MAHABALIPURAM

Mahabalipuram is a town in Kancheepuram district in the Indian state of Tamil Nadu. It is a 7th century port city of the South Indian dynasty of the Pallavas around 60 km south from the city of Chennai in Tamil Nadu. It is believed to have been named after the Pallava king Mamalla. It has various historic monuments built largely between the 7th and the 9th century, and has been classified as a UNESCO World Heritage Site.History :- The temples of Mamallapuram, built largely during the reigns of Narasimhavarman and his successor Rajasimhavarman, showcase the movement from rock-cut architecture to structural building. The mandapas or pavilions and the rathas or shrines shaped as temple chariots are hewn from the granite rock face, while the famed Shore Temple, erected half a century later, is built from dressed what makes Mamallapuram so culturally resonant are the influences it absorbs and disseminates. All but one of the rathas from the first phase of Pallava architecture are modelled on the Budhist viharas or monasteries and chaitya halls with several cells arranged around a courtyard. Art historian Percy Brown, in fact, traces the possible roots of the Pallavan Mandapas to the similar rock-cut caves of Ajanta and Ellora. Referring to Narasimhavarman's victory in AD 642 over the Chalukyan king Pulakesin II, Brown says the Pallavan king may have brought the sculptors and artisans back to Kanchi and Mamallapuram as 'spoils of war.Mahabalipuram, or Mamallapuram, was the chief seaport of the Pallavas who ruled over much of South India from as early as the first century B.C to the eighth century A.D., and it is now recognized as the site of some of the greatest architectural and sculptural achievements in India. Under the reign of Narasimha Varman (c. 630), this seaport began to grow as a great artistic center. The beautiful cave temples and gigantic open air reliefs carved from blocks of granite date to the seventh century.Tourism :- people from various parts of India and across the globe throng the city of Mahabalipuram. The relaxed souls and the rejuvenated bodies make up for the perfect holiday trip to the southern India. While you are planning your Golden triangle tour of southern India the annual dance festival of Mahabalipuram can also be incorporated. The Dance Festival is hosted by the Department of Tourism of the Government of Tamil Nadu. The extravagance of classical music and dance has performances of Bharathanatyam, Kuchipudi, Kathakali, Odissi and folk dances by the best artists. Various artists from across the globe throng the Attending the festival will prove to be an entirely unique and unforgettable experience. The festival commences on the 25th of December and is conducted on all Saturdays and Government holidays, up to the first week of February. The seat for the audiences is near the sea, which offers the nature at its best too. The sea is a prime attraction for the tourists to the land owing to its relaxed nature and the opportunity to sun bathe. The location of Mahabalipuram on the coast of Bay of Bengal increases it importance multifold. Art & Culture :- Mamallapuram known for its rocks carvings and monolithic sculptures has the famous shore temple, the only one to have survived the ravages of nature. Also known as the Seven Pagodas (temples), six now lie submerged in the sea.

HOW TO REACHBy Air - The nearest airport is at Chennai about 58-km way from Mahabalipuram which has both domestic and international terminus. Chennai is connected with all the major places in India through the numerous domestic flights. International flights also operate from various parts of the world to Chennai. By Rail - The nearest railway stations from Mahabalipuram are Chengalpattu (29-km) and Chennai (58-km). From these stations one has to take the road to reach Mahabalipuram. By Road - Mahabalipuram is connected with a good network of roads. There are bus available from Pondicherry, Kanchipuram, Chengalpattu and Chennai to Mahabalipuram daily. One can also hire a taxi from Chennai.WHEN TO GOBest time to travel Mahabalipuram is winter between November and February.
WHAT TO SEE

Arjuna Penance :- It is an enormous relief made on two huge boulders is the universe itself in stone, throbbing with a vastness of conception. This colossus of art, 27 metres long and 9 metres high, is perhaps the world's largest bas-relief. The cleft in the rock depicts the descent of the Ganga, brought to earth by King Bhagiratha to redeem the cursed souls of his ancestors. The two large elephants are remarkable for their artistry, and so are the scenes from the Panchatantra.

The Varaha Cave :- It is a small rock-cut mandapam (hall), is a faceted and finished gem with two incarnations of Vishnu-Varaha (boar) and Vamana (dwarf). The Dharmaraja Cave, built in the early seventh century, contains three empty shrines. The Mahisasurmardini Cave (mid-seventh century) has fine bas-reliefs on its panels of enduring beauty. The Somaskanda sculpture radiates peace, power, and wisdom while Lord Vishnu is shown in omniscient repose in a masterpiece of dhwani (the art of suggestion). On the opposite side is a huge theatrical panel showing, Goddess Durga's fight with the demon Mahishasura, an episode culled from the celebrated Sanskrit poem Devi Mahatmya.

Rathas :- A group of structures lying at the southern extreme of Mahabalipuram, amidst casuarina trees, are the famous Rathas (chariots). The Pancha Pandava Rathas, as they are called, are five in number. Out of these, four are carved out of a single rock, while the fifth on the west is scooped out from a small rock. The square Draupadi and Arjuna Rathas, the linear Bhima Ratha, the taller Dharamraja Ratha and the apsidal Nakula-Sahadeva Ratha, constitute the complex.

Krishna Mandapam :- The Krishna Temple is one of the earliest rock-cut temples of Mahabalipuram. The walls of the temples depict scenes of pastoral life, one with the image of Krishna lifting the Govardhan Hill in his fingertips to protect his people from Indra.

Shore Temple :- The windswept and surf-beaten Shore Temple, the mute tireless sentinel of the shore, is the ultimate expression of Mahabalipuram. A three-in-one abode of God-a Vishnu temple sandwiched between two Shiva temples-it is a visual delight, its precincts abounding in architectural masterpieces. On either side of it the sea spreads, illimitable and infinite. The compound wall of this temple is lined with charming sculptures of Nandi the bull while the figure of Vishnu is present in the sanctum sanctorum.

