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    The Moorish Mosque in Kapurthala, Punjab

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    Kal Bhairava in Sati Ansuyya ghat in Chitrakoot

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    Kal Bhairava in Kalinjar Fort

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    Chaturbhuj Temple, Orchha

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    Dandeshwar group of Temples near Almora

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    Moti Bagh Mosque, Agra

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      Char Bangla Temple, Azimganj, West Bengal

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      Was BNR House in Garden Reach Kolkata Wajid Ali Shah’s Sultan Mahal?

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      Sarai Nur Mahal in Punjab

      The Moorish Mosque in Kapurthala, Punjab

      The Moorish Mosque in Kapurthala, Punjab

      Tomb of Haji Jamal in Nakodar, Punjab

      Tomb of Haji Jamal in Nakodar, Punjab

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      The Tomb of Ustad Muhammad Mumin Hussain in Nakodar, Punjab

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      The Hathikh ana or Khan e Dauran’s estate in Agra

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      The Hathikhana or Khan e Dauran’s estate in Agra

      The Gajantak incarnation of Lord Shiva on the Outer Walls of Kalinjar Fort

      Amravati Ashram in Chitrakoot

      Mrigdhara in Kalinjar Fort, Bundelkhand

      Mrigdhara in Kalinjar Fort, Bundelkhand

      Kal Bhairava in Sati Ansuyya ghat in Chitrakoot

      Kal Bhairava in Sati Ansuyya ghat in Chitrakoot

      Kal Bhairava in Kalinjar Fort

      Kal Bhairava in Kalinjar Fort

      Chaturbhuj Temple, Orchha

      Chaturbhuj Temple, Orchha

      Dandeshwar group of Temples near Almora

      Dandeshwar group of Temples near Almora

      Moti Bagh Mosque, Agra

      Moti Bagh Mosque, Agra

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      The art of khatamband or decorative ceilings of Kashmir

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      Vara a in Udaigiri Caves

      inMy Travels
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      ‪#myheritagetrails took me to Udaigiri caves last year with some of the earliest rock cut temples in India.‬

      ‪This Varaha is world famous and justly On the iconic sculpture in Cave 5 of the Udayagiri caves in Vidisha

      Religious architecture forms a major portion of India’s built heritage. These structures are not only unwritten documents of history, they are also stamps of the might of the rulers who built them and articulations of grand visions.

      Secular and religious structures are products of their location — the material used to build them depended on what was available to the kings and workers at that time. They were also a reflection of the piety of the artisans and workers, for nothing else can explain the hard work that went into cutting through solid natural rock to carve out temples and spectacular sculptures. Rock-cut architecture never fails to awe me with all its majesty, precision, and intricate detail.

      The earliest rock-cut architecture is from the Mauryan dynasty, but the Ajanta caves, which I had visited a few decades ago and which left me awestruck, are among the earliest rock-cut temples.

      The Udayagiri caves, in Vidisha, Madhya Pradesh, are not as popular but they are worth a visit, for they contain some of the oldest Hindu temples and iconography. They were built during the Gupta period (350-550 CE).

      These caves were not just an expression of religious piety but also a political statement. They lie on two low sandstone hills between the rivers Betwa and Bes. It is possible that when these caves were carved out, they fell directly on the Tropic of Cancer and thus the name translates to Mount of Sunrise. On the day of summer solstice, the sun would have been directly overhead, making this a place of worship.

      Stages of temple architecture

      The Gupta period was one of political stability. The Gupta rulers are well known as patrons of art and architecture. Art not only flourished but reached a peak during their rule. It was during the Gupta period that we see for the first time the use of dressed stone masonry, which marked a huge step in the technique of construction. Percy Brown, in Indian Architecture (Buddhist and Hindu Period), writes that its introduction “placed a new power in the hands of the workman” and from it emerged the earliest known conception of the Hindu “house of god”.

      The need for some material interpretation of the religious ideal gave rise to a visible form, usually an idol. After the conception of an anthropomorphic deity, a structural shrine was a natural progression.

      Brown outlines the various stages of Hindu temple architecture — from a leafy bower to a reed hut, then a cella of wood and brick, and, eventually, under the Guptas, a small stone chamber called garbha-griha, or “womb house”. The main deity was kept in this garbha-griha. It was square in plan, with plain, dark interiors and richly carved exteriors and with a single opening. Some of them would have a pillared portico in front.

      Udayagiri has 20 caves. Alexander Cunningham, who conducted archaeological investigations in 1875, numbered 10 of these caves; later studies identified 20 of them, and they were numbered separately

      Victory of Varaha

      This site has iconography related to Vaishnavism, Shaivism and Shaktism (Durga), as well as important inscriptions from the Gupta period. Of all the caves, cave number 5 is the most famous with its colossal and iconic Varaha sculpture which represents the story of the rescue of Bhudevi (Earth). The story goes thus: Hiranayaksha, a demon, attacked and kidnapped Goddess Earth and confined her to the cosmic ocean. Vishnu appeared in his boar avatar Varaha, rescued her and restored her to her rightful position. She is shown hanging on to his right tusk.

      The image of Varaha with his right hand on his knee and left hand on his hip is impressive in its aggression and power. His left foot stamps the Naga king who is guarding the cosmic ocean. On both sides are carved rows of admiring divine figures: Brahma, Shiva on Nandi, and other gods with halos, heavenly musicians, demons, rishis and humans. Curved lines on the rock create the waves of the cosmic ocean.

      Victory of Varaha

      This site has iconography related to Vaishnavism, Shaivism and Shaktism (Durga), as well as important inscriptions from the Gupta period. Of all the caves, cave number 5 is the most famous with its colossal and iconic Varaha sculpture which represents the story of the rescue of Bhudevi (Earth). The story goes thus: Hiranayaksha, a demon, attacked and kidnapped Goddess Earth and confined her to the cosmic ocean. Vishnu appeared in his boar avatar Varaha, rescued her and restored her to her rightful position. She is shown hanging on to his right tusk.

      The image of Varaha with his right hand on his knee and left hand on his hip is impressive in its aggression and power. His left foot stamps the Naga king who is guarding the cosmic ocean. On both sides are carved rows of admiring divine figures: Brahma, Shiva on Nandi, and other gods with halos, heavenly musicians, demons, rishis and humans. Curved lines on the rock create the waves of the cosmic ocean.

      To the right of Varaha are other sculpted gods and goddesses. Of these, a majestic Durga slaying the buffalo demon Mahishasura, Ganga and Yamuna descending from the heavens, and Samudra standing in the waves are noteworthy.

      What seems to be a figure of Chandragupta 2 is shown kneeling behind the Naga king. It was probably a political metaphor to show that he too was like Varaha, for he too defeated evil. The idea seems to have caught the imagination of the people.so!‬

      ‪#Udaigiri #MadhyaPradesh #rockcutsculpture‬ @madhyapradeshtourism

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      Rana Safvi

      Come, explore and fall in love the Beauties of Delhi (Dilli ki Ranaiya’n) and the World with me, Rana Safvi

      I have a masters in medieval history from the prestigious Centre for Advanced Studies, Dept. of History, AMU. A firm believer in our Ganga Jamuni Tehzeeb, I am passionate about gaining and sharing knowledge and these days I am doing it via the social media platform.

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      © 2018 Rana Safvi - A blog Exploring Ganga Jamuni Tehzeeb of India, website handcrafted by Abu Sufiyan.