ARCHITECTURAL MASTERPIECES OF INDIA
AGRA FORT
Introduction
The Agra Fort, also known as the Laal Qila, Fort Rouge or Red Fort of Agra, was built by Akbar after his accession to power in the year 1654.
Rewrite
The Agra Fort, a UNESCO World Heritage site located in Agra, also known as the Lal Qila, Fort Rouge or Red Fort of Agra, is located 2.5 kilometers northwest of its better-known sister monument, the Taj Mahal.
Babur defeated and killed Ibrahim Lodhi at Panipat in 1526. It was at this time that Akbar arrived in Agra in the year 1558 and made it the center of the Mughal Empire, and his capital city. Architects laid the foundation stone and it was built with bricks and sandstone, by 1,444,000 builders, toiling for 8 years until they completed it in 1573.
Akbar built the Agra Fort in Red Sandstone when he was through with the consolidation of his power, after ascending the throne in the year 1654. It functioned both as a strategic military point as well as the Royal Residence.
At the end of his life, Shah Jahan was imprisoned by his son, Aurangzeb, in the fort, in a small chamber overlooking the Diwan-e-Aam. It was rumored that Shah Jahan ultimately died in Musamman Burj, a tower having a marble balcony and an excellent view of the Taj Mahal.
The fort contains splendid palaces built in red sandstone and white marble by builders over the three generations of Akbar, Jehangir, and Shah Jehan. Only a few of the nearly 500 Akbari buildings built in Bengal and Gujarati traditions have survived.
The Agra Fort, with its vast walls standing seventy feet tall, presents a formidable appearance. There is a moat at the periphery of the monument. The Delhi gate is the main entrance to the Agra Fort, from there on we cross the drawbridge over the moat and move over a paved inclined pathway to reach the Hathi Pol or the Elephant Gate.
The inner courtyard of the fort appears more beautiful due to its proportionately rich ornamentation, further enhanced by the intriguing interplay of light and shadow produced by the bracket form of construction and the strategic location of doors, window openings, and colonnades.
The outer courtyard of the Jehangir Mahal facing the river has an elegant porch. The courtyard provides a beautiful view of the surroundings with the skyline to the right being dominated by the marble domes of the Taj Mahal. Two fine pavilions and a number of cisterns are present on the roof of the Jehangir Mahal. The cisterns supply water to the palace. Close to the Jehangir Mahal are the ruins of Akbar Mahal, also called as Bengal Mahal
Behind the Diwan-e-Aam is the Macchi Bhawan or the Fish Palace, a two-storied arcaded enclosure with a magnificent garden containing flower-beds, water channels, and fountains. The Diwal-e-Khaas is to the east of Macchi Bhawan. At the far corner of the courtyard, on the left is the Chittor Gate, through which we enter the Macchi Bhawan and where Akbar placed all the trophies of his victorious campaigns
AJANTA AND ELLORA
Introduction
Ajanta and Ellora, the 3rd century historical and man-made caves, depicting the life of Buddha, are the finest examples of the art and architecture during that time.
Rewrite
Ajanta and Ellora, the rock-cut caves, are the pride of Maharashtra. These caves are famous throughout the world and exhibit the superior craft possessed by artisans several hundred years ago.
The village of Ajanta, located about 99 kilometers from Aurangabad, is located in the Sahyadri hills. A few miles away, in a mammoth horseshoe-formed rock, are 30 caves overlooking a gorge, each forming a room in the hill and some of them having inner rooms as well. These were created over a span of some 600 years. All this has been carved out by skilled artisans, out of solid rock, using a little more than a hammer and chisel, and the faith and inspiration of Buddhists. The artisans have excavated Chaityas (chapels) for prayers and Viharas (monasteries), for the Buddhist monks, where they can live and teach. Many of the caves are made with the most exquisite and detailed carvings on the walls, pillars, and entrances. These coupled with the wall paintings from a beautiful monument.
These caves were discovered by British officers, in the 19th century, quite by chance, on one of their many maneuvers. Today, the paintings and sculptures on the Buddha’s life, which make up the caves, belonging to the ancient Mahayana Buddhist period, are world-famous. Their copies were exhibited at the Crystal Palace exhibition in London, in the year 1866. After they were destroyed in a fire, Ghulam Yazdani, the director of the Archeological Society of the then Hyderabad State, brought out four volumes of reproductions in the year 1933. Ajanta has been an object of great interest for all the followers of Indian history and art. It has been a protected monument under the aegis of the Archeological Society of India after it was listed in the World Heritage list of monuments.
