal structure as the water evaporates or the temperature changes.

Specifically, zeolites are formed from volcanic ash or sedimentary rock that contains high amounts of aluminum and silicon. Over time, these materials break down and mix with water, forming a gel-like substance that can then crystallize into zeolites under certain conditions. Over time, the minerals start to crystallize and form these gorgeous structures we call Zeolites. It’s like they’re building their own little crystal castles, complete with turrets and moats (okay, maybe not moats).

And just like people, these crystals come in all different shapes, sizes, and colors. Some are pale pink, some are vibrant green, and some are a gorgeous shade of orange that makes you want to lick them (but don’t do that, it’s not safe).

The unique structure of zeolites is due to their high concentration of tiny pores and channels that can trap and release other molecules. This property makes zeolites useful in a variety of applications, such as water filtration, gas purification, and even as a catalyst in chemical reactions.

Gargotis In the Deccan Plateau:

The Deccan Plateau is a large volcanic province that was formed around 65 million years ago during the late Cretaceous period. It is known to have extensive deposits of zeolite minerals, particularly in the region of Pune in Maharashtra. The formation of these zeolites in the Deccan Plateau is believed to be related to the volcanic activity that occurred in the region millions of years ago.

During the Deccan Traps volcanic eruption, lava flows, and ash deposits covered large parts of the region. As the volcanic ash and lava cooled and solidified, they formed various types of rocks, including basalt and tuff. The chemical composition of these rocks, along with the presence of water, created favorable conditions for the formation of zeolites.

Over time, the minerals in the volcanic rocks reacted with groundwater, which carried dissolved silica and aluminum ions. These ions combined to form a gel-like substance that slowly crystallized, forming the characteristic pores and channels of zeolites.

The specific types of zeolites found in the Deccan Plateau are dependent on the exact conditions of the volcanic activity, such as temperature and pressure, as well as the composition of the surrounding rocks and minerals. Some of the zeolites found in the Deccan Plateau include stilbite, heulandite, chabazite, and clinoptilolite.

Overall, the volcanic activity in the Deccan Plateau played a significant role in the formation of the zeolite deposits found in the region today.

How do different colors occur in these crystals?

The different colors in zeolites are typically due to the presence of impurities or variations in their chemical composition.

For example, the green color in some zeolites, such as apophyllite, is due to the presence of iron or other trace elements. The pink color in Stilbite is due to the presence of manganese. Other colors, such as white, yellow, and orange, can be caused by a variety of factors, including the presence of different metals, water content, or even variations in the crystal structure.

It’s important to note that the color of a zeolite can also vary depending on the lighting conditions under which it is viewed. In natural sunlight or under artificial lighting, the color of a zeolite may appear different than when viewed under other light sources or in natural shade.

Overall, the color of zeolites can provide clues about their composition and can be useful in identifying and classifying these minerals.

The Man behind the Gargoti Museum

After joining the Indian Navy and training as a Naval Engineer (Aeronautical), K.C. Pandey was posted to Maharashtra. It was there that he began collecting zeolites and minerals from quarries near his naval bases. When he retired from the Navy in 1993, K.C. Pandey turned his hobby into a full-time business. He started Superb Minerals India, which became the biggest dealer and exporter of Indian zeolites and minerals in the world.

K.C. Pandey’s success didn’t stop there. He also opened India’s first and only Gem and Mineral Museum, called “Gargoti, The Mineral Museum” in Nasik. He dedicated the Museum to “Mother India,” and it showcases some of the most stunning minerals and zeolites found in India.

So next time you admire a beautiful Indian mineral or zeolite, remember the man behind Gargoti who helped bring these treasures to the world.

As someone who studies ancient rock-cut temples, I was particularly fascinated by the ancient minerals on display at Gargoti. These crystals have been around for thousands of years, and they’ve been used in everything from traditional medicines to architectural masterpieces.

And speaking of architectural masterpieces, the Museum itself is a work of art. It’s filled with intricate carvings and stunning designs that will take your breath away. It’s like stepping into a different world, one where minerals reign supreme, and everything is just a little bit shinier.

So if you’re ever in the Nashik area, be sure to swing by Gargoti, the mineral museum. It’s an experience you won’t forget, and who knows, you might just walk away with a new appreciation for rocks and minerals. Hey, stranger, things have happened!

How to reach Gargoti Museum:

By Car: Gargoti Museum is about 190 km from Pune, 180 km from Mumbai, and about 25 km from Nasik City. By train: Nearest railway station for the Gargoti museum is Nasik, or Nasik Road, which is about 25 km away and has decent traffic from all corners of India. By Bus: Nasik has buses every half hour from Mumbai and Pune. Both public and private buses are available to Nasik. As the Gargoti museum is outside Sinnar town, one can alight on Pune Nasik Highway on Sinnar MIDC and can take a rikshaw or even walk about 2 km to the Museum. By Air: Naik has an airport about 20 km north of the city, which makes it the closest airport to the Gargoti Museum. Ticket: Gargoti Museum has a 100 rs ticket, which includes guide fees. It would be better if you could go with a large group. Places to stay: Sinnar has few decent hotels to eat and which provide accommodation. Nasik will be the best option if you are looking for more hotel options. Don’t forget to visit Gondeshwar temple in the Sinnar city, as it is one ancient architecture marvel.

Bedse Caves

Adwait Karajagi

9–12 minutes

What makes the civilization ancient? Its remnants, age, traces, or memory that lies in the hearts of the contemporary generation? The world is not strange to the ancient civilizations. But what makes Indian civilization unique is that it’s one of the very few civilizations still surviving. Don’t get me wrong, it has its ups and downs. It had to face barbaric invasions. But what makes it different from any other extinct civilization is its deep-rooted philosophies and ability to mend itself as per time. Today, we visit Rock Cut Bedse caves, a brilliant trace of our proud past.

Bedse caves in a Nutshell

Noteworthy caves in Bedse caves: Chaitya Hall: Cave 7 and Vihara Cave: Cave 11

Historical Significance: Bedse Caves, also known as Bedsa Caves, are an ancient rock-cut cave complex near Pune, Maharashtra, India.

Buddhist Heritage: These caves were carved out of the rocky hillside from the 1st century BCE to the 3rd century CE, making them over 2,000 years old. They hold immense importance in Buddhist history and culture.

Architectural Marvel: Bedse Caves showcase exquisite rock-cut architecture. The skilled artisans carved intricate details into the rock surfaces, including pillars, stupas (hemispherical structures), and prayer halls.

Cave Layout: The complex consists of two main caves, known as Cave 7 and Cave 11. Cave 7 is a chaitya hall (prayer hall), while Cave 11 is a vihara (monastic dwelling).

Stunning View: Bedse Caves are situated on a hill, offering panoramic views of the surrounding countryside and lush green valleys. The scenic beauty adds to the overall charm of the site.

Trekking Destination: The caves are accessible via a scenic trek that takes you through picturesque landscapes and offers an adventurous experience for nature enthusiasts and hikers.

Heritage Importance: Bedse Caves are recognized as a protected monument by the Archaeological Survey of India (ASI) due to their historical and cultural significance.

Cultural Exploration: Exploring Bedse Caves provides a glimpse into the rich Buddhist heritage of India, allowing visitors to connect with the spirituality and history of the region.

Bedse Cave 7:

Cave 7 stands as the pinnacle of Bedse Caves, captivating visitors with its resplendent horseshoe-shaped entrance adorned with intricate carvings that bespeak remarkable craftsmanship. At the far end of the cave, a stupa proudly stands, symbolizing the divine presence of the Buddha.

Furthermore, Cave 7 exhibits distinctive architectural features that reflect the historical and antiquated nature of the caves. Noteworthy elements include the semi-circular roof adorned with wooden ribs, the stone screen or Javanika adorning the main entrance, the front fire verandah, and the presence of simple or octagonal pillars.

Of great significance within the cave are the two complete pillars and two half-pillars, known as pilasters, situated at the center. These pillars showcase splendid depictions of figures, including bulls, elephants, horses, and men and women seated upon them. Notably, the elephants in these carvings lack tusks and instead exhibit grooves, suggesting the presence of actual ivory, which might have been inserted within these recesses. Speculation among cave experts suggests that the horses portrayed in the carvings were originally depicted without bridles, with the possibility of the actual bridles pinned on the sculptures during the era.

Although the wooden parasol, which once adorned the Hermika atop the stupa, is regrettably absent today, its design is still discernible. Scholars and experts have surmised that this architectural feature might have been complemented by semi-circular wooden ribs. Additionally, while Buddhist sculptures grace certain pillars, it is believed that vibrant paintings adorned the cave’s interiors in the past, adding a profusion of color to the sacred space.