Mahabalipuram 1

About Mahabalipuram - Mahabalipuram is situated 60 Kms. south of Chennai, capital of Tamil Nadu and easily accessible by road throughout the year. Chennai in turn is accessible both by Air & Rail/Road from across India. The best advised visit window is between December to February, as one has to trek a vast strech on foot to explore the entire Temple complex. Mahabalipuram is a 7th century port city named after Pallava king Mamalla. It was built between the 7th & 9th Centrury AD and comprise of various temple complexes built in Dravidian style of architecture and reflect distictive influence of Buddhist elements of rock cut sculptures & design - It has been declared as a UNESCO Heritage site. The temples comprise of three main categories - Cave Temple, Rathas (sculpted out of monolithic natural stone formations) and sculpted reliefs on rock faces.
My visit Itinerary - I had travelled from New Delhi by Air to Chennai, this journey takes around 2 hours & 30 minutes. After going around in Chennai, especially Marina Beach during the late evening, which is a good experience. I started off early morning the next day by a hired Taxi (Charges vary from Rs.900/- to Rs.1400/- depending upon type of vehicle that you hire) I visited Kovalam beach ( a small beach on way to Mahabalipuram). The journey to Mhabalipuram is smooth and the road is good. It takes about 2 Hours to reach Mahabalipuram from Chennai.

shore temple

Shore Temple, Mahabalipuram

The area around the shore temple has changed a lot since I visited the place almost 15 years back. Now that it has been declared a World Heritage Site, the area around Narasimhavarman's 7th century Shiva temple is beautifully maintained.
Tags: Mahabalipuram, Shore Temple, Pallava, Hinduism
Posted on June 18, 2007 12:55 AM Permalink Comments (1) TrackBacks (0)
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Shore Temple, Mahabalipuram (2)


The Shiva Linga inside the Shore Temple.

Tags: Mahabalipuram, Shore Temple, Pallava, Hinduism
Posted on June 18, 2007 10:57 PM Permalink Comments (0) TrackBacks (0)
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June 20, 2007
Lifting the veil
Pratibha Patil, the virtual unknown, whom Sonia Gandhi picked up as the candidate for the President of India just to shut up Prakash Karat has established an albatross-neck relationship with the Congress Party. Her blame on the origins of the purdah system on Mughal invaders has created a new job position in the party for a Shane Warne level spin master. This statement by a candidate of a party which has been trying to white wash Indian history for the past half a century has upset all the secular fundamentalists.The ultimate secular cuss word was used - pro-RSS. Her views were found to be similar to those of Hindu fanatics. Clueless newspapers like Deepika (Malayalam) said that Ms. Patil should not have made irresponsible statements (statements which affect vote bank) and provided the convincing argument that even the Congress spokesman disagreed with her, while in fact the Congress spokesman Param Navdeep said that it was an established fact that women were a target of aggression during the Mughal rule.
Eminent historians were immediately called into action by beaming the bat signal into the night sky.
Nandita Prasad Sahai, who teaches a course on the gender history of medieval India in JNU, says that there isno consensus amongst historians about the precise period when purdah originated in Indian society."Historian Kegan Paul traces the practice of the custom back to the Vedic period. And anthropologist Patricia Jeffrey says that seclusion and veiling of women was not unknown before the Muslim invasion. It appears that a social ideal recommending women to remain in seclusion to mark their complete loyalty towards their husband already existed," she says."Most historians consider the Muslim invasion as a watershed when purdah is said to have become more widespread as a defensive reaction in troubled times among the Rajput royalty trying to protect their women. In fact, the case is unproven in the absence of statistical material that could establish a change in the extent of the practice of purdah . It seems plausible, however, that the practice became more widespread amongst the Rajput royalty in trying to imitate the custom of the new ruling classes," says Sahai. [Experts lift veil off purdah origin]Trying to push it back to the Vedic period is a nice JNU trick, but then facts disagree.
Some months ago, I recall a North Indian lady talking about the cultural differences she experienced when in South India. Visiting relatives posted in Kerala, she made a pilgrimage to the famed Shri Krishna shrine in Guruvayur. Upon entering the temple she devoutly covered her head -- only to be sternly reprimanded by a priest who told her that this was against Hindu conventions.The temple guardians at Guruvayur were quite right. I don't know how many readers would have stepped into the National Museum in Delhi (sadly ignored by most visitors to the capital). The wealth of treasures in the museum is so great that it has actually spilled out into the lobby. One of the first pieces of sculpture you can see -- before coming even to the ticket office -- is a marvellous statue of the goddess Saraswati, from the Chauhan period as I recall.The goddess of wisdom is portrayed without any covering on her head. So are depictions from thousands of years of Indian history, from the dawn of civilisation on the banks of the Sindhu through the Mauryas, the Guptas, and other dynasties. But as time passes -- and you enter the galleries showing Rajput miniatures from later periods -- the veil makes its appearance, until even Adishakti Parvati has her face partly covered.[The debate over Muslim separatism in the US]
While the Mughal era started in the 16th century, the Muslim invasion started much earlier with the invasion by Mahmud of Ghazni against the Rajput kingdoms and rich Hindu temples like Somnath, Varanasi and Dwaraka in the late 9th century. In the last quarter of the 12th century, Muhammad of Ghor established the Delhi Sultanate and sometimes the word Mughal rule is used incorrectly in a broader sense to include the Turkish and Afghan rulers as well. One more attempt was made to push the date of the purdah system to pre-Muslim era by Vasha Joshi of Institute of Rajasthan Studies who suggested that the veil was prevalent in Rajasthan during the 11th century, much before the Delhi Sultanate. This remark was based on the existence of separate quarters for women called the jenani deorhi in medieval Chittorgarh fort which in no way implies the existence of the purdah system.The Gandhara sculptures show women with band like head gear, but even that cannot be called the veil. Face covering was completely absent in India till the 11 -12th century and they are not present in the Ajanta paintings. Slowly the head covering starts appearing with the arrival of Muslims with a 1250-1275 book in Jaisalmer showing a woman covering the back of the head using the sari.Pratibha Patil did nothing wrong, but stated a historical truth. Her only mistake was that she picked the wrong community to blame. Instead, if she had blamed the caste system or denounced Brahmins, it would have been accepted without debate that she was the person with the perfect secular credentials to be the President of India.