During their time, these caves provided information about the life and times of ancient India, its people, their hairstyles, their ornaments, textiles, musical instruments, architecture, customs, etc. From a collection of this ancient Indian art, a particular style evolved, which traveled to many parts of the world with the followers of Buddhism. Similar paintings can be found in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples, and shrines of Tibet, Nepal, China, and Japan.
Ajanta was possible thanks to Royal Patronage. It was carved out by professional artists, each of whom contributed their own individual skill and devotion to the monument. Visitors to this monument often wonder how work was done in the dark interiors of the caves. It is noticed that the caves are illuminated by natural light for part of the day; it is presumed that metal mirrors or sheets of white cloth were used to reflect light to the internal recesses of the caves.
AKSHARDHAM TEMPLE
Introduction
The Akshardham temple in Delhi, which represents a unique combination of Hindu religion and Indian culture, was constructed under the patronage of Bachosanvasi Akshar Purushottam Swaminarayan Sanstha (BAPS) initiated on 7th November 2005.
Rewrite
The Akshardham Temple, a massive temple complex in Delhi, is blessed with 20,000 statues, floral motifs, and arches and exquisitely carved out pillars. It epitomizes 10,000 years of Indian culture in all its breathtaking grandeur, beauty, wisdom and bliss and brilliantly showcases India’s ancient architecture in all its glory. A visit to this monument is a journey through India’s glorious art, values, and contributions for the benefit of mankind.
Akshardham means the eternal, divine abode of the supreme God, eternal values and virtues of Akshar as elucidated by the Vedas and Upanishads, where divine bhakti, purity, and peace pervades.
For the first time, one can witness the heritage of India in all its glory at the Swaminarayan Akshardham through its mandir, exhibitions, gardens and other attractions.
The Akshardham temple complex, which took two years and 2 billion rupees to complete, stands on the banks of the Yamuna and has more than 100 acres of lawns decorated with water fountains and pavilions.
The Akshardham temple complex is populated with the IMAX theatre, the main monument, which is 141 feet high, and a beautiful musical fountain. The architectural design of this temple is the same as that of the temple in Gandhinagar in Gujarat. The temple possesses the grand statue of Lord Swaminarayan.
The Hall of Values, the most important feature of the temple, which is also called as Sahajanand Pradarshan, is set in an 18th-century backdrop.
The Akshardham complex also houses Delhi’s only format screen theatre, called as Neelkanth Kalyan Yatra and it has the city’s first large format screen measuring 85 foot by 65 foot (26m x 20m). The theatre features a film meant only for the temple complex, called as Neelkanth Yatra, which depicts the seven-year journey made by Swaminarayan throughout India during his teens. The international version of this movie, Mystic India was released in 2005, at different theatres worldwide. The theatre also houses a 27-foot tall bronze statue of Neelkanth Vami, in its vicinity.
The Yagnapurush Kund, one of the most striking features of the Akshardham temple complex possesses 108 tiny shrines and is the country’s largest step well with 2,873 steps. In order to explore the unexplored, a boat ride on the world’s biggest artificial river passing through the Takshashila, is a must.
The Garden of India or Bharat Upvan, is another important feature inside the temple which spreads over acres and acres of well-manicured lawns, large trees and a host of other plants and shrubs. The Narayan Sarovar is a holy lake surrounding the main building of the temple,
The AARSH, a research center within the temple complex, has eminent scholars and students carrying out practical research and studies on social harmony and other related topics with the foreign students, who visit this place to carry out studies in topics like rural welfare, medicine, ecology, and social welfare.
CHARMING CHAR MINAR — A GLORIOUS EXAMPLE OF CRAFTSMANSHIP
Introduction
The Charminar, gets its name from the four minarets rising towards the sky, in the four directions. It was built in the period between 1591 and 1612 AD.
Rewrite
The Charminar, situated in the southern sector of Hyderabad city, south of the Musi river, which was declared a protected monument in 1886, is the most important landmark of the city.