Brown nosing of brown Sahibs:

Within the realm of historical accounts, senior Indologist S.A. Joglekar has relayed a noteworthy incident. According to his recollection, it is confirmed that these paintings were indeed in existence by 1861. Despite showing signs of wear and fading, their essence remained intact. However, when esteemed English Sahibs planned a visit to the Bedse Caves, the overzealous local authorities, driven by a desire to impress their superiors, went to great lengths. They chose to scrape off these valuable paintings and replace them with a layer of whitewashed lime. Their intent was to elicit praise from the esteemed officials for their meticulous cleaning efforts.

Alas, when the learned officers arrived with expectations of witnessing the anticipated paintings, they were met with disappointment. The once-vibrant artworks had been irreversibly destroyed. This turn of events left the officials disheartened, forcing them to retreat to their homes, their hopes dashed by the lamentable outcome of this act of misguided brown-nosing.

…and due to this unfortunate turn of events, a precious heritage of ancient Bharat was forever lost in the annals of history. The vibrant paintings that once adorned the Bedse Caves could have stood on par with the renowned Ajanta caves, captivating visitors with their artistry and cultural significance. However, as a result of the ill-conceived actions driven by brown-nosing, this magnificent treasure was robbed of its splendor and relegated to the dark cave of the past.

The echoes of those faded paintings serve as a poignant testament to the importance of safeguarding our historical treasures for future generations, reminding us of the irreplaceable beauty and knowledge that have been forever silenced within the confines of time. Let this be a lesson that transcends generations, urging us to value and protect our rich cultural heritage, ensuring that such a tragic fate does not befall other marvels that stand as testaments to our glorious past.

Bedse Vihara: Cave 11

It served as a residential area for Buddhist monks. It has cells or rooms carved into the rock walls, providing an insight into the living conditions of the monks during ancient times.

Few noteworthy Inscriptions on Bedse Caves:

Inscription 1: Consisting of two lines on the rock behind a Dagoba

य गोभूतिनं आरणकान पेण्डपातिकानं मारकुडवासीनं युपी…

वासिना भतासाळमितेन कारित…

Translation: The Thapo of Gobhiti, native of Marakada, an Aranaka (and) Pedapitika. Caused to be made by Asalamita Bhata, an inhabitant of…….”

Inscription 2: In the rock over a water cistern near the Chaitya

महाभोनालिका [हा देवि-…

य महारठिनिय सामदिनिकाय [दे प्रथम व्यपदेवणकरा वितिधिकाय-…

Translation: The religious gift of Mahabboya’s daughter (bdlik) Samadinika, the Maha- dévi (or princess) Maharathini’ and second wife of Apadêvanaka.””

Inscription 3: Over the door of a cell in the right end of the verandah of the Chaitya:-

नासिकान अनदस सेठिस पुतस पुसणकस दान-

Translation: A gift of Pusanaka, son of Anada Sethi, inhabitant of Nasik.”

How to reach Bedse Caves:

By Road: If you prefer to travel by road, you can drive to Bedse Caves or hire a taxi from nearby cities. The caves are situated approximately 55 kilometers from Pune and 100 kilometers from Mumbai. You can take the Mumbai-Pune Expressway and then the Old Mumbai-Pune Highway (NH4) to reach Kamshet. From Kamshet, follow the road towards Bedse Village and continue till you reach the base of the caves. Parking facilities may be available near the caves.

By Train: The nearest railway station to Bedse Caves is Lonavala Railway Station, which is located on the Mumbai-Pune route. Lonavala is well-connected to major cities in India by regular trains. From Lonavala, you can hire a taxi or take a local bus or auto-rickshaw to reach Bedse Caves. The distance between Lonavala Railway Station and Bedse Caves is around 20 kilometers, and the journey takes approximately 45 minutes.

By Air: The nearest airport to Bedse Caves is Pune International Airport, which is well-connected with major cities in India. From the airport, you can hire a taxi or take a pre-booked cab to reach Bedse Caves. The distance between the airport and Bedse Caves is approximately 65 kilometers, and the journey takes around 1.5 to 2 hours, depending on traffic conditions.

Grooves on Elephants for attaching real Ivories

References:

1. Archaeological Survey of Western India. (No X). Inscriptions from the Cave-Temples of Western India: Descriptive Notes, &c. JAS BURGESS, LL.D., M.R.A.S., F.R.G.S., Mem. de la Soc Asiatic Archeological Subnetor and Reporter to Government, & Bhagwanlal Indraji Pandit.

2. Fergusson, J., & Burgess, J. (n.d.). The Cave Temples of India. D.C.L, F.R.S., V.P.R.A.S., F.R.G.S., M.R.A.S., Membre de la Societe Asiatique, etc. Archaeological Surveyor and Reporter to Government, Western India.

3. महाराष्ट्र व गोवे शिलालेख – ताम्रपटांची वर्णनात्मक संदर्भ सूची. (1984). व्यवस्थापक, शासकीय मुद्रणालय व लेखनसामग्री भांडार, कोल्हापूर – ४१६ ००३ यांच्याद्वारे मुद्रित आणि संचालक, शासकीय मुद्रण, लेखनसामग्री व प्रकाशने महाराष्ट्र राज्य, मुंबई – ४०० ००४ यांच्याद्वारे प्रकाशित.

4. लेणी महाराष्ट्राची, प्र के घाणेकर, स्नेहल प्रकाशन, शनिवार पेठ, पुणे ४११०३०, सुधारित आवृत्ती २१ ऑगस्ट २०१६

Bhaja Caves

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7–9 minutes

Lonavala, between Mumbai and Pune, is a famous hill station flooding with tourists in all seasons. A small percentage of these tourists know the historical significance of this place, loaded with history that dates even well before the birth of Christ, for the village is home to several ancient forts and caves, underlining the rich heritage of India. One such place is Bhaja caves, located right in between the two forts of Lohagad and Visapur.

Bhaja Caves in a Nutshell

Total caves: 22

Historical Significance: Bhaja is located on the ancient trade route reaching the Arabian Sea from the Deccan plateau.

Noteworthy caves in Bhaje: Cave 12 Chaityagruha, Cave 18, and Cave 19.

Ancient Origins: Bhaja Caves are believed to have been carved out of the rock from the 2nd century BCE to the 2nd century CE, making them over 2,000 years old. They have witnessed the rise and fall of empires and the passage of time.

Buddhist Influence: The caves were initially used by Buddhist monks as a place of meditation and retreat. They served as viharas (monastic complexes) where monks could seek solace and engage in religious activities.

Rock-Cut Architecture: Bhaja Caves exemplify the excellence of rock-cut architecture prevalent during that era. The skilled craftsmen chiseled the hard rock to create intricate and elaborate cave structures.

Intriguing Chaitya Hall: One of the highlights of Bhaja Caves is the magnificent chaitya hall, Cave 12. This grand hall features a stunning horseshoe-shaped arch entrance and intricately carved stupas (hemispherical structures), symbolizing the presence of Buddha.

Unique Water Cisterns: The caves are known for their ingenious water management systems. They have intricate channels and cisterns carved into the rock to collect and store rainwater, providing a sustainable water supply for the monks.

Exquisite Carvings: Explore the cave walls adorned with mesmerizing sculptures and reliefs depicting various scenes from Buddhist mythology and daily life during that period. These carvings offer a glimpse into the artistic and cultural richness of the time.

Spectacular Views: Located on a hill in between Lohagad and Visapur forts, Bhaja Caves offers breathtaking views of the surrounding lush green valleys and the mesmerizing landscape. Take a moment to soak in the serenity and beauty of the surroundings.

Hiking Adventure: To reach Bhaja Caves, visitors can embark on an exciting hiking trail that winds through the scenic Sahyadri mountain range. The trek adds an adventurous element to the journey, making it a favorite among nature enthusiasts and adventure seekers.

UNESCO World Heritage Site: Bhaja Caves, along with other nearby cave complexes, have been recognized as a UNESCO World Heritage Site. This designation highlights their historical and cultural significance, elevating their importance on a global scale.

Cave 12: Chaityagruha of Bhaja Caves

One of the earliest and biggest Chaityaguha, carved during the 2nd BCE, contains an aspherical hall and Stupa. The most prominent feature is a ceiling vaulted with horseshoe-shaped giant wooden ribs that have remained intact for the last 2200 years. The front of the Chaityagruha was decorated with the facade but is now completely destroyed.

Cave 18: The assimilation of many Dagobas under the cave is a distinctive characteristic of the cave. Each Dagoba has been donated by an individual person, and many of these Dagobas have inscriptions at their bottom.