Mahabalipuram Beach

Mahabalipuram Beach


A visit to Mahabalipuram Beach coupled with a visit to Indian Beach Tours, offers a valuable insight into Mahabalipuram and its list of historic monuments and temples which lie generously scattered all across the length and breadth of the Mahabalipuram Beach, located in Tamil Nadu, India. Mahabalipuram is an exotic celebration of the imaginative and creative spirit of the Pallava kings with the rathas and the sculpted panels planted all across the historical monuments serving as great tourist attractions for people from all parts of the country.
Hotels near Mahabalipuram BeachSome of the prominent hotels near Mahabalipuram Beach are namely, the Hotel Golden Sun, Hotel Ideal Resort and Silver Sand Beach Resort
Name: Hotel Golden Sun Category: Luxury Class Facilities: Hotel amenities present in the Hotel Golden Sun include 60 well appointed rooms which have the amenities of running hot and cold water, telephones, satellite television, channel music and round the clock room service. Other amenities include a multi cuisine restaurant and ideal conferencing facilities.
Name: Silver Sand Beach Resort Category: Three Star Facilities: Hotel amenities present in the Silver Sand Beach Resort, located in Mahabalipuram, India, include a well-maintained swimming pool, along with the presence of a multi cuisine restaurant which dishes out a multitude of menus and cuisines.
Name: Hotel Ideal Resort, located in Mahabalipuram, India Category: Luxury Class Facilities: Hotel amenities present in the Hotel Ideal Resort, located in Mahabalipuram, India, are a bar, swimming pool, conference hall and Barbecue outdoors. The hotel has specialization in a certain type of seafood with the delicacies being crabs, lobsters and a wide variety of fish
A visit to Indian Beach Tours, offers travel tour booking and travel packages to Mahabalipuram Beach, located in Tamil Nadu, India. For more information or to book a tour please enter your query in the form below.

Thirukadalmallai

Thirukadalmallai: It is a marvelous temple dedicated to Lord Vishnu. This temple was built by the Pallavas for safeguarding the sculptures from the waves of the ocean. According to the sources, after this temple was built, the remaining structure was preserved and was unharmed by the sea.
Shore Temple:This charming temple located on the shore is the most famous among the tourist attractions in Mahabalipuram. It is located between two Shiva temples and is a visual delight recognized for its architectural masterpieces. You will find the attractive sculptures of Nandi the bull while the figure of Vishnu is present in the sanctum. Pancha Pandava Rathas:These splendid structures dating back to the 7th century are located in the southern end of Mahabalipuram. These Rathas (chariots) are five in number and carved out of a single rock. Out of these rocks, gigantic stone animals have been carved out including an elephant. Arjuna's Penance:It is a massive bas-relief replete with meticulous carvings that include a family of elephants and monkeys. The carvings on the bas-relief are the stories from the legends of India and the Panchatantra . You will also encounter the Krishna Mandapa nearby, which is a bas-relief of enthralling architectural brilliance.
Caves: The caves in Mahabalipuram are among some of the most sought-after Mahabalipuram tourist attractions. The Varaha cave is one such cave which is actually a rock-cut mandapam (hall) and features two incarnations of Vishnu which are Varaha (boar) and Vamana (dwarf). There is also a seventh century Dharmaraja Cave and consists of three empty shrines. The other caves located here are Mahisasurmardini Cave and Tiger cave. Krishna's Butterball:This is a huge natural rock perched on a hillside and the precarious way in which it is balanced simply startles its onlookers. Moreover, Mahabalipuram is also an ideal point for indulging in various adventure activities such as bike trips, boat rides, fishing trips, trekking and wind surfing. Touristplacesinindia.com offers online information on the Mahabalipuram Tourist Attractions and useful inputs on tour to Mahabalipuram.

Famous rock temple

Mamallapuram (Mahabalipuram) also close to Chennai (Madras) is on the shores of the Bay of Bengal, along the eastern coast. Mamallapuram known for its rocks carvings and monolithic sculptures has the famous shore temple, the only one to have survived the ravages of nature. Also known as the Seven Pagodas (temples), six now lie submerged in the sea.
Known as the Pallava Art, this was built during the period 830 - 1100 AD.