Hyderabad, a charming combination of both ancient and modern, is the Instanbul of India. It is an important center of Islamic culture and represents central India’s answer to the Mughal grandeur of the northern cities of Delhi, Agra and Fatehpur Sikri. Hyderabad, the capital of Andhra Pradesh, boasts of some exquisite pieces of Qutub Shahi architecture — like the Jama Masjid, the Mecca Masjid, Toli Masjid, and of course, the most important monument, the Charminar.
The Charminar, located in the crowded old city of Hyderabad, with its majestic arches representing examples of Qutub Shahi architecture, is located amidst the colorful shops of Lad Bazaar (Choodi Bazaar). This square structure with its delicate stucco ornamentation, four tall minarets and a mosque on the top floor is unique to Hyderabad.
Legend has it that this imposing structure was built by Sultan Mohammad Quli Qutub Shah, in honor of his Hindu wife, Bhagmati, between 1591 and 1612 AD., after shifting his capital from Golconda to Hyderabad. This structure, built on its four grand arches facing the four directions with its high slender minarets and spiral staircases, reflects the glory of the Qutub Shahi architecture.
The Charminar gets its name from its exquisitely designed minarets. Its name literally means “Four Pillars” (minars). This design is inspired by the Shia “Tazias” erected in honor of Prophet Mohammad. This massive structure, built only of granite and lime mortar, is erected on a square base and opens to the four directions through its grand arches which face the four directions with each arch being 11 meters wide and rising 20 meters from the plinth. The arches which support two floors of rooms with a gallery of archways, are adorned with four clocks, which were added in 1889. The structure is located in a junction and its four arches overlook four major thoroughfares.
This Charminar has four minarets in the four corners, each minaret standing on a lotus leaf base. Each minaret has four floors with each floor looking like a ring around the minaret, with the floors of each minaret punctuated by spiral staircases of 149 steps which in turn rise to triple tiers of balconies which overlooks the old city. The minarets cover a length of 56 meters from the ground to the apex and later taper off to a bulbous dome at the top which is crowned by a brass spire. This dome is decorated with petal-like motifs.
Proclamations were read out to the assembled public from the upper levels of the Charminar, which doubled up as a madrasa and a mosque. The mosque faces the holy city of Mecca. The rear wall of the mosque is punctuated by blank niches framed by petalled ornamentation. There are 45 open-air spaces to accommodate extra people during Friday prayers.
CHHATRAPATI SHIVAJI TERMINUS
Introduction
The Chhatrapati Shivaji Terminus, formerly known as Victoria Terminus station, a world heritage site declared by UNESCO, in 2004, was built in the year 1888.
Rewrite
The Chhatrapati Shivaji Terminus previously called as Victoria Terminus was built in the year 1888, and was declared a world-renowned heritage site by UNESCO, in the year 2004. The CST, a popular railway station, is a spitting image of the rich Victorian style Gothic architecture in India. Located in the heart of Mumbai, the CST is a grand reminder of the British Raj Pre-independence and also one of the most historical landmarks within the Central Business District (CBD) of Mumbai. A bustling terminus, it is well connected by rail to all the parts of the country. It stands as a remnant of the great industrial-technological revolution, merging with Victorian/Gothic revival styles based on late Italian model architecture. The structure represents the remains of the mercantile facet of the city along with it symbolizes British Commonwealth. Apart from representing Victorian Gothic architecture, it also has traces of Mughal styled architecture in it. An excellent reminder of 19th-century designs, the CST is a structure that is a core witness to the changes in the city.
During the British rule, F. W. Stevens redesigned and rebuilt this station and named it as Victoria Terminus, a name it got from the reigning royal queen, Queen Victoria. The construction took 10 years and it was opened by the Queen on the date of her Golden Jubilee in 1887. At that time, this was the most expensive building in Mumbai, costing 260,000 Sterling Pounds. The station handled main rail traffic and in 1929, Central Railway built a new station and administrative headquarters. It was renamed Chhatrapati Shivaji Terminus in the year 1996, by Suresh Kalmadi, the then Minister of Railways.
The main architecture of the building reflects the Victorian Gothic styles and designs of the 19th century. This structure, complete with its turrets, pointed arches and an eccentric ground plan, is acceptable to both Indian and European culture. has a style and ornamentation which is acceptable to both Indian and European cultures. It was considered a novel achievement at that time. The structure which still retains most of its architectural grandeur, probably with an addition of two or more headquarters, was built.
according to the C-shaped plan, symmetric on both the east and the west. Its high dome is the focal point of the structure with other parts of the building adjoined with well-proportioned rows or arched structures that closely resemble Indian palace architecture.