Cave 19: Vihara with Carvings beside the entry door

This cave is located just beside a picturesque waterfall that is also known as Surya Gumpha. You will see two beautiful story panels on the right door of this cave. On the left, you will see an individual riding a chariot with two women beside him. He is stampeding this chariot on some demonic figure. On the right, you will see an elephant rider, with various smaller figures performing various activities. Few historians believe that these carvings are Surya and Indra, while few believe that they represent the demon Shakra riding a chariot and Mara on an elephant.

The noteworthy thing about the sculpture is a woman figure playing the musical instrument Tabla (drums). It is believed that these instruments were brought to India by the Arab invaders. But this theory created by the leftist-Marxist historians is erased with this ancient evidence, carved 800 years well before the emergence of Islam.

Important Inscriptions in Bhaja Caves

Vihar No 6: This Vihara has been carved from a donation by Bodhi, a wife of a farmer.

Water reservoir in between Shailagruha 16 and 17: The virtuous donation of a water basin by the son of Kodrasaki, Maharathi Vinhudatta.

Vihar no 22: This Vihara has been carved with the donation given by Naath Nadasav from Bhogavati.

Bellow the Dagoba from Shailagruha 5: This Stupa belongs to the respected Sthavir Sanghadina.

Bellow Third Dagoba: This Stupa belongs to the respected Sthavir Ampikinak.

Bellow, the largest Dagoba of Shailagruha: This Stupa belongs to respected Sthavir Dhamagiri.

How to reach Bhaja caves:

By Air: If you’re arriving by air, you can book a flight to Pune Airport, also known as Lohegaon Airport. From there, you can proceed to Bhaja Caves by road.

By Train: Pune is well-connected by train to major cities in India. You can take a train to Pune Junction Railway Station. From the railway station, you have several options to reach Bhaja Caves. You can take a local train from Pune to Lonavala and alight at Malavali station. Bhaja Caves is about 2.5 KMs from the Malavali station.

By Road: From Pune, you can hire a taxi or take a bus to reach Bhaja Caves. The distance between Pune and Bhaja Caves is approximately 60 kilometers, and the journey takes around 2 hours, depending on traffic conditions. If you’re driving yourself, you can take the Mumbai-Pune Expressway from Pune and exit at the Lonavala/Khandala exit. From there, follow the road signs to Bhaja Caves. The caves are situated about 12 kilometers from Lonavala, right in between the legendary Lohagad and Visapur forts.

Resting Rooms for the Buddhist Monks, Bhaja

References:

Karla Caves

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10–13 minutes

India, that is Bharat, is enriched with thousands of years of rich heritage and culture. With their indomitable spirit, our ancestors crafted awe-inspiring marvels that have stood the test of time, their creations resonating with the echoes of their blood, sweat, and tears. These majestic monuments and sites carry the weight of history, a testament to human ingenuity and devotion.

However, let us pause and reflect: What have we, as custodians of this precious legacy, done to honor and safeguard these treasures? Regrettably, during weekends, swarms of overcrowded masses converge upon these once tranquil historical sites, transforming them into mere meeting spots, selfie havens, and corners strewn with discarded food wrappers. Or worst, we turn them into a religious places, gathering more crowds, pushing each other, and disturbing the peace and sanctity of the place. One such place is Karla Caves.

Karla caves in a Nutshell

Ancient Rock-Cut Caves: Karla Caves is an ancient rock-cut cave complex near Lonavala, Maharashtra, India. They date back to the 2nd century BCE and 5th century CE, making them around 2,000 years old.

Buddhist Heritage: The caves hold immense significance in Buddhist history and culture. They were used as Buddhist monastic complexes, providing shelter, meditation halls, and spaces for religious activities.

Architectural Marvel: Karla Caves showcase remarkable rock-cut architecture. Skilled craftsmen carved the caves from a single rock hillside, creating intricate details, sculptures, and ornate pillars.

Great Chaitya Hall: The highlight of Karla Caves is the Great Chaitya Hall, one of India’s largest rock-cut Chaitya halls. It features a magnificent facade with a towering horseshoe-shaped entrance and intricate carvings.

Stupendous Stupas: The caves are adorned with beautifully carved stupas (hemispherical structures) representing the presence of Buddha. These stupas are intricately designed and create a serene ambiance.

Ornate Carvings: Explore the walls of Karla Caves, adorned with exquisite carvings depicting various scenes from Buddhist mythology and symbols of the Buddhist faith. The attention to detail is awe-inspiring.

Intriguing Pillars: The caves boast intricately carved pillars that add to the grandeur of the architecture. These pillars showcase unique motifs and architectural styles of the time.

Scenic Location: Karla Caves are amidst picturesque surroundings, offering stunning views of the Sahyadri mountain range and the lush green valleys below. The natural beauty of the location enhances the overall experience.

Trekking Destination: Accessible via a picturesque trek, Karla Caves attract adventure enthusiasts and nature lovers. The trekking route offers captivating views and an opportunity to connect with nature.

Ekvira Devi Temple: Nestled right in front of the Karla Caves, the Ekvira Devi Temple is a Hindu pilgrimage site revered for its connection to the goddess Ekvira, an incarnation of Durga. Perched atop a hill, the temple beckons travelers to ascend its stairway to divine tranquility. Within the temple complex, visitors discover the main shrine, housing a revered miraculous statue of Ekvira, along with smaller shrines dedicated to other Hindu deities.

Open to all, the temple welcomes both devotees and curious travelers seeking the blessings of the goddess. The atmosphere comes alive during the vibrant festivals of Navratri and Chaitra Navratra, when a multitude of pilgrims flock to pay homage to Ekvira.

Sinha Stambha or Lion pillar of Karla Caves:

Having a close resemblance to the famous Ashoka pillar, Karla caves has one almost intact Sinha Sthambha, with four full lions depicted on the top. Carved from the single basalt rock of Sahyadri, this 13.5-meter tall pillar has stood tall for over two thousand years, fighting the natural and human elements. It is standing over a circular base with a hexagonal pillar shape, squared Harmika, and four back-to-back lions roaring. According to a few indologists, there might have been a metal Dhammachakra fitted at the center of these lions during ancient times. Who has carved this pillar? You will find answers in the notable inscription section.

ChaityaGruha of Karla caves: Cave 8

Greatest Chaitya Gruha in The world, Karla Caves

The main cave is known as the Great Chaitya Cave or Cave No.8. It has an extensive and beautifully carved prayer hall called a chaitya. The Chaitya is very old and was made around 120 CE. It is the biggest rock-cut Chaitya in India and is 45 meters (148 ft) long and can be as tall as 14 meters (46 ft).

The entrance has three doorways below a balcony. They match the design of our rood-loft. One doorway leads to the center, while the other two lead to the side aisles. Above the balcony, the entire end of the hall is open, like in other Chaitya halls. This creates a large window that lets in all the light. The window above the partition is shaped like a horseshoe and looks similar to the decorative ones on the front of this cave and other caves like Bhaja, Bedsa, and Kondane. These horseshoe shapes are common during this time period. Inside the arch, there is a wooden framework that stands independently.

Fifteen pillars on each side separate the central part of the hall from the side areas surrounding the main Dagoba. Each pillar has a tall base, a shaft with eight sides, and a beautifully decorated top. On the top of each pillar are two elephants, and they carry two figures, usually a man and a woman. Sometimes, there are two female figures instead. These decorations are of higher quality than what is traditionally seen. The seven pillars behind the altar are plain and have eight sides but don’t have a base or a decorated top. The four pillars under the entrance balcony look different from the ones on the sides.

Above all of this is the roof, which has a curved shape, like a semi-circle, but it is slightly raised at the sides to make it taller than its half-diameter. Even today, the roof is adorned with wooden ribs to add decoration.

Noteworthy Inscriptions:

Inscription 1:
On the left end of the verandah of the great Chaitya-cave, on a deep flat molding over the heads of three giant elephants:-
वेजयांतिता सेठीणा भूतपालेना सेलघरं परिनिठापितं जबुदीपम्हि उत्तम।
Translation: Seth Bhútapala, from Vejayanti, has established a rock mansion, the most excellent in Jambudvipn.

Inscription 2:
On the lion-pillar, or sinhastambha, on the left of the entrance:-
महारठिस गोतिपुत्रस अगिमित्रणकस सिहयभी दानं |
Translation: From Agimitrapaks, son of Goti, a great warrior, the gift of a lion-pillar.

Inscription 3:
On the right end of the verandah below the feet of the elephants:-
थेरान भयं तइददेवस हथी च पुवा दो हथिनं च उपरिमा हेथिमा च वेयिकादानं।
Translation: The gift of, first, two elephants, and above and below the elephants, a (rail-pattern) molding, by the venerable reverend (Bhadanta) Indadeva.

