Qutab Minar

Qutub Minar is the tallest brick minaret in the world, situated within the historic site known today as the Qutb complex in Mehrauli village of Delhi, India. It is an important example of Islamic architecture and along with the other mounuments in the complex, it is listed as a UNESCO World Heritage Site.

Inspired by Minaret of Jam in Afghanistan and wishing to surpass it, Qutb-ud-din Aybak (the first Muslim ruler of Delhi) commenced the construction of the Qutub Minar in 1193, but could only complete its basement. His successor, Iltutmish, added three more stories and, in 1368, Firuz Shah Tughluq constructed the fifth and the last story. The development of architectural styles from Aibak to Tuglak are quite evident in the minaret. The purpose for building this beautiful monument has been speculated upon, apart from the usual role of a minaret- that of calling people for prayer in a mosque- in this case the Quwwat-ul-Islam mosque. The different reasons ascribed to its construction are- as a tower of victory, as a monument signifying the might of Islam and as a watch tower for defence.

The Qutub Minar is 72.5 metres high and visitors must climb 379 steps to get to the top. The diameter of the base is 14.3 metres wide while the top floor measures 2.7 metres in diameter. The Qutub Minar is made of fluted red sandstone covered with intricate carvings and verses from the holy Qur\’an. Some controversy surrounds the origins for the name of the tower. Many historians believe that the Qutub Minar was named after the first Turkish sultan, Qutb-ud-din Aibak but others contend that it was named in honor of Khwaja Qutb-ud-din, a saint from Baghdad who came to live in India who was greatly venerated by Iltutmish.

In the compounds of Qutub Minar, there are many other interesting buildings and structures, including the Quwwat-ul-Islam mosque. The Quwwat-ul-Islam mosque was the first mosque to be built in India. It was built by Qutub-ud-din Aybak using parts of 27 Jain and Hindu temples and both pre-Islamic and Islamic features are present.

The Qutub Minar is itself built on the ruins of Lal Kot, the Red Citadel in the city of Dhillika, the capital of the Rajput Tomaras and the Chauhans, the last Hindu rulers of Delhi. The mosque is in ruins today but one can see indigenous corbelled arches, floral motifs as well as Islamic architectural features such as squinches (setting arches diagonally to a square to support a dome), calligraphy and geometric patterns. Later monuments include the Ala-I-Darwaza and the Alai Minar built by Ala-ud-din Khilji (1296-1316).

To the west of the Quwwat-ul-Islam mosque is the tomb of Iltutmish which was built by the monarch in 1235. The construction of this mausoleum clearly represented a departure from the Hindu custom of cremating the dead.

Close to the mosque is the Iron pillar, one of Delhi\’s most curious structures. Dating to 4th century, the pillar bears an inscription which states that it was erected as a flagstaff in honor of the Hindu god, Vishnu, and in the memory of the Gupta King Chandragupta II (375-413). Made of 98 per cent wrought iron, the pillar highlights ancient India\’s achievements in metallurgy. It has stood 1,600 years without rusting or corroding

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Qutab Minar, the 239ft sandstone tower is an Indo-Islamic architectural wonder of ancient India. This magnificent tower of victory stands in the Qutab Complex located at Aurabindo Marg, near Mehrauli, 14 Km south of Connaught place in Delhi. The complex has a number of other important monuments- the gateway built in 1310, the Alai Darwaza, Quwwat-ul-Islam Mosque; one of the oldest existing mosques in India, the tombs of Altamish, Alauddin Khalji and Imam Zamin; the 2000 year old 7m high Iron Pillar- the Alai Minar; another tower 27m high, the Madrasa or School, great screen of Qutbuddin Aibak in the mosque etc.

King Qutubuddin Aibak of Slave dynasty laid the foundation of the Qutab Minar in 1199, adjoining the Quwwat-ul-Islam mosque, to proclaim the victory of Islam, after the defeat of the last Hindu kingdom in Delhi. It was the Afghan, Muhammad of Ghur who ousted the last Hindu king Prithviraj Chauhan in AD 1192, but he returned to his country leaving Qutbuddin Aibak as his viceroy. In 1206, on his masters death, Aibak crowned himself as the Sultan of Delhi.

The word ‘Qutab Minar’ means ‘axis minaret’. The tower which dominates the countryside for miles around has five storeys, each marked by a projecting balcony. The tower was built in three stages. Qutab-ud-Din completed the first storey. Second, third and the fourth were completed by his successor and son-in -law, Illtutmish in 1230. The minar was first struck by lightening in AD 1368 and the fallen top storey was replaced by two storeys\’s, the fourth and the fifth in 1370 AD by Feroz Shah Tughlaq (AD 1351-88).

Qutab Minar with a height of 72.5m (239ft), is the highest stone tower in India and has a diametre of 14.32 metres at the base and about 2.75 metres at the top. The first three storeys are made of red sandstone and are heavily indented with different styles of fluting, alternately round and angular on the bottom floor, round on the second and angular on the third. The fourth and fifth floors are made of marble and sandstone.

The decoration of the Qutab Minar is consistently Islamic in character from base to top; though the somewhat hybrid style of Firoz Shah\’s later additions is noticeably distinct. Numerous inscriptions in Arabic and Nagari characters are seen as wide encircling bands in the plain fluted masonry of the Minar. This inscriptions reveal the history of Qutab, from its commencement in AD1199 to its repairs in between..

There is a door on the northern side, leading inside the tower to a spiral stairway with 379 steps that winds its way up to the balcony in each floor and culminating in a platform at the top. The intricate balconies held together by stalactite vaulting technique and patterned with honey combing is a special feature of the minar.

The minar has survived a series of lightening bolts