FATEHPUR SIKRI — A UNIQUE BLEND OF ARCHITECTURAL EXCELLENCE AND RELIGIOUS BELIEFS
Introduction
The royal city of Fatehpur Sikri, situated 26 miles west of Agra, was built on the orders of the Mughal Emperor Akbar, in the year 1571, on the same site where the birth of his son was predicted by Shaikh Salim Chisti.
Rewrite
The royal city of Fatehpur Sikri was built at the initiative of Akbar, who although himself illiterate, took great interest in literature, architecture, and arts. Reputed to be a tolerant ruler, he had Fatehpur Sikri built in such a way that its structures blended both Hindu and Islamic elements in their architectural style, with one of the buildings even reflecting the syncretistic faith, the controversial Din-e-Ilahi, founded by him.
Fatehpur Sikri bears silent testimony to the architectural grandeur of the Mughal civilization at the end of the 16th century, along with giving a glimpse of the exquisite quality of structures built between the period 1571 and 1585. Its form and layout, later y went on to influence Indian town planning notably at Shahjahanabad (Old Delhi).
Fatehpur Sikri was built under the strict supervision of the great Mughal Emperor, Akbar, with its construction commencing in 1571 and completing in 1573. The “City of Victory” had a temporary existence as the capital of the Mughal Empire, from 1573 to 1585, when Akbar abandoned it to fight against the Afghan tribes and choose a new capital, Lahore. The city again came into prominence again for three months in 1619, when Jehangir sought refuge during the plague that devastated Agra. The site was then abandoned until it was discovered by archaeologists in 1892.
This capital without a future, located 40 kilometers from Agra, which the English traveler Ralph Fitch, in 1585, described as being considerably larger than London and also more populous, comprises a series of structures for the habitation of the court, army, servants of the king and an entire population, whose history has not been recorded.
Only a portion of Fatehpur Sikri, constructed on a rocky plateau, southeast of an artificial lake and bounded on three sides by a 6 kilometers wall, where large buildings exist, has been studied, visited and relatively well preserved. This city is fortified by towers and pierced by seven gates, the best preserved being the gate of Agra.
Most of the important monuments found to the north of the road from Gaza to Agra, forming a homogenous group, are constructed of sandstone. The eclectism of their style is based on borrowings from Hindu, Persian and Indo-Muslim traditions.
Among the many monuments that may be cited is The Diwan-e-Aam, or the Hall of the public audience which is encircled by a series of porticos, broken up by the imperial box. Akbar with his ministers and officers meted out justice in this box. This box is directly communicating with the Daulat Khana or the Imperial Palace and is flanked to the north by Diwan-e-Khas or the Hall of private audience, also called the “Jewel House”. The latter is a monument known for its central plan having an extraordinary capital surrounded by a circular balcony. Other great monuments are the Ranchi Mahal, the pavilion of Anup Talao or the Turkish Sultana, the palace of Jodh Bai, Birbal, the caravans and the stables
Owing to the piety of Akbar, many religious monuments were constructed at Fatehpur Sikri including the great mosque, the Jama Masjid, one of the most spacious in India measuring 165 x 133m. This monument which was completed in the period 1571–72, could accommodate 10,000 devotees and it deserved no less respect than Mecca. It includes the tomb of Shaikh Salim, in the center of the court, which is an extraordinary Christian masterpiece of sculpted decoration which was further decorated during Jehangir’s times.
GOLDEN TEMPLE IN AMRITSAR
Introduction
The Golden Temple was constructed in the period between 1574 and 1601, however, its restoration and repair continued over the year with it having to be rebuilt after being sacked in 1760s.
Rewrite
The Golden Temple was constructed on land donated by Mughal emperor Akbar. The construction of this building project was overseen by the fourth and the fifth Sikh Gurus. Like all Sikh temples, it is open to all visitors irrespective of caste or creed, with the only restrictions being on drinking alcohol, eating meat or smoking in the shrine. Unlike many other Indian temples, visitors to Harmandir Sahib are actually welcomed to the shrine, without being pressurized into buying anything. The information office located at the main gate gives helpful advice and information to devotees as also books on Sikhism.