Inscription 4:
Over the right-hand side door into the Chaitya –
धेनुकाकटा गंधिकस सिहदतस दानं घरमुघ
Translation: The gift of a door by Sihadata, a perfumer, from Dhenukakata.

Inscription 5:
On the upper frieze to the right of the central door of the Chaitya and outside:-
[1] सिघं रखो वहरातस खतपस नहपानस जाप्रातरा दिनिकपुतेन उसभदावेनात्रे-
[2] गोसत सहसदेण नदिया बणास सुवर्णा[तिरथकरेण दिवाण ब्रह्मणाने च सोळस गा
[3] मदन] पभासे पूततिथे ब्रह्मणाणं अठभायापदेण]गावसापि त्रिसत सहसं [4] दापयेता बलरके लेणवासान पवजितान चातुसिसचस
[5] पापणथ गामी करजिको दतो सवानं[म]सावासितानं
Translation: To the Perfect. Usabhadata, son of Dinika and son-in-law of King Kha- Karata Khatapa Nahapana, the giver of 300,000 cows-having given gold, and being a visitor to the Fartha at the Bansa river; the giver of sixteen villages to gods and Brahmans; at the holy place Pabliksa the giver of eight wives to Brahmans; and who caused 300,000 cows to be given; and who at Valuraka gave the village of Karajaka to the sangha of ascetics from the four quarters residing in the Lena, all dwelling there for the support during the rainy season.

How to reach Karla Caves?

By Road: Karla Caves are located near Lonavala, which is well-connected by road. If you are coming from Mumbai, you can take the Mumbai-Pune Expressway or the Mumbai-Pune Highway and then proceed towards Lonavala. Once you reach Lonavala, you can hire a taxi, take a local bus, or use other local transportation options to get to Karla Caves, approximately 10 kilometers away.

By Rail: Lonavala has its own railway station, and it is well-connected to major cities like Mumbai and Pune. You can board a train from Mumbai or Pune to reach Lonavala. You can hire a taxi from the Lonavala railway station or take a local bus to reach Karla Caves.

By Air: The nearest airport to Karla Caves is Pune International Airport. If you are traveling from within India or internationally, you can book a flight to Pune. From Pune Airport, you can hire a taxi or take a pre-paid taxi service to reach Karla Caves, which is approximately 60 kilometers away.

Buddha in Pralamba Padasana, Karla Entrance

Avalokiteshwara and Tara — Pillars, Karla Cave

Left Side Panels, With Buddha riding the Elephants, Karla

Devi Ekvira Temple, Right in front of the Karla Cave

Musicians in Karla Caves, The people of India photos 1860-1875 Bombay

References:

Draupadi Abduction and Jayadratha’s Insult

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11–14 minutes

Pandavas cutting Jayadratha's Hair — Pandavas cutting Jayadratha’s Hair

This exquisite panel can be found adorning the walls of the legendary Hoysaleshwara temple, located in the picturesque village of Halebidu in Karnataka, India. Here, you will be captivated by the presence of four individuals, each wielding a sword. Positioned beneath them, humbly on his knees, is a solitary figure. Of particular note is the warrior standing on the far right, who is seen delicately pulling a single strand of hair from the kneeling individual and severing it. For those familiar with the epic Mahabharata, it becomes evident that the central figure is Jayadratha, while the four figures surrounding him are none other than the valiant Pandava brothers. This sculpture offers a captivating portrayal from various angles, piquing curiosity and inviting further exploration, as discussed in the accompanying blog below.

Jayadratha, passing through Kamyak Vana

While on his way to the Shalva kingdom with his army to enter into matrimony, Jayadratha, the King of Sindhu, found himself journeying through the thick forests of Kamyakvana. It was during this passage that his gaze fell upon her—a lone figure standing at the entrance of an ashrama. Consumed by an overpowering desire, Jayadratha dispatched his friend King Kotikasya to approach the ashrama and gather more information about the alluring beauty who stood there, lost in solitude. And when Kotikasya, in all humility, made his inquiry, the beauty responded with her words;

अपत्यमस्मि द्रुपदस्य राज्ञः कृष्णेति मां शैब्य विदुर्मनुष्याः ।
साहं वृणे पञ्च जनान् पतित्वेये खाण्डवप्रस्थगताः श्रुतास्ते ।।
‘Prince of Shibi country! I am the daughter of King Drupada. people know me by the name of Krishna. I have chosen the five Pandavas as my husband, who used to live in Khandav-prastha. You must have heard their names.

युधिष्ठिरो भीमसेनार्जुनौ च माद्रयाश्च पुत्रौ पुरुषप्रवीरी ।
मां निवेश्येह दिशश्चतस्रो विभज्य पार्था मृगयां प्रयाताः ।।
Yudhishthira, Bhimsen, Arjuna, and Great worriers Madriputra – these are my husbands. Keeping me here, all of them have divided themselves and gone in all four directions to kill the violent animals.

Upon receiving this insight, King Kotikasya returned and proposed to his friend Jayadratha that he should meet and greet Draupadi before continuing their journey. Though harboring a malicious intent, Jayadratha reluctantly agreed to his friend’s seemingly innocent suggestion. As Draupadi busied herself with the task of gathering food and water for their guest, unaware of the impending danger, Jayadratha seized the opportunity and stealthily entered the hut where she was alone.

Jayadratha, driven by his desire and arrogance, presented his heart and the entire Kingdom of Sindhu to Draupadi, urging her to abandon the Pandavas and their arduous life in the forest. However, being the epitome of virtue, Draupadi firmly rejected his indecent proposal. She warned the lustful King about the dire consequences that would befall him if the Pandavas were to discover his inappropriate behavior. She reminded him of the formidable Gandiva bow wielded by Arjuna, the lethal strength of Bhima’s mace, and the righteous wrath of Nakula and Sahadeva. Yet, Jayadratha disregarded these rightful warnings, reducing women to mere objects of desire and precious gemstones.

Jayadratha abducting Draupadi

प्रगृह्यमाणा तु महाजवेन मुहुर्विनिःश्वस्य च राजपुत्री ।
सा कृष्यमाणा रथमारुरोह धौम्यस्य पादावभिवाद्य कृष्णा ।।
Then quickly moving forward, Jayadratha grabbed Princes Draupadi and forced her to sit in his chariot, while she was prostrating at Dhaumya Rishi who has arrived there…

In the dense forest, Pandavas encountered pretty terrible omens while hunting. Quickle, they regrouped and retreated to the Ashrama to realize what had happened. And, the chase began. Following the tracks, noise and the dust spreading in the air due to the army of Jayadratha, Pandavas soon reached near to that army, and just like in between Rakshasaj and Vanaraj, the battle began in between Jayadratha and the Pandavas. Soon, Yudhishthir killed the King of Trigarta, while Bhima slayed the King Kotikasya, the friend of Jayadratha.

Jayadratha fleeing the battle

हतेषु तेषु वीरेषु सिन्धुराजो जयद्रथः । विमुच्य कृष्णां संत्रस्तः पलायनपरोऽभवत् ।।
स तस्मिन् संकुले सैन्ये द्रौपदीमवतार्य ताम् । प्राणप्रेप्सुरुपाधावद् वनं येन नराधमः ।।
Sindhuraj Jayadratha trembled with fear at the death of those heroes and thought of running away leaving Draupadi there. Taking Draupadi off the chariot in the midst of that scattered army, evil Jayadratha sprinted towards the forest to save his life.

Yudhishthira carefully received Draupadi. Seeing distressed Draupadi, furious Bhima requested his elder brother to take Her safely to the Ashrama and proclaimed that he shall not let Jayadratha live see the next day.

Draupadi’s advise to slay Jayadratha

न हन्तव्यो महाबाहो दुरात्मापि स सैन्धवः। दुःशलामभिसंस्मृत्य गान्धारी च यशस्विनीम् ।।
Yudhishthir said to Bhim- Oh Great one! Sindhuraj Jayadrath, though very wicked; should be spared, considering sister Dussala and Yashaswini mother Gandhari. (Jayadratha was married to Dusshala, the only sister of Kuru clan, and only daughter of Queen Gandhari).

तच्छ्रुत्वा द्रौपदी भीममुवाच व्याकुलेन्द्रिया । कुपिता हीमती प्राज्ञा पती भीमार्जुनावुभौ ॥
कर्तव्यं चेत् प्रियं मह्यं वध्यः स पुरुषाधमः । सैन्धवापसदः पापो दुर्मतिः कुलपांसनः ॥
Upon hearing Yudhishthira’s words, Draupadi’s composure shattered, and a surge of emotions overwhelmed her being. Despite her innate brilliance and unwavering boundaries, anger gripped her, and she directed her fury towards both Bhima and Arjuna, exclaiming, “If you truly love me, then you must slay that wretch! Jayadratha, the sinful and foolish man, is a stain and disgrace to the land of Sindhudesh. A man who dares to abduct another’s wife and seize a kingdom should not be allowed to live, even if he begs for mercy on the battlefield.”