Mahabalipuram

Globally renown for its shore temples, Mahabalipuram was the second capital of the Pallava kings of Kanchipuram. 58 kilometres from Madras on the Bay of Bengal, this tiny sea - side village of Mahabalipuram, is set in a boulder - strewn landscape. Tourists are drawn to this place by its miles of unspoiled beach and rock-cut art. The sculpture, here, is particularly interesting because it shows scenes of day-to- day life, in contrast with the rest of the state of Tamil Nadu, where the carvings generally depict gods and goddessesMahabalipuram art can be divided into four categories : open air bas - relief, structured temples, man-made caves and rathas ('chariots' carved from single boulders, to resemble temples or chariots used in temple processions). The famous Arjuna's Penance and the Krishna Mandapa, adorn massive rocks near the centre of the village. The beautiful Shore Temple towers over the waves, behind a protective breakwater. Sixteen man-made caves in different stages of completion are also seen, scattered through the area.
History The temples of Mamallapuram, built largely during the reigns of Narasimhavarman and his successor Rajasimhavarman, showcase the movement from rock-cut architecture to structural building. The mandapas or pavilions and the rathas or shrines shaped as temple chariots are hewn from the granite rock face, while the famed Shore Temple, erected half a century later, is built from dressed what makes Mamallapuram so culturally resonant are the influences it absorbs and disseminates.
All but one of the rathas from the first phase of Pallava architecture are modelled on the Budhist viharas or monasteries and chaitya halls with several cells arranged around a courtyard. Art historian Percy Brown, in fact, traces the possible roots of the Pallavan Mandapas to the similar rock-cut caves of Ajanta and Ellora. Referring to Narasimhavarman's victory in AD 642 over the Chalukyan king Pulakesin II, Brown says the Pallavan king may have brought the sculptors and artisans back to Kanchi and Mamallapuram as 'spoils of war'.
Temples in MahabalipuramThere are, or rather were, two low hills in Mahabalipuram, about 400m from the sea. In the larger one, on both sides, there are eleven excavated temples, called Mandapas, two "open air bas reliefs", one of which is unfinished, and a third enclosed one. Out of a big rock standing free nearby there is a "cut out" temple, called a "Ratha". This type is unique to Mahabalipuram.
Out of the other hill, much smaller and standing about 200m to the south, are fashioned five more rathas, and three big sculptures of a Nandi, a Loin and an Elephant. On the top of the bigger hill there is a structural temple, and a little distance the magnificent beginnings of a Vijayanagar Gopura and also survivals of what is believed to be a palace.
Shore TemplePerched on a rocky outcrop, it presides over the shoreline, serving, as Percy Brown puts its, 'a landmark by day and a beacon by night'. Designed to catch the first rays of the rising sun and to illuminate the waters after dark, the temple ended up with an unusual lay-out. As the main shrine faces the sea on the east, the gateway, the fore count and the assembly hall of the Shore Temple all lie behind the sanctum.
Unusual, too, is the fact that the temple has shrine to both Shiva and Vishnu. The main sanctum and one of the two lesser ones on the west are dedicated to Shiva. The enclosing wall has a series of Nandi bulls on it.
Interconnected cisterns around the temple meant that the sea could be let in to transform the temple into a water shrine. But, in recent times, a stone wall as been added to protect the shrine from the rising seas and further erosion. MandapasThe main hill at Mamallapuram is dotted with pillared halls carved into the rock face. These mandapas, with their graceful columns and intricate figure sculptures bear witness to the artistry of the Pallavan rock cutter. The ten pavilions at Mamallapuram, of which two are unfinished, were designed as shrine, with a sanctum and on outer hall. The shallow porticoes are adorned with exquisite sculptures of gods, goddesses and mythological figures.
The Ganesh mandapa is an active shrine even today, with the idol of the elephant-god being revered by the faithful, fourteen centuries after it was first consecrated.
Beyond the circular rock called Krishna's Butterball is the Varaha mandapa dedicated to the two avatars of Vishnu as Varaha the boar and Vamana the dwarf. The pillars of this pavilion are perhaps the earliest to display a motif that became the signature of southern architecture-the lion pilaster, where a heraldic lion support ornamental pillar. The Mahishasuramardini mandapa has the goddess Durga in bas relief, slaying a buffalo-headed demon, and the Vishnu Sayana Mandapa shows Lord Vishnu lying under the protective hood of the seven-headed serpent Adishesha.
Of the other mandapas, the Panch Pandava mandapa, that is unfinished, has a more elaborate facade. Its pillars are adorned with rearing lions springing from the capital, and the shrine is the only one surrounded by a passage which allows circumvolutions. RathasThe eight rathas are monolithic temples fashioned as chariots. They remain an architectural mystery, for each is apparently a faithful reproduction of a structure built of wood. In fact, even the grain of the timber beams and rafters has been simulated in stone.
Of the eight rathas, five have been named for the Pandava brothers, the heroes of the epic Mahabharata, and their shared wife, Draupadi. The largest is the Dharmaraja ratha and it sets the tone for the others. Modelled on a Buddhist vihara or monastery, it sports a square hall topped by a vaulting roof. The Bhima, Arjuna and Nakula-Sahdeva rathas are lesser copies of the Dharmaraja ratha.
The Draupadi ratha is the smallest and the quaintest. It is simple structure, fashioned as a thatched hut borned on the backs of elephants and lions. It was probably the fascimile of a portable village shrine.
The fact that many of the temples and sculptures of Mamallapuram are unfinished, points to the sudden withdrawal of patronage from rock-cut temples when King Rajasimhavarman came to power. How to get there AirChennai (58-km) is the nearest airport with both domestic and international terminus. Chennai is connected with all the major places in India through the numerous domestic flights. International flights operate from various parts of the world to Chennai. RailThe nearest railway stations are Chengalpattu (29-km) and Chennai (58-km). From these stations one has to take road to reach the Mahabalipuram. RoadBuses are available from Pondicherry, Kanchipuram, Chengalpattu and Chennai to Mahabalipuram daily. The road to Mahabalipuram is good. Tourists can also hire a taxi from Chennai.

Daula tomb

Itmad-Ud-Daula’s Tomb:
The Mausoleum of Itmad-ud-Daula, the revenue minister of Jahangir and Nur Jehan’s father was built in Agra on the banks of the Jumuna. Started by Jahangir it was completed by Nur Jehan in 1628 A.D. A small rectangular structure in white marble, inlaid with semi-precious stones and coloured glass, it is a delicate and beautiful piece of architecture. It is the first pure marble monument and differs from the typical massive, red sand-stone structures of earlier Mughals. Situated in a garden amidst fountains, it has a square lower storey with four minarets in the four corners. A traceried pavilion forms the second storey. A central chamber inside contains the tombs and is surrounded by an enclosed verandah. A jewel in marble-“there is no other building like it in the entire range of Mughal Architecture”.

Itmad-Ud-Daula’s Tomb, Agra
(Picture courtesy Archaeological Survey of India)
Shah Jehan, the most famous of the Mughal builders had a passion for building. His reign marks the construction of numerous palaces, forts, mosques and gardens. His buildings are marked by the quality feminity, grace and elegance. They do not show the masculinity of Akbar's solid red sand-stone constructions. Mughal architecture reached the peaks of excellence during this reign. The main characteristics of his buildings are - the use of delicately carved white marble richly decorated with pietra dura or inlay of coloured stones and calligraphy in black marble. Some of his outstanding works are the Moti Masjid or Pearl Mosque in Agra Fort and the Taj Mahal, the Red fort in Delhi with the Diwan-i-Am and Diwan-i-Khas, the Jami Masjid in Delhi and the mausoleum of Jehangir in Shahdara, Lahore (in Pakistan).

Akbar tomb

Akbar's Tomb, Sikandra
The Mausoleum of Akbar at Sikandra near Agra was started by Akbar and completed by his son Jahangir in 1612 A.D. who changed the original design of his father. Designed on the model of a Buddhist Vihara, it is set in the centre of a square garden. The enclosure wall on each side has a gateway. The main gateway has four white marble minarets in the four corners. The Mausoleum has five terraces, rising from the basement, one above the other, diminishing in size as they ascend. The red sand-stone entrance gateway is the largest and is richly decorated with inlaid coloured stone work. With its charming proportions, it is by itself a work of art.

Buland darwaza

Buland Darwaza
A magnificent gateway was added later in 1571-72 to commemorate his conquest of Gujarat. Built of red sand stone and marble it is said to be the “most perfect architectural achievement in the whole of India". A flight of steps lead to the gateway which is about 53 metres in height and 39 metres in width. Entrance is through a huge arched domed recess. A broad rectangular strip bordering the archway has calligraphic inscriptions on it. At the corners are slender turrets. The beautiful perforated parapet and the row of kiosks with cupolas add to the dignity of the monument. An inscription on the gateway testifies to Akbar’s religious toleration.