Most visitors to the Golden Temple, irrespective of caste or creed, are humbled by the most spiritual place in the country. Visitors to this shrine are advised to come to this place at leisure, set aside a few hours to witness its ethereal beauty. It is mandatory for visitors to leave their shoes at the entrance, cover their heads with bandanas (that are provided or you can buy one as a souvenir), and wash their feet by wading through the shallow pool provided for the purpose, before entering the temple premises.
The most sacred portion of the Golden Temple complex is Hari Mandir (Divine Temple) or Darbar Sahib (Court of the Lord). This is a beautiful golden structure at the center of a large body of water. Copper cupolas and white marble walls encrusted with precious stones arranged in decorative Islamic style floral patterns are striking features of the gold plated building. The structure is decorated both the inside and outside with verses from the Granth Sahib which is the Sikh Holy book. The water surrounding the Hari Mandir is sacred and is called Amrit Sarovar (Pool of Nectar). The temple can be reached by following a Parikrama, which is circumscribing the sacred pool in a clockwise direction. The Guru Bridge, a marble causeway which symbolizes the journey of the soul after death, connects the pathway with the Hari Mandir. The gates to the bridge of Darshani Deorhi have silver doors.
The scenes inside the Hari Mandir are televised throughout India for Sikh viewers. Amidst a crowd of fervent and solemn devotees, scriptures from the Holy Book are sung beneath a canopy studded with jewels, with a chauri (whisk) being continuously being waved above the Book as Sikh devotees pay their respects by touching their foreheads to the temple floor walls, further continuing in a clockwise direction at a relaxed pace.
The Guru-ka-Langar is another major highlight of the Golden temple. This is a dining hall where around 35,000 people a day are fed free by temple volunteers, who invite everyone to this communal breaking of bread. All devotees sit on the floor, irrespective of caste, creed, and status, powerfully symbolizing the central Sikh doctrine of equality of all people. Guest quarters for international Sikh visitors are available at a nominal fee with at least 400 simple rooms provided free of cost to Sikh pilgrims.
THE GREAT LIVING CHOLA TEMPLES
Introduction
The great living Chola temples in South India and neighboring islands were built by the kings of the Chola Dynasty. Only three out of these are marked out as world heritage sites by UNESCO.
Rewrite
The three temples comprising the living Chola Temples are the Brihadisvara Temple, in the city of Thanjavur, the Airavatesvara Temple located at Darasuram and the Brihadisvara Temple at Gangaikonda Cholisvaram. Among these, the Brihadisvara Temple in the city of Thanjavur was the first to be nominated as a world heritage site by UNESCO in 1987. The other two temples were added to the list in 2004.
The Brihadisvara Temple at Thanjavur
This was built by King Rajaraja of the Chola Empire, during the period AD1009 to AD 1010, and it was named after him as Rajesvara Peruvudaiyar. This Shiva temple is also called Daksinameru and Brihadisvara. Built of granite, this temple along with its vimana or the sanctum tower is regarded as architectural landmarks in south India. Measuring 240.9 meters in length and 122 meters in width, its commodious prakara encloses the temple with a gopura on the eastern side, which also includes the other three Torana entrances. One of these entrances is in the rear and the other two are placed laterally. This magnificent temple with its simple, but inspirational designs set an example for the construction of other such structures in south India and SouthEast Asia. Its rich sculptures illustrate the lifestyle of people during that period.
Brihadisvara Temple, Gangaikondacholapuram, District Perambalur:
Rajendra 1, the son of Rajaraja 1, the great Chola King, built the Brihadisvara temple at Gangaikondacholiswaram in AD 1035, in the Perambalur District. The former ruled from AD 1012 to AD 1044. This city was built in the early 11th century to commemorate his victory over the northern territories. Rajendra 1 bought the holy water of the Ganges to this place in a pot on one of his visits to north India and consecrated Cholaganga or Poneri, the reservoir in the site, after which he was called as Gangaikondan, the place is called as Gangaikondacholapuram, meaning “A town of Cholas who conquered the Ganges. Taking inspiration from the Brihadisvara temple at Thanjavur, he built this Shiva temple which resembles the former in many ways. Similarities exist in layout, the sanctum, the gopura, and the cloister mandapa, along with subsidiary shrines which can be noted.