As Jayadratha attempted to flee the scene, witnessing his cowardice, Arjuna summoned a divine weapon and skillfully targeted Jayadratha’s horses from an almost impossible distance. Fear-stricken, Jayadratha sought refuge amidst the dense forest, hoping to vanish from sight. However, the unstoppable force that was Bhima, with astonishing swiftness, caught hold of him by his hair, unleashing a relentless assault, intending to end his life.

Seeing this and remembering the order of the elder brother, Arjuna stopped Bhima from killing that wicked Yayadratha. Disappointed bBhima showed his dissatisfaction towards this decision, however,

एवमुक्त्वा सटास्तस्य पञ्च चक्रे वृकोदरः । अर्धचन्द्रेण बाणेन किंचिदब्रुवतस्तदा ।।
Uttering these words, Bhima swiftly employed a crescent-shaped arrow to shear Jayadratha’s flowing locks, carefully dividing them into five distinct braids. Overwhelmed with fear, Jayadratha trembled uncontrollably, unable to utter a single word in response to Bhima’s actions.

Following this, Bhima insulted Sindhuraj with biting words, saying, “You fool! If you wish to spare your life, heed my words and comply. Henceforth, attend the assemblies and gatherings of kings and openly declare yourself as the slave of Maharaja Yudhishthira. If you agree to this condition, I shall spare your life. This is the law for the defeated, as decreed by the victorious in warfare.” As Bhima spoke, he forcefully dragged Jayadratha along the ground.

Realizing the gravity of the situation, Jayadratha accepted the terms and conveyed his submission to the valiant Bhima, who had distinguished himself in battle. Binding him securely, Bhima hauled Jayadratha onto his chariot and brought him back to the ashrama, where he deposited him before Draupadi. Satisfied with the outcome, righteous Draupadi…

द्रौपदी चाब्रवीद् भीममभिप्रेक्ष्य युधितिरम् । दासोऽयं मुच्यतां राज्ञस्त्वया पञ्चसटः कृतः ।।
During this moment, Draupadi turned her gaze towards Yudhishthira and addressed Bhima, saying, “You have shaved his head and adorned it with five braids, making him a servant of the Maharaja. Therefore, release him now.”

Jayadratha was subsequently freed from his bonds. Overwhelmed by the turn of events, he approached King Yudhishthira, paying his respects before the assembled sages and humbly bowing his head at their feet. Arjuna, displaying his magnanimity, extended his hand to Jayadratha in a gesture of goodwill. King Dharmaputra Yudhishthira, renowned for his mercy, fixed his gaze upon Jayadratha and uttered, “Oh! You desired another man’s wife; how disgraceful! You are truly despicable, as are those who supported your heinous intentions. Who else but a coward like you would commit such an act against righteousness? Your deeds have brought condemnation upon you throughout the world. Sindhuraj, you are no longer a slave. Go now; you are released, and never repeat such actions again.”

With his head bowed in utmost shame, Sindhuraj Jayadratha departed, his head held low upon his shoulders. He retreated to the mountains, seeking a boon from Lord Mahadev himself to acquire the power to defeat the Pandavas. However, that tale shall be recounted on another occasion.

What can we learn from this whole incident involving Jayadratha, Pandavas and Draupadi?

The story emphasizes the significance of maintaining moral values and virtuous conduct in the face of temptation. Draupadi’s steadfastness in rejecting Jayadratha’s proposal showcases the importance of upholding righteousness even in challenging situations.

The story illustrates how one’s actions, driven by lust and desire, can lead to severe consequences. Jayadratha’s pursuit of Draupadi ultimately leads to his defeat, humiliation, and shame, highlighting the karmic repercussions of unethical behavior.

The story emphasizes the strength of character displayed by the Pandavas, who stand up against injustice and protect Draupadi. Their loyalty, courage, and adherence to dharma serve as spiritual inspirations, highlighting the importance of virtuous conduct.

Arjuna’s use of a celestial weapon and Bhima’s physical prowess demonstrate the presence of divine assistance in the face of challenges. The story suggests that the divine supports those who uphold righteousness and protect the righteous.

The story also offers the possibility of redemption and transformation. While Jayadratha faces the consequences of his immoral actions, he is given a chance to reflect, reform, and learn from his mistakes. This reflects the spiritual principle of personal growth and the potential for inner transformation. Jayadratha’s subsequent journey to seek divine assistance against the Pandavas hints at his desperation and determination for revenge, setting the stage for future events.

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

Yudhishthira Jayadratha War, Gupta Period, Sixth Century, Ahhichhatra, UP, Bharat

Reference:

Mahabharat (Volume 2), In Hindi, Translated by Pundit RamNarayanDatta Shastri Pandeya, By Gita Press Gorakhpur.

Echoes of Ellora: A Journey Through Time

Adwait Karajagi

15–19 minutes

The concept of the blog, ” Echoes of Ellora: A Journey Through Time,” revolves around the idea of capturing the transformation and evolution of Ellora Caves over time through a visual narrative. By combining before and after photographs, the blog aims to showcase the changes that have occurred at Ellora, providing readers with a unique perspective on the historical and architectural heritage of the site.

The purpose of the blog is multifold. Firstly, it aims to bridge the gap between the past and the present by juxtaposing early photographs and paintings of Ellora Caves from the 19th century with contemporary photographs taken from the same angles. This allows readers to witness the changes and developments that have taken place at Ellora over the years, offering a visual testament to the passage of time.

Secondly, the blog serves as a valuable documentation of Ellora’s architectural heritage and cultural significance. By presenting the photographs side by side, readers can observe the intricate details, artistic craftsmanship, and architectural styles of the caves, both then and now. This documentation highlights the importance of preserving and protecting Ellora’s unique cultural heritage for future generations.

Moreover, this seeks to evoke a sense of wonder, appreciation, and curiosity about Ellora Caves. By showcasing the beauty and magnificence of the caves through visually compelling images, readers are encouraged to explore the site further and deepen their understanding of its historical, religious, and artistic aspects.

Overall, ” Echoes of Ellora: A Journey Through Time” aims to be an engaging and informative visual experience, enabling readers to appreciate the timeless legacy of Ellora Caves, understand its transformation over time, and inspire a deeper connection with this remarkable UNESCO World Heritage Site.

Verul, that is Ellora

In 6^th century, ancient sculptors gathered at one place and challenged each other, saying, “Let’s see who can create the most jaw-dropping masterpiece!” The result? A mind-boggling display of creativity and talent we know today as Ellora.

Nestled in the heart of India, this architectural marvel boasts a rich heritage that spans centuries. From a cultural perspective, Ellora Caves epitomizes the diverse tapestry of Indian culture. Its creation began in the 6th century CE, and over the course of several centuries, it became a melting pot where Buddhism, Hinduism, and Jainism coexisted in harmony. Each cave represents a unique artistic expression of these religious traditions, creating a vibrant mosaic of spiritual diversity.

Historically, Ellora Caves provide a window into the past, offering insights into the socio-religious dynamics of ancient India. They reflect the cultural exchange, interactions, and artistic influences between different religious communities. It’s like a time machine that takes you back to witness the mingling of ideas and the formation of a diverse cultural mosaic.

These caves showcase the intellectual and artistic brilliance that thrived in India during its heyday. They are a testament to the advanced engineering techniques, mathematical precision, and scientific knowledge possessed by our ancestors. It’s like saying, “Hey world, look at what we were capable of!”

Exploring the Ellora Caves becomes a patriotic adventure, akin to rediscovering the roots of Indian civilization. As visitors step foot into each cave, they are transported back in time to an era when India flourished as a center of knowledge, spirituality, and artistic expression. It’s a chance to connect with our ancient heritage and bask in the glory of our cultural achievements.

Additionally, visiting Ellora Caves serves as a reminder of the unity and coexistence of diverse religious traditions in ancient India. The cohabitation of Hindu, Buddhist, and Jain caves within the same complex reflects the spirit of inclusivity and religious harmony that India has historically embraced. It’s like waving a flag of tolerance and unity, proclaiming, “Look how diverse we are, yet we stand together!”

Prologue: Ellora Through Time

In the ancient annals of India, amidst the echoes of history and the symphony of cultural diversity, lies the magnificent treasure trove known as the Ellora Caves. These caves, hewn into the solid rocks of the Sahyadri Hills, emerged like a phoenix from the ashes of time, embodying the architectural brilliance and national pride of ancient India.