Buland Darwaza, Fatehour Sikri, Agra
(Picture courtesy Archaeological Survey of India)

Jehangir though a lover of art was fond of natural beauty and so devoted his time to the laying of beautiful gardens such as the Shalimar and Nishat Bagh in Srinagar, Kashmir and to miniature paintings. Out of the few of his constructions of note are Akbar's tomb at Sikandra and the tomb of his father-in-law Itmad-ud-Daula both near Agra

Fatepur sikri

Fatehpur Sikri
Akbar’s greatest architectural achievement was the construction of Fatehpur Sikri, his Capital City near Agra. The construction pf the walled city was started in 1569 A.D. and completed in 1574 A.D. contained some of the most beautiful buildings – both religious and secular which testify to the Emperor’s aim of achieving social, political and religious integration. The religious edifices worth mentioning are the Jami Masjid and Salim Chisti’s Tomb. The tomb built in 1571 A.D. in the corner of the mosque compound is a square marble chamber with a verandah. The cenotaph has an exquisitely designed lattice screen around it.

Jami Masjid, Fatehpur Sikri
(Picture courtesy Archaeological Survey of India)

Tomb of Sheikh Salim Chisti, Fatehpur Sikri
(Picture courtesy Archaeological Survey of India)

The secular ones include Jodh Bai’s palace, the Panch Mahal, the Diwan-i-khas and the Buland Darwaza. Jodha Bai's palace is a large building consisting of rooms on all four sides of a courtyard. The centre part and four corners of the building are doubled storeyed. A small chapel attached has niches in the wakks for idols. The panch Mahal is a five stored structure, each storey smaller in size as they go up, the last one being only a kiosk.

Panch Mahal, Fatehpur Sikri
(Picture courtesy Archaeological Survey of India)
The Diwani Khas, an outstanding structure was meant for the Emperor to sit in audience with his ministers and listen to disputes and discussions. A novel structure, it is a large hall with a giant monolithic pillars in the centre with a circular railed platform on top like a cup which is supported by a circular array of beautifully carved brackets. From the Central platform branch out four diagonal railed galleries symbolizing Akbar’s supremacy over his dominions. The gallery is continued on all four sides of the hall. The audience sat in the galleries and in the hall below giving it the effect of a two-storey building. Sitting in the centre, Akbar heard discourses and discussions on religions.

Agra fort

Agra Fort
A greater part of the fort at Agra was constructed by Akbar starting in 1565 AD and completed it in 1574 A.D. Situated on the bank of the river Jamuna, it is a massive and grand structure. The special feature of this fort is the 2.5 kms. long and 21 metres high circuitous wall of solid red sand stone. The stones are linked with iron rings so close that not even a hair can pass through. The entrance to the fort is through two gateways. The main entrance known as Delhi Gate was the ceremonial entrance to the fort. The other smaller gateway is called the Hathi Pol or Elephant Gate because of the two huge elephants on either side of the gate and was meant for private use.
The Delhi Gate entrance archway is flanked by two double storeyed octagonal bastions crowned by octagonal domed kiosks. A balcony separates the two storeys. The structure above the balcony has arched recesses. The gateway is decorated with beautiful panels of coloured tiles and marble inlay work.
The fort is surrounded by a deep moat. The fort formerly contained numerous buildings of red sand stone but these were later demolished in the reign of Shah Jehan who constructed marble pavilions instead. Some of the important buildings inside the fort are the Jahangiri Mahal built for Jahangir and his family, the Moti Masjid, and Mena Bazaars. The Jehangiri Mahal is an impressive structure and has a courtyard surrounded by double-storeyed halls and rooms. The corbel brackets, doorways and the chajja above them are profusely carved.
The elaborate architecture of the brackets seems to be an imitation of wood work. The planning and construction of the fort show that Rajput architectural styles were freely adopted.

humayun tomb

Humayun's Tomb
Humayun’s tomb was built by his widow Haji Begum in 1565 A.D. in Delhi in 1569A.D., fourteen years after his death. The mausoleum stands in the centre of a square enclosed garden. The garden is divided and sub-divided into squares, typical of Mughal gardens. The lofty double storeyed structure is built on a huge high platform terrace which has a row of calls with arched openings. The central chamber is octagonal in shape and contains the tomb. Each side of the mausoleum has a large arched alcove in the centre with smaller ones on either side. It has a high marble double dome in the centre and pillared kiosks with cupolas surrounding it. Built of red sandstone with an inlay of black, white and yellow marble it presents an imposing picture. Planned by a Persian architect and constructed by Indian workers, it is a combination of both Persian and Indian styles of architecture. Entrance to the mausoleum is through two double storeyed gateways.

Mughal artitech

All the early Mughal Rulers except Aurangzeb were great bui1ders. With the coming of the Mughals, Indian architecture was greatly influenced by Persian styles. The Mughals constructed excellent mausoleums, mosques, forts, gardens and cities. The Mughal buildings show a uniform pattern both in structure and character.
The main characteristic features of Mughal architecture are the bulbous domes, the slender minarets with cupolas at the four corners, large halls, massive vaulted gateways and delicate ornamentation.
The few mosques and palaces built by Babar and Humayun are not of much architectural significance
Sher Shah of the Sur Dynasty who ruled over the Kingdom of the Mughals after driving Humayun out of the country was not only a great administrator but a lover of art also. He built several forts, tombs and mosques. The monuments of Sher Shah are a continuation of the Lodi style. The mausoleums are octagonal in plan and have verandahs around them, surmounted by huge domes. The verandahs have three smaller domes on each side.

Purana Quila (Old Fort), Delhi

Sher Shah built the Purana Quila in Delhi. Started by him, it was completed by Humayun. Built of red and buff sand-stone, it is ornamented with black and white marble and coloured tiles. A beautiful mosque inside the Quila with ornamental arches, decorative panels, geometrical designs and inscriptions is an example of the development of architecture and ornamentation during Sher Shah's reign.

Sher Shah's tomb, Sasaram

Sher Shah's tomb at Sasaram in Bihar built in 1549 is in the centre of a large square tank and rises al 46 metres high. It is a two storey construction on a terraced platform. The upper terrace has pillared domes and the two storeys above have a pillared kiosk at the four corners. The base of the large central dome has thirty two sides. The tomb is decorated with coloured tiles, very few of which remain now. Entrance to the tomb is through a domed structure.
Mughal architecture begins with Akbar who showed his passion for building by planning and constructing splendid edifices. During his reign Mughal architecture took on new forms. Akbar made free use of both Hindu and Persian styles. The use of red sandstone inlaid with white marble and painted designs on walls and ceiling are the salient ­features of Akbar's buildings.
Akbar constructed numerous forts, towers, palaces, mosques, mausoleums and gateways. A structure of note built during his reign is Humayun's Tomb in Delhi.