The sculptures of the Nandi, facing the temple, gatekeepers or dwarpalas and a lion-faced well are some interesting constructions of the temple. Other exceptional sculptures include Ardhanari, dancing Ganesa, Vishnu, Nataraja, Dakshinamurthy, Lingohbhava, Harihara, Subramanya, Durga, Karnataka, Brahma, Gangadhara and Bhairava. Those of Sarasvati and Chandessanugrahamurti are the marvelous ones.
Airavatesvara temple at Darasuram, District Thanjavur
The Airvatesvara temple at Darasuram, in Thanjavur district, built-in 12th century CE by Rajaraja 2, is a masterpiece of Chola architecture. Although much smaller than the other two temples, this stands apart for its highly elaborate and exquisite artwork. The front mandapa is represented as a chariot on wheels with inscriptions stating its name as Rajagambhiran Tirumandapam. With extensively decorated pillars, there are also sculptures such as dancing Martanda Bhairava, Nagaraja, Sarabhamurti, Ganesha and Agastya, which speak of the exquisite artwork during the time.
HAMPI
Introduction
The city of Hampi bears a silent testimony to the vanished kingdom of Vijayanagara, which reached its apogee during the reign of Krishna Dev Raya during the period 1509–1530.
Rewrite
Hampi is an excellent example of a city that has structures illustrating the historical situations of the kingdom of south India which were plundered by the Muslims and occasionally allied with the Portuguese of Goa.
The grandiose site of Hampi was the capital of the last great Hindu Kingdom of Vijayanagara with its fabulously richly built Dravidian temples and palaces which won the admiration of travelers between the 14th and the 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was plundered over a period of six months before it was abandoned. Hampi, with its beautiful Dravidian palaces and it's cotton and spice trade, was one of the most beautiful cities of the medieval world. It was much admired by all travelers, be they Arab (Abdul Razak), Portuguese (Domino Paes), or Italian (Nicolo Dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and finally abandoned leaving it in ruins with its monumental vestiges.
The temples of Ramchandra (1513) and Hazara Ram (1520) with their supporting structures and bundles of pilasters or colonnades projecting from their richly sculpted walls, may be considered among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vithala, a small monument of a chariot being pulled by two elephants is the favorite of the tourists today as well as the travelers of the past.
Besides the temples, the numerous civil, princely or public buildings enclosed in the massive fortifications, which were unable to ward off the assault of the five Sultans of Deccan in 1565 are also considered celestial.
KHAJURAHO
Introduction
In the temple architecture of India, the Khajuraho complex remains unique. These were built during the period of 100 years from 950 AD to 1050 AD.
Rewrite
In the story of the temple architecture of India, the mention of the Khajuraho complex will always come as a unique monument. Approximately 1000 years ago, under the generous and artistic patronage of the Chandela Rajput kings of Central India, 85 temples rich in architectural splendor were built, near the village of Khajuraho. All the temples were completed in a 100-year span in a spurt of creativity. Today, however, only 22 of those 85 temples remain, which bear silent testimony to the ultimate fusion of man with his creator. The Chandela kings chose the village of Khajuraho or Kharjirvahila-garden of dates, a small village back then, as the site because they wanted to make that place as the seat of religion and learning. It is also possible that the Chandelas were believers of the powers of Tantrikism, a cult which believed that the gratification of earthly desires takes you a step closer to the attainment of the infinite. All said and done, these temples represented the expressions of a highly matured civilization. Another theory says that the erotica of Khajuraho and other temples was considered a source of knowledge and learning for all those boys who lived in hermitages, following the Hindu law of being “Brahmacharis” until they attained manhood, in preparation of taking up the role of a “householder”.
There are many interpretations of the erotic carvings, some suggesting that the carvings depicted tantric sexual practices. But, there is no documentary evidence indicating the exact meaning or purpose of the carvings in the Khajuraho temples.
Spread over an approximate area of 20 square kilometers, in the northeastern part of Madhya Pradesh, Khajuraho is a major tourist and archaeological site in Madhya Pradesh.
Khajuraho also called KamaSutra is a renowned world over for its sculpted temples dedicated to Shiva, Vishnu, and Jain deities, and the sexually explicit carvings both inside and outside the temple give it an erotic tone.