The early caves at Ellora, representing the Buddhist tradition, exhibit a serene beauty that can soothe even the grumpiest of historians. Then, like a multi-cultural party, the Hindu and Jain caves joined the celebration, bringing their own unique flavors to the architectural fiesta.

As the centuries rolled by, Ellora witnessed the rise and fall of empires, each leaving its mark on the caves like a badge of honor. The Satvahanas, the Rashtrakutas, and the Yadavas all contributed to the splendor of Ellora, competing to build the grandest cave and prove their supremacy in the ancient equivalent of an architectural bake-off.

But wait, there’s more! Ellora’s fame didn’t end with the fall of empires. It continued to captivate the hearts of explorers, scholars, and tourists, becoming a symbol of India’s rich heritage. Its intricate carvings, secret chambers, and hidden passageways kept archaeologists on their toes, much like a real-life Indiana Jones adventure, minus the snakes (we hope).

Today, Ellora Caves proudly stands as a national treasure, a testament to India’s glorious past and a beacon of artistic and cultural brilliance. It’s like a shining star on India’s historical resume, showcasing our ingenuity, craftsmanship, and the ability to turn rocks into jaw-dropping works of art. So, dear history enthusiasts and adventure seekers, put on your explorer hats, grab your cameras, and get ready to immerse yourselves in the wonderland of Ellora. Explore its caves, unravel its mysteries, and remember, no matter how serious history may seem, there’s always room for a little laughter along the way.

Now: Buddha in Pralamba-Padasana, Sutar Lene, Ellora

Now: Cave 16 Entrance, Kailasa Cave, Ellora

Now: Ramayana, on the south Wall of Kailasa Cave, Ellora

Now: Mahishasura Mardini, Kailasa Cave, Ellora

Shiva-Parvati Dice Game, Cave 21 Rameshwar Lene, Ellora — Now: Cave 21 Rameshwar Lene, Ellora

Ganga, Cave 21 Rameshwar Lene, Ellora — Now: Cave 21 Rameshwar Lene, Ellora

Now: Cave 29 Dhumar Lene/Sita Ki Nhani, Ellora

Photographers and Artists:

As we delve into the captivating visual journey of ” Echoes of Ellora: A Journey Through Time,” it is essential to understand the historical context and the remarkable individuals behind the lens who captured the early photographs and paintings of Ellora Caves. These pioneering photographers and artists played a crucial role in documenting and preserving the timeless beauty of this ancient marvel.

In this era of exploration, a few intrepid photographers and artists set out on their own odyssey to capture the essence of Ellora Caves through their lenses and brushes. They faced arduous journeys, battled harsh climatic conditions, and endured the limitations of early photographic equipment, all in the pursuit of preserving the grandeur of Ellora for future generations. Few notable legends are given bellow.

Photographers:
Lala Deen Dayal
Lala Deen Dayal was a visionary trailblazer who defied convention, not only by excelling in the field of photography but also by paving the way for engineers to pursue photography as a remarkable career choice. He began his artistic journey around 1864. He captured the Governor General’s tour in 1865 and later joined government service. His notable works include photographing the Prince and Princess of Wales’ tour in 1875-1876 and exploring ancient architecture with Sir Lepel Griffin in the early 1880s. In 1885, he became the Viceroy’s official photographer and retired in 1886 to establish “Raja Deen Dayal & Sons” in Hyderabad, where he was honored as “raja.” Dayal’s legacy lies in his captivating photographs that reveal India’s architectural wonders.

Henry Cousens
Henry Cousens, a Scottish archaeologist, dedicated two decades to exploring ancient sites in British India. Joining the Archeological Survey of India in 1881, he rose to become Superintendent until his retirement in 1910. Despite challenges, he fearlessly surveyed ruins, caves, temples, and diverse architectural marvels, leaving an enduring legacy of exploration. His work uncovered a treasure trove of knowledge about Buddhist, Hindu, Jaina, Islamic, and medieval heritage in Western India and Southern Pakistan. Cousens’ passion and dedication left an indelible mark on history.

William Lee Warner
Henry Cousens, a Scottish archaeologist, dedicated two decades to exploring ancient sites in British India. Joining the Archeological Survey of India in 1881, he rose to become Superintendent until his retirement in 1910. Despite challenges, he fearlessly surveyed ruins, caves, temples, and diverse architectural marvels, leaving an enduring legacy of exploration. His work uncovered a treasure trove of knowledge about Buddhist, Hindu, Jaina, Islamic, and medieval heritage in Western India and Southern Pakistan. Cousens’ passion and dedication left an indelible mark on history.

Robert Gill
Major Robert Gill (1804–1879), a valiant army officer and intrepid explorer of British India, possessed a multifaceted talent as an antiquarian, painter, and photographer. However, it is his extraordinary skill as a painter that immortalizes his name in the annals of history. With unwavering determination, Gill embarked on a daring quest to capture the essence of the mesmerizing frescoes adorning the mystical Ajanta Caves. As the first artist to undertake such a feat since their rediscovery in 1819, he meticulously reproduced the intricate Buddhist cave paintings, harkening back to their glorious origins in the 5th century CE.

Elisee Reclus
Jacques Élisée Reclus, the French geographer, was a rebel with a passion for geography. Despite being banished from France due to his political activism, he dedicated 20 years to writing a massive 19-volume work on universal geography. His brilliance couldn’t be denied, as he received the prestigious Gold Medal of the Paris Geographical Society while still in exile. This anarchist communist also dabbled in anti-marriage and nudist movements, making him a truly eccentric character in the world of geography.

Painters:
James Wales
Wales, the portrait artist from Peterhead, Scotland, ventured to London where his work gained recognition by prestigious institutions. In 1791, he set sail for India, painting portraits of notable figures and capturing the beauty of the Elephanta and Ellora Caves. His depictions of the latter were published in a book, while his daughter followed his artistic path and married Sir Charles Malet, 1st Baronet, a distinguished man he met in India. Wales’ artistic journey took him from selling portraits to leaving his artistic mark across continents.

Burgess, James
James Howard Burgess, a talented British artist, excelled as a painter, draughtsman, printmaker, and lithographer. Born in 1817 and passing away in 1890 in Belfast, he left behind a legacy of exceptional artwork. With his skills in illustration and mastery of various mediums, Burgess made a significant impact in the art world during his lifetime.

Daniell, Thomas
Thomas Daniell, the English landscape painter and Orientalist, embarked on a remarkable artistic journey to India accompanied by his nephew, William. With a keen eye for capturing the essence of the country, Daniell spent seven years immersed in its vibrant culture. He not only painted landscapes and floral pieces but also published a series of aquatints depicting India’s mesmerizing scenes. Despite struggling to establish himself as a landscape painter in Britain, Daniell was lured to India by tales of wealth and fame. In 1784, he obtained permission from the East India Company to travel to Calcutta, where he worked as an engraver, while William served as his assistant, creating a dynamic artistic duo.

Grindlay
Captain Robert Melville Grindlay was not only a soldier and banker but also a passionate creator during the late 18th and early 19th centuries. Hailing from London, England, he ventured to the Indian subcontinent as an agent for the East India Company, serving in the Bombay Army. Throughout his time there, Grindlay diligently captured the essence of the region through numerous sketches and drawings, building an extensive collection. Upon his return to England, he not only established the renowned multinational commercial firm Grindlays Bank but also initiated various philanthropic endeavors, showcasing his dedication to both art and societal betterment.

Gangaram Tambat
Gangaram Tamba was a Maratha artist from late 18th century western India was known for his freehand drawings. These drawings, which include a self-portrait, landscapes and animal studies, were part of an album created around 1790-95 for Charles Warre Malet, a member of the Bombay Civil Service. Malet mentioned that Gangaram would accompany James Wales, a renowned artist, to Ellora to assist with temple drawings. Thomas Daniell, who engraved Wales’ drawings, possibly depicted Gangaram in one of the plates. Gangaram’s artistic talents went beyond drawings, as he created models of animals, some of which appeared on the market later on. One notable model was a lion, faithfully capturing its mangy appearance and even including a halter around its neck. While some animals belonged to Malet’s menagerie, Gangaram also drew animals owned by the Peshwa in the zoo, currently known as the Peshwe Park. Malet attributed some of the models to Gangaram through labels he added.

Conclusion: A Timeless Legacy

Echoes of Ellora: A Journey Through Time” takes readers on a captivating visual expedition, comparing before and after photographs of Ellora Caves. The journey through time reveals the transformation and evolution of this architectural marvel, providing profound insights into its historical and cultural significance.

By juxtaposing early photographs and paintings with contemporary images, readers witness the changes that have occurred at Ellora over the centuries. The visual narrative showcases the intricate details, artistic craftsmanship, and architectural styles of the caves, offering a unique perspective on its timeless heritage.