Vijayanagar artitech

VIJAYANAGAR ARCHITECTURE

The Emperors of Vijayanagar whose empire compromised of almost the whole of peninsular India, were great builders and spent lavishly on works of public utility, i.e. tanks, reservoirs, lakes, palaces and temples. In temple building they continued the traditions and styles of the Chalukyas, Cholas and Pandyas. These temples in Andhra Pradesh and Deccan show marked traces of Chalukyan style, whereas their temples in the south show Chola and Pandya influence. Built of hard stone, the Vijayanagar temples are large structures with spacious mandapas and lofty gopurams.
One of the splendid temples of the time is the famous Harasa Rama Temple at Vijayanagar built in the reign of Krishna Deva Raya (1509-1550 A.D.). It is considered to be “one of the most perfect specimen of Hindu Temple architecture”. The temple does not have a gopuram. The four central pillars are finely polished and decorated with beautiful sculptures, Panels of the entire life of Rama and episodes from the Ramayana are delicately sculptured on the exterior of the temple.

Harasa Rama Temple, Hampi

The temple of Vithala also in Vijayanagar dedicated to Vishnu is another gigantic structure started by Krishna Deva Raya in 16th century AD. A large well built complex, it is on the pattern of the southern temples. It has axial mandapas and small shrines and gopurams. It has a highly ornamented main mandap with intricate picture compositions painted on the ceiling. This shows that the art of sculpture and painting had attained a very high degree of excellence during that period. The typical lofty gopuram is covered with excellent sculptures. Other features of the temple are the exquisitely carved pillars and the massive solid granite rathas with three huge wheels in the open courtyard.

Dravidian artitech

DRAVIDIAN ARCHITECTURE

The South Indian temples have made a rich contribution to temple architecture in India. The development of the Bhakti Cult in the form of Saivism and Vaishnavism resulted in the worship of idols and construction of temples. Starting with the rule of the Pallavas in the 7th Century A.D. temple architecture gradually continued to develop during the Chola Period (900 – 1150 A.D.), the Chalukya and Hoysala Period (10th to 12th Century A.D.), the Pandya Period (1100 A.D. to 1350 A.D.), the Vijayanagar Period (1350 A.D. to 1565 A.D.) culminating in the final phase of the Dravidian style during the rule of the Nayak rulers of Madurai.
The South Indian temples are institutions by themselves and are centres of community life – Public and Religious. Here, people gathered to worship, discuss social, political and religious matters. They were centres for music, dance and drama. They had schools and colleges attached where free secular and religious instruction were given as per the Agama Shastras, they maintained people of various crafts and occupations as temple staff to serve the needs of the community. They have thus contributed to the all-round development of the individual in Society.
The Dravidian or Pallava style was introduced during the Pallava Rule. The earlier form of this style is seen in the rock cut temples or Rathas of Mahabalipuram. Known as the Seven Rathas and named after Ganesh, Draupadi and the Five Pandava brothers, these temples are cut out of solid rock, have mandaps and pillared halls. They are monolithic shrines.
Mahabalipuram or Mamallapuram, 59 Kms. south of Madras, was founded by Narasimhavarman I Pallava who ruled over the area in the 7th Century A.D. There are a number of cave temples with beautiful mandaps and figures of lions – the symbols of the Pallava Simha Vishnu prominently displayed.
The Seven Rathas were excavated during the reign of Narasimhavarman 1. The Dharmaraja Ratha is the largest of the group and is 12.8 mtrs. long. Its height is 12.3 mtrs feet. Built on a square base, it has a 3-tier pyramidal superstructure with a stupa adorn it on top. The Draupadi Ratha is the smallest and most elegant. Dedicated to Saivism, these rathas have around them images of lions, elephants and bulls carved on rocks as symbols of Durga, Indra and Shiva respectively.
The temples, mostly pyramidal structures have either a square or rectangular base. The superstructure of the Bhima Ratha is different and is semicircular in shape like the vaulted roof of a wagon. The mandaps and Rathas are adorned with beautiful sculptured figures and panels. The most beautiful and well-known of these is that showing the ‘penance of Arjuna’ or as described by some artists the ‘Descent of Ganga’.

Dharmaraja Ratha, Mahabalipuram
(Picture courtesy Archaeological Survey of India)


SHORE TEMPLE, MAHABALIPURAM
The Shore Temple at Mahabalipuram, built during the reign of Narasimha 11 is on the seashore. Facing east, the temple has a small gopuram with a pradakshina path between the temple and the outer wall. The main shrine contains a broken fluted Shiva linga. Opposite the gopuram is the dwaja sthamba. The outer walls of the temple are covered with carved panels separated y lions. Many of these have been destroyed by the dashing waves of the sea. Behind this shrine is another cell with a figure of Vishnu reclining on the serpent sesha. Next to this and facing west is another shrine dedicated to Shiva. Opposite the Temple is the Balipitha or altar. The courtyard is surrounded by rows of Nandis. Rocks carved with the eight-armed Durga on a lion can also be seen near the temple.


Shore Temple, Mahabalipuram
(Picture courtesy Archaeological Survey of India)

The second phase of Pallava art begins towards the end of the 7th century AD and continues in the 8th century AD in the form of structural monuments. Splendid temples were constructed during this period. The characteristic feature of these temples is the high shikharas ascending tier upon tier, diminishing in size. The most beautiful examples of this style are the Kailashnath Temple dedicated to Shiva and the Vaikuntha Perumal Temple to Vishnu both located at Kanchipuram. These are a development on the style of previous temples and contain a flat roofed mandap surrounded by numerous cells. Rock and brick were used in the construction.
The Kailashnath Temple of Shiva was built by Rajasimha Pallava and his son Mahendravarman. Built of coarse sandstone, it has a four-storeyed square vimana. The sikhara is octagonal. Three of the four storeys of the vimana are decorated with miniature vimanas and the fourth has four nandis on the four corners. The bases of the mandapa pillars have lions sculptured on them. The temple has a courtyard on all four sidesin which there is a row of fifty four small shrines. A temple wall encloses the temple complex. The inner and outer walls of these shrines are adorned with fresco paintings while the walls of the main temple are profusely decorated with sculptures.