These temples are divided into western, eastern and southern zones depending on their location, with the western complex being the largest as it represents some of the most popular temples at Khajuraho.
KONARK SUN TEMPLE
Introduction
The poet Rabindranath Tagore said of the Konark Temple that “here the language of stone surpasses the language of man” indicating thereby that the experience of Konark is impossible to be translated into words.
Rewrite
The magnificent Sun Temple of Konark represents the Orissan architecture at its best, and one of the most stunning religious monuments of the world.
This massive structure, which was called the “Black Pagoda” by European sailors who used it as a navigational point to navigate in the sea, due to its initial proximity to the sea, now stands in ruins surrounded by drifting sand.
This temple was built by King Narsimhadeva in the thirteenth century, with designs in the shape of a colossal chariot, carrying the Sun God Surya across the heavens. It represented the image of the sun God traversing the heavens in his chariot drawn by seven horses. This image came to India with the Aryans, stayed in India during the time of the Babylonians and the Iranians with the shoes worn by the Sun God representing those worn by Indian deities.
The idea of constructing a temple in the shape of a chariot was novel. Equally breathtaking was the scale at which the temple was built during those times. Construction of the edifice is said to have taken 12 years revenues of the kingdom.
The main tower, now collapsed, originally followed the same form as the towers of Lingaraja and Jagannath temples with its height exceeding both of them at 227 feet. The Jagmohan (porch) itself extends to 120 feet in height. Both tower and porch are built on high platforms supported on the 24 giant stone wheels of the chariot, which provide a glimpse of the quality of Orissa’s sculptural tradition. The third component of the temple complex was the Nata Mandira (hall of dance) which remains in front of the temple. Of the 22 subsidiary temples, 2 remain to the west of the tower, the Vaishnava temple and the Mayadevi temple. There are two theories as to why the temple was built here. One legend says that it was erected by Samba, son of Lord Krishna, at this place to commemorate his being cured of leprosy by Surya. Some others feel that Narsimhadeva erected the temple to declare it as a victory monument, after conducting a successful campaign against Muslim invaders.
In any case, the temple built by Narsimhadeva stands as a silent testimony to the religious, social, military and domestic aspects of the world during his times. Every other sculpture of the temple brings forth the finesse and quality of the architecture of Orissa during those times. There are sculptures of birds, bees, humans, courtesans, kings in all the worldly postures. The temple is also well known for its erotic sculptures which are found at the second level. The same frank nature of this content extends to other sculptures at Konark.
The only images which do not share this relaxed air are the three main images of Surya on the northern, western and southern facades of the temple. As we gaze at these images of Surya, we cannot but rue the passing of the tradition.
SANCHI STUPAS- MASTERPIECE OF BUDDHIST ART
Introduction
Sanchi, situated in Madhya Pradesh, India is located 52 kilometers from Bhopal and 12 kilometers from Vidisha. The major attraction of this place is the number of Buddhist stupas, monasteries, temples and pillars.
Rewrite
Sanchi, located in U.P, is famous for its outstanding specimens of Buddhist art and architecture belonging to the period between third century BC and 12th century AD, with the Sanchi Stupa being the most important monument. Stupas are large hemispherical domes having a central chamber, where relics of Buddha are placed. This stupa is one of the best-preserved early stupas of central India. This is surrounded by a railing having four carved gateways facing all the four directions.
The Sanchi Stupa was built by the Mauryan Emperor Ashoka.
It was during the Shunga period that the Stupa was enlarged and resurfaced with stones and decorated with railings, staircases and a hamika on the top. There is a path for circumambulation, around the main stupa, which is enclosed by a railing with gates in each of the four directions. Another very striking feature of the Stupa is that Lord Buddha has been symbolically represented by footprints, wheels, thrones, etc. The gateways of the Stupa contain ornamented depictions of incidents from the life and times of the Buddha and his previous incarnations as Bodhisattvas, as described in the Jataka tales. The Buddha is represented in the form of a tree or through other inanimate figures.
The Stupa is such a wonderful structure that it has been included by UNESCO as one of the world heritage sites in their list. It is a fine example of the essence of Buddhist architecture and sculpture during those times. The site was discovered in 1818 by General Taylor and an archaeological museum was established in 1919 by Sir John Michael.