The blog highlights the enduring legacy of Ellora Caves as a remarkable UNESCO World Heritage Site. It emphasizes the importance of preserving and protecting its cultural heritage for future generations. Through the documentation of Ellora’s architectural brilliance and its coexistence of different religious traditions, readers gain a deeper appreciation for the site’s historical and cultural value.

While the artwork done by the artists in the past presents a mesmerizing portrayal of Ellora’s beauty, it ultimately encourages readers to experience it firsthand. The vivid imagery and captivating descriptions inspire readers to visit Ellora, inviting them to immerse themselves in the magnificence of the caves, explore their hidden wonders, and personally connect with India’s rich cultural legacy.

“Echoes of Ellora: A Journey Through Time” is an invitation to embark on a transformative adventure, where the past and present merge, and the legacy of Ellora Caves unfolds before one’s eyes. It serves as a reminder of the profound beauty and historical significance that await those who venture to this extraordinary site, encouraging readers to embark on their own personal journey of discovery and appreciation.

References:

British Library

Gondeshwar Temple, Sinnar - Drifter Adwait

Adwait Karajagi

11–13 minutes

Photograph of the rear of the main shrine and shikara of the Gondeshvara Temple, Sinnar taken by Henry Cousens in the 1880s or 1890s

Welcome to Nasik, an ancient pilgrimage city nestled along the sacred banks of the Godavari River. For centuries, Nasik has drawn pilgrims seeking divine solace and spiritual fulfillment. The city is adorned with a plethora of captivating sights, such as the grand Kumbh Mela, the world’s largest religious gathering, and the ethereal Tryambakeshwar Temple, a magnificent tribute to Lord Shiva. While countless tourists flock to Nasik in search of these spiritual experiences, only a handful are aware of the hidden gem just 35 kilometers away. Today, we embark on a journey to Gondeshwar Temple, a 12th-century marvel renowned for its breathtaking architecture, intricate carvings, and awe-inspiring views. So, let’s set forth on this enchanting adventure and explore the wonders that await us.

Sinnar History

East entrance Gondeshwar — East entrance, Gondeshwar

Since the dawn of time, Doab, or the fertile land in between two rivers, has been a flourishing location for ancient civilization. Sinnar, geographically located right in between the rivers Pravara and Godavari, was no exception for it. Even though Name Nasik appears during the regime of Ashoka, the name Sinnar appears first in a copper-plate grant of 1069 A. D. It states that Rav Singuni or Seunachandra established a city called Seunpur or Sindiner, today known as Sinnar. The reign of the Yadava dynasty declined after the conquest of the Daulatabad Fort by Alauddin Khilji in 1294. After that, this ancient city went under the invaders…

Gondeshwar temple History

The Gondeshwar temple has an interesting history. It was constructed by Prince Rav Govinda, who belonged to the Gavali community. He was the son of the founder of Sinnar. The temple cost around Rs. 2,00,000 to build. Some people believe that the temple was actually built by Govindaraja, a Yadava king who ruled in the early 12th century.

Regardless of who built it, the Gondeshwar temple is the largest, most complete, and well-preserved example of a medieval temple in the Deccan region. It follows a style called Bhumija, which was popular during that time.

Note: Many people claim Gondeshwar temple to be A Hemadpanti temple. However, it’s important to note that there is no specific architectural style called Hemadpanti. In Maharashtra, people often refer to any medieval temple built between the 10th and 12th centuries as Hemadpanti. Mostly they are Bhumija style temples, a brilliant amalgam of Nagara and Dravida style of temple architecture.

Gondeshwar temple in a Nutshell

Gondeshwar Panchaytana: Gondeshwar is one of the finest examples of the Panchaytan system of temples, where the main deity is established and consecrated in the center larger temple, while the other four deities are in the smaller temples surrounding the main shrine. Ancient temple architectural scripture Sutradhar Mandana goes into detail about how the Shiv-Panchaytan should be constructed. It says,

शम्भोः सूर्यो गणेशश्च चण्डी विष्णुः प्रदक्षिणे । स्थाप्याः सर्वे शिवस्थाने दृष्टिवेधविवजिताः ॥
To establish the Shiv in the middle, one must establish Surya (Sun), Ganesha, Chandi, and Vishnu as per the order on the circumambulation path when it comes to Shiv-Panchaytan. But make sure that they are divided by the sight.

Each temple surrounding the main Gondeshwar Shrine features a remarkably similar architecture, including an elevated base, small Mandapa, intricately adorned door frame, and deity idol from a later period. Furthermore, each of the three outer walls of these smaller shrines is adorned with a distinct deity.

Hidden Underground Passage: According to local legends, Gondeshwar Temple is rumored to possess a concealed underground passage that leads to the nearby Tryambakeshwar Temple, adding an intriguing touch of mystery to the site.

Temple Premises: In its glorious past, the temple served as a significant center of worship, evident from the numerous temple platforms scattered throughout the courtyard, which enclose the current temple area. Despite facing east, the main entrance to the temple is currently closed for unknown reasons. Visitors now enter the temple building through the south entrance, which has become the primary access point.

The south entrance of the temple is adorned with captivating carvings on its outer walls, showcasing exquisite craftsmanship. Additionally, there is a roofed area adjacent to the entrance that was originally designated for sentries and priests to seek shelter. Today, this area serves as a peaceful resting place for visitors to the temple.

In the past, the entire temple premises were enclosed by a roofed compound, providing a sense of grandeur and protection. However, the ravages of time have taken their toll, and now only a couple of rooms remain, bravely enduring the passage of years. These surviving rooms offer a glimpse into the temple’s former glory, standing as a testament to its rich history.

Square Plan: The layout of Gondeshwar temple follows a square plan, measuring 125X95 feet, with the sanctum sanctorum positioned at the center. The outer walls of the temple feature a distinctive star shape, adding a unique touch to its architectural design.

Shikhara (Tower): The temple has a seven-tiered Shikhara or tower that rises in a curvilinear fashion. The shikhara is adorned with intricate carvings and miniature shrines, giving it a rich and ornate appearance.

Intricate Carvings: Elaborate and detailed carvings are a hallmark of the Gondeshwar temple. The temple walls are adorned with intricate sculptures depicting gods, goddesses, celestial beings, and Purana stories on Koota-Stambhas of Mandovaras (outer walls). These carvings showcase the skills of the craftsmen of that era.

Main temple: Main temple has entrances from north, south, and east directions, and the doorframes of these entrances (Upa-Mandapas) are adorned with carvings. Vitana, or the inner roof of these entrances, is decorated with the different deities, Kirtimukhas, and story panels depicting Sanatana stories.

Gondeshwar Temple Mandapa: As you cross the entrance, you stand in the dark hall called mandapa, which has four beautifully carved pillars from top to bottom, surrounding a square platform called Rangasheela. Several layered roofs, exactly the size of the ground platform, can be seen on the top of your head.

Sanctum Sanctorum: The entrance to the sanctum sanctorum of the Gondeshwar temple is greatly adorned with four-door frames that include Shaiva doorkeepers, Kalasha, Ganga, Yamuna, Ganesha, Gandharvas dancing and playing musical instruments, and several deities on the top.

The inner walls of the sanctum sanctorum are rather plain, and the sacred room is dark, with Shiv-Lingam on the floor. The copper dripper is suspended over the Shiv-lingam, helping Mahadev to keep his cool; after all, he is holding the burning Halahal poison of the universe in his throat.

Temples surrounding the Main Gondeshwar Shrine

Shrine surrounding the main temple, Gondeshwar

Durga and Surya from the temples surrounding the main shrine

Nandi Mandapa

Shri Ram with Agastya Rushi — Vishvakarma

Nandi Mandapa, Hammered Nandis and East entrance

Main Temple

Devakoshtha and Makara Pranal, Gondeshwar temple — Devakoshtha and Makara Pranal

Sanctum Sanctorum, Gondeshwar temple — Sanctum Sanctorum of the Temple

Beutiful Pillars of Gondeshwar Temple

Putra Vallabha, Gondeshwar temple — Shiv

How to reach Gondeshwar temple, Sinnar?

By Air: The nearest airport is the Pune International Airport, which is well-connected to major cities across India and internationally. From the airport, you can hire a taxi or take a bus to travel to Sinnar, which is approximately 180 kilometers away.

By Train: The nearest railway station to Gondeshwar Temple is Nashik Road Railway Station, located about 33 kilometers away. Nashik Road Railway Station is well-connected to major cities in India. From there, you can hire a taxi or take a local bus to reach Sinnar and then proceed to Gondeshwar Temple.

By Bus: Sinnar is well-connected by bus services from various cities in Maharashtra. You can find regular bus services from cities like Nashik, Pune, and Mumbai. State-run buses, as well as private operators, provide transportation to Sinnar. Once you reach Sinnar, you can hire a local taxi or auto-rickshaw to reach Gondeshwar Temple.