Rajasthani painting

RAJASTHANI PAINTINGS

The Rajasthani paintings covered a wide area including Malwa, Bundelkhand, Mewar, Bundi, Kota, Jaipur, Bikaner, Sirohi, Sawar, Kishangarh and Marwar. What is interesting to note is that each centre developed its own individual characteristics. In Rajputana, painting was already in vogue in the form of Western Indian or Jain Style. This had provided a base for the growth of various schools of paintings under the influence of the popular Mughal School from circa 1590-1600. Nevertheless the Rajasthani kalams developed their own styles in the years that followed.
One striking feature of of Rajasthani Paintings is the arrangement of figures as even small figures are not are not obscured in the composition. the background, the flora and fauna and the symbols help the composition to express an intensity of feelings and emotions. Architecture usually painted in the background, is used as a device to create perspective and depth.

Chola artitech

CHOLA ARCHITECTURE

The Imperial Chola rulers of Tanjore developed the Dravidian style of temple architecture almost to perfection. Their works taken up on a stupendous scale include irrigation schemes, embankment of artificial lakes, dams across the Kaveri and well planned cities. A special feature of the Chola architecture is the purity of artistic tradition. The two magnificent temples at Tanjore and Gangaikonda Cholapuram in Tiruchirapalli District built in early 11th century A.D. show the best of Chola art.
The Brihadeswara or Rajarajeswara Temple of Shiva in Tanjore built by Rajaraja Chola in 1010 A.D. is the largest and highest of Chola temples and stands as a symbol of Chola greatness. Constructed in granite, the main structure of the temple has a square base about 53 metres high and its lofty shikhara of thirteen successive storeys is 57.7 metres high. A huge stone dome nearly 8 metres high and weighing about 81 tons crowns the shikhara. The temple from the top of the base is covered with exquisite sculptures and mouldings. The plinth is covered with inscriptions in Tamil. The niches on three sides of the main shrine contain idols of various gods and goddesses. The gopuram on the entrance gates are decorated with beautiful sculptures. The temple stands in a spacious enclosed courtyard and pavilion with one of the largest monolithic Nandis (6 metres long, 2.6 metres broad and 307 metres high) in South India, a large assembly hall and a pillared portico.

Brihadeswara Temple, Tanjore

The walls of the passage around the sanctum are covered with panels of exquisite paintings which though faint with time show vivid expression - a marked feature the classical painting of the Cholas. The hundred and eight dance poses of Shiva carved on the inner walls of this temple testify to the heights attained by the Cholas in the field of sculpture. An imposing structure the temple is the finest creation of Chola craftsmen.

Temple Mural, Tanjore

The temple Shiva at Gangaikonda Cholapuram built by Rajendra 1 Chola (1018 to 1033 A.D.) is another line piece of temple architecture. Massive grandeur and huge structures decorated with minute sculptures are characteristics of Chola art. A new development was the addition of a gateway or gopuram to the walled enclosure of the temple.
Another achievement of th4e Cholas is the plastic art of Chola bronzes. Exquisite idols of Hindu gods and goddesses exhibit the superb workmanship of the craftsmen. The most famous of these is the figure of Nataraja or dancing Shiva portraying the Cosmic dance of Shiva.

Sri Navaneetha Krishnan / Sri Rama Baktha Kariya Sidhi Anjaneyar temple

Visit to Sri Navaneetha Krishnan / Sri Rama Baktha Kariya Sidhi Anjaneyar temple at Thittai
Quick facts:
Main deity: Rukmani Sathyabama Sametha Krishnan facing eastGoddess: Hemabja NayakiOther main deity: Kariya Sidhi Anjaneyar facing NorthOther deities: Lakshmi Narayan facing south, Garudazhwar facing westVimanam: Thuvithala vimanamSthala vruksham: Banyan, Parijatham (Pavazha malli)Theertham: Jenbakarunya Pushkarani

The Temple:
Near to the Guru Bhagawan temple in the southwest direction, this small temple called Kariya Sidhi Anjaneyar is located. The main deity is Navaneetha Krishnan and the other main deity is Anjaneyar in a separate shrine in meditative pose. It is a popular belief here that by submitting one’s wish to the Anjaneyar and practicing worship as guided by the Anjaneyar(through the priest), the wish gets fulfilled. The process is as follows:
You get a set of items from the temple containing an unpeeled dry coconut (Matta Thengai), a jacket cloth piece and other pooja items for a nominal sum, write your address and the wish to be fulfilled in separate papers, make a bundle of all these by keeping the wish list inside the bundle and pasting the address paper outside. You hand over this to the priest who then submits it to the Anjaneyar deity in meditative pose. While the priest is submitting your wish to the Anjaneyar, the priest instructs to you the form of prayer practice (like lighting the deepam in an Anjaneyar temple) you have to take, the no of weeks you have to continue the practice and the no of days/ weeks it will take for the wish to get fulfilled. You have to be ready with a pen and paper to note it down since it will not be repeated. The bundle will be tied to a stick in an exclusive place within the temple and will remain there for a few months. After your wish is fulfilled, you are expected to visit the temple again to untie the bundle and perform an abisheham for the Anjaneyar.
Our relatives say that this Anjaneyar is very powerful and they have seen that this practice has brought about success in many cases. I have also submitted my personal wish and my kids’ wishes and I have to see the result. Immaterial of the result, we got into the habit of lighting the deepam in an Anjaneyar temple every Saturday and that too we try to do it in a new Anjaneyar temple which we have not visited before. This gives us an immense pleasure and we are extremely happy with this routine. We planned to continue this as long as we are able to.
The Mahasamprokshanam of the temple took place on 31st Aug 2007.
Note on Guru Worship:
In most of the temples you will see only Lord Dakshinamoorthy as Guru Bhagawan and the following 3 places are considered very special because:
All the 7 gurus are present in Uthamar koil,
Lord Brahma is present as Guru in Thirupattur and
Navagraha Guru is present as Guru in Thittai.
For someone desparate to seek Lord Guru’s blessings, the best way could be to visit all these three special Guru temples in a single day on a Thursday and I recommend the following for people who wish to do the same.
From Trichy, first you can visit Uthamar koil and from there to Thirupattur. Then while coming back you may visit Samayapuram. You can then go to Tanjore without coming to Trichy city by taking the bypass road at the Toll gate. Tanjore is just an hour drive from Trichy. At Tanjore, you can go to Thittai temple without going into the city by taking the bypass ring road and getting into the Kumbakonam road and then proceed towards Thittai. (From there you may visit Thirukandiyur as well).

Thittai (also called Then kudi Thittai) - Guru temple

Thittai (also called Then kudi Thittai) - Guru temple
Location:
The temple is located at about 15 kms from Tanjore. While traveling towards Kumbakonam, after crossing the city bypass ring road, you will see a ‘Y’ branching to Thiruvaiyaru and Kumbakonam. Take the right turn, enroute to Kumbakonam and travel further for about 2 kms, you will encounter a right side road to Melattur. There is a clear sign board for the temple at this junction. From here, the temple is about 6 kms.
Quick Facts:
One of the 275 shivasthalams glorified by the Tevaram Hymns
Main deity: Pasupateeswarar Vasishteswarar as Swayambu lingam
Goddess: Ulaganayaki, Sugandhamundalambika
Theertham: Chakra theertham
Vriksham: Karuvelamaram
Patikam: Sambandar

The Temple:
Actually Alangudi near Kumbakonam is the main Guru Parihara sthalam of the Navagraha temples around Kumbakonam where Lord Dakshinamoorthy is being worshipped as Guru but this Vasishteswarar temple at Thittai is also considered a Guru Parihara sthalam where the Navagraha star Guru (Jupiter) is present as Guru in a separate shrine with vimanam.
The temple is in a beautiful village atmosphere. A big, well maintained temple tank called ‘Chakra theertha’ is present in front of the temple in the vast open space that adds beauty to the temple. The tank is clean and largely used by the villagers. Various pillars in the temple are plain without any intricate sculpture works but the temple is beautiful, especially the area of Nandhi-Balipeetam-Dwajasthambam which is in an elevated height that gives a majestic look for them.
The main deity is Vasishteswar in the form of a Swayambu lingam and on top of the ceiling in the sanctum sanctorum, there are Surya Kantha and Chandra Kantha stones which absorb moisture from the air and let it drip as water drops on the lingam. A clear witness to the advanced scientific/ architectural knowledge our country had possessed. Across the Ambal shrine there is a mandapam with carvings of the 12 zodiac signs.
Legends:
The name of the place originates from the word “thittu” in Tamil which means a sand dune or an elevated place. Legend has it that during pralaya period when the whole world was submerged, the Gods of creation, protection and destruction took shelter in the “thittu” here between the Vennar and Vettar rivers. Shiva appeared here in the form of a Swayambhu Lingam.
The place is also called Therur or Rathapuram, the name arises from the legend of the chariot of a king by name Sumali getting stuck in the dunes here.
The Vedas, Renukadevi, Vasishtar, Gowtama, Adi Seshan, Kamadhenu and Vishnu are said to have worshipped here. The principal deity is called Vasishteswarar since the sage Vasishtar worshipped him.
The Goddess Ulaganayaki is also known as Sugantha Kunthalambigai since a Vaisya girl by name Sugantha Kunthala got her deceased husband back to life after worshipping Ulaganayaki here. Hence, Ulaganayaki is worshipped for not just protecting everyone on earth but also for the long life of one’s husband.
Highlights:
In most other temples Lord Dakshinamoorthy is being worshipped as Guru and only in three places - Thittai (here), Thiruvalidayam, popularly known as Padi near Chennai and Trichendur - Navagraha star Guru is worshipped as Guru Bhagawan.
Guru Bhagwan is present as Raja (Deva) Guru in a separate shrine between the shrines of Easwaran and Ambal.
The Surya Kantha and Chandra Kantha stones on top of the ceiling in the sanctum sanctorum absorb moisture from the air and let it drip as water drops on the lingam. Water drops fall every 20-25 minutes.

Hara Saabha Vimosana Perumal temple

Visit to Hara Saabha Vimosana Perumal temple at Thirukkandiyur
Location:
About 11 kms from Tanjore, enroute to Thiruvaiyaru and 2 kms before Thiruvaiyaru. The temple is on the main road itself.
Quick Facts:
One of the 108 divya desams
Main deity: Hara Sapa Vimochana Perumal/ Kamalanathan in standing posture facing east.
Goddess: Kamalavalli Naachiyar
This is also known as the Pancha Kamala Kshetram due to the five factors - Lord Kamalanathan, Goddess Kamalavalli, Kamala Pushkarani, Kamalaakrithi Vimaanam and Kamala Kshetram.
Mangalasasanam: Thirumangai Azhvaar
Other shrines: Narasimhar, Garudar and Andal
Priest: Sriram Bhattachar, Oththa Theru, Kalyanapuram, Thiruvayaru.Contact no: 98653 02750
Legend:
Shiva got the Brahmaharthi dosham after plucking Brahma’s fifth head. Though his hunger was ended by Goddess Lakshmi at Uthamar Koil, the fifth head of Brahma that got stuck to Shiva’s palm did not leave. Vishnu answered Shiva’s prayer for salvation and asked him to bathe at Kandiyur. Shiva prayed to Goddess Kamalavalli and Vishnu at Kandiyur and attained salvation from Lord Kamalanathan here.
Because Shiva got cleansed of his curse, the deity here is called ‘Hara Saabha Vimosana Perumal’ (Hara is another name of Shiva).

The Temple:
The place is called Kandiyur, in Lord Shiva’s name Kandeeswarar. A small and beautiful temple present just on the main road itself. The utsava perumal is present with his left foot in front. It is our custom that we put our right foot first while entering our house in any subha function. During marriages, we take extreme care that the bride enters the in-law’s house for the first time with her right foot first. In the same way while going out, we have to set our left foot first to bring home success. It seems this is still being followed in Army march pasts.
Prayer Benefits:
Being the place where Shiva himself got salvation from his curse, it is believed that all our curses will go away if one visits this temple.
Note:Just across the road, there is a Shiva temple, one of the eight veeratta sthalams where there are shrines of Brahma and Saraswathi also. When we were there, there was a big crowd in front of the temple with many police personnel due to some trouble and so we could not visit the temple.