By Car: If you prefer to drive, you can reach Sinnar by car from nearby cities. Sinnar is approximately 35 kilometers away from Nashik, 165 kilometers from Pune, and 195 kilometers from Mumbai. You can use major highways like the Mumbai-Nashik Highway (NH-3) or Pune-Nashik Highway (NH-60) to reach Sinnar. Once in Sinnar, follow the local signs to Gondeshwar Temple.

Places to stay near Gondeshwar temple, Sinnar: Sinnar has few decent hotels to eat and which provide accommodation. Nasik will be the best option if you are looking for more hotel options. Don’t forget to visit Gargoti Museum in the Sinnar MIDC area, as it is one brilliant geological marvel packed with brilliant zeolite specimens.

Visiting Gondeshwar Temple is not merely a sightseeing experience but a spiritual journey, an opportunity to immerse oneself in the rich cultural tapestry of ancient Indian architecture and Sanatani traditions. It is a place where one can find solace, connect with the divine, and witness the artistic prowess of the skilled craftsmen who crafted this architectural masterpiece.

As we end another fascinating journey through the rich history and mythology of India, I hope you have enjoyed learning about the unique architecture and captivating sculptures of the Gondeshwar temple that adorn our ancient civilization. My mission with DrifterAdwait.com is to shed light on the wonders of our heritage and inspire a love for our shared cultural legacy.

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

Photograph of the Gondeshvara Temple, Sinnar taken by Henry Cousens in the 1880s or 1890s

References:

Nasik District Gazetteer, published in 1975 by the Gazetteers Department, Government of India.

Elegy of the Emperor

Adwait Karajagi

5–6 minutes

In his darkest hour, the Mongol Emperor Shah Alam II penned an impassioned elegy, seeking aid from Maratha general Mahadji Scindia. A tale of suffering, poetry, and the trust that led to liberation.

Of course, as expected, no one helped the emperor except Mahadji. In the final lines of composition, the Mughal emperor, raising his spirits, says,

Some happier day, a providential care,
Again may renovate the falling star:
Again, O King, raise up thy illustrious race,
Cheer thy sad mind, and close thy days in peace.

Abhimanyu's Valor: The Chakravyuva Through Temple Sculptures

Adwait Karajagi

12–16 minutes

Birth of Abhimanyu

So, as each god was sending his or her divine force to take a birth in human form, gods approached Chandra, the moon god, seeking his participation. Chandra spoke,

And from that day onwards, the stage was set for the fate of Abhimanyu and Chakravyuva.

Abhimanyu in Chakravyuva

Chakravyuva Story Panels

And as always, keep exploring, keep wandering, and keep discovering the magic of this beautiful land!

Reference:
Abhimanyu Vadh Parva, DronParva, Mahabharat fourth volume, Geetapress Gorakhpur

Arun-The Charioteer of Sun

Adwait Karajagi

12–15 minutes

The impatient mother

The cursed mother

The churning of the sea

The furious Sun

After that, listening to Brahma, Arun did exactly the same what he has been ordered to do so. The and the sun started rising as guided by the Arun.

As he got the job and the car, like any other eligible Indian bachelor, it was the time to get married and settle down. And thus,

The betting mother

Arun Iconography

What can we learn from the story of Arun?

Referance:

Mahabharat Vol. 1, By Pundit Ramnarayandatta Shastri Pandeya ‘Raam’, Geeta Press, Gorakhpur, Bharat.

Lord Shiva & A Deer: Symbolism of Nature, Tradition, and Dharma -

Adwait Karajagi

8–10 minutes

Lord Shiva and Vedas

Lord Shiva and Yadnya

The furious three-eyed Lord Shiva severed Savita’s arms, blinded Bhaga, and shattered Pushan’s teeth. With mere a bow, Rudra single-handedly subdued all the deities.

A powerful voice, inspired by the deities, severed Shiva’s bowstring, causing the bow to recoil and fall from his hands.

The Symbolism of the Deer in Mahadev’s Iconography

The image of Shiva holding a deer is rich with symbolism that connects him to Vedic knowledge, traditions, and systems. Here’s how the deer symbolizes these aspects:

Symbol of Vedic Knowledge:

Symbol of Vedic Traditions:

Symbol of Vedic Systems:

Historical and Cultural Continuity:

Reference:

SauptikParva, Mahabharat, Geeta Press Gorakhpur, UP, India
Metropolitan Museum of Arts, USA
British Museum, UK.

Palasdev Shri Ram Temple

Adwait Karajagi

9–11 minutes

Temple Tales:

Palasdev Shri Ram Temple in a Nutshell:

ASI Neglect: Despite the Archaeological Survey of India’s (ASI) neglect, the temple’s historical and architectural significance remains inspiring and worthy of a visit.

How to reach Palasdev Shri Ram Temple

Palasdev Boat Service Contact:

Kirata Avatar

Adwait Karajagi

20–25 minutes

Kirata Avatar: The Entrance Test

Kirata Avatar, Halebidu, Karnataka

Kirata Avatar, Kedareshwara Temple, Halebidu, Karnataka

Mook and Kirata

Kiratarjuniya By Bharavi

With a sharp sword, Arjuna struck at the Kirata’s head, only to see the blade vanish upon contact. Frustrated, he resorted to hurling trees and rocks, but Lord Shankar absorbed these too.

With Lord Mahadev’s consent, Arjuna proceeded to ascend to the heavens, where he would receive further training in celestial weapons, accompanied by the Astra now in his service in human form.

What lessons can we draw from the Kirata Avatar story in the Mahabharata?

Kirata Avatar Panel, Kailasa Cave, Ellora, Maharashtra

The philosophical context of Bharavi’s Kiratarjuniya:

Kirata Avatar, MutualArt, Kangra School, 19th Century, Attributed to Purkhu, AN ILLUSTRATION FROM A KIRATA ARJUNIYA SERIES: ARJUN SLAYS MUKASURA, CIRCA 1820.

Tuesday, August 5, 2025

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Chennakeshava Temple - Drifter Adwait

Hoysala Empire History:

History of Chennakeshava Temple, Belur

Chennakeshava Temple Architecture

Gopuram of Chennakeshava Temple:

Pole of the Garuda

Temple Surroundings

Chennakesava Temple Entrance

Entrance Bay

Narsimha Pillar

Mohini Pillar

Bhuvaneshwari: Decorative Ceiling

Torana (Entrance Border of Sanctorum)

Madanikas Surrounding the Dance floor:

Circumambulation of Belur:

The sculptures you should not miss at Belur:

Gajasur Samhara

Varaha

Ugra Narsimha

Brahma and Surya

Bheema fighting Bhagadatta

Gowardhan Giridhari

Saga of Vamana

Sweet Sixteen and the Poison Girl

Exam Ganesh

Madanikas of Belur

Ranganayaki Temple

Contribution of temples in Indian Civilization

How to reach Belur?

Places to Stay in Belur

Chennakeshava Temple - Drifter Adwait

Hoysala Empire History:

History of Chennakeshava Temple, Belur

Chennakeshava Temple Architecture

Gopuram of Chennakeshava Temple:

Pole of the Garuda

Temple Surroundings

Chennakesava Temple Entrance

Entrance Bay

Narsimha Pillar

Mohini Pillar

Bhuvaneshwari: Decorative Ceiling

Torana (Entrance Border of Sanctorum)

Madanikas Surrounding the Dance floor:

Circumambulation of Belur:

The sculptures you should not miss at Belur:

Gajasur Samhara

Varaha

Ugra Narsimha

Brahma and Surya

Bheema fighting Bhagadatta

Gowardhan Giridhari

Saga of Vamana

Sweet Sixteen and the Poison Girl

Exam Ganesh

Madanikas of Belur

Ranganayaki Temple

Contribution of temples in Indian Civilization

How to reach Belur?

Places to Stay in Belur

Vijayanagar – A Golden Epoch in Indian History

Fort Sajira, Tamil Nadu - Drifter Adwait

Dakshin Digvijay of Chhatrapati Shivaji Maharaj:

Bhuleshwar Temple, Yawat - Drifter Adwait

Parvati Hill, Pune - Drifter Adwait

Parvati Hill Caves:

Devdeveshwar (Parvati):

Peshwe Museum at Parvati:

Nanasaheb Peshwe Smarak:

Kartik Swami temple at Parvati:

Vishnu Temple Parvati:

History of Parvati:

Offbeat Hampi - Drifter Adwait

Cycle across the ruined Hampi city:

Coracle ride in Hampi:

Sunset from Matunga hill:

Sunrise from Anjaneya hill:

Scootying Hippie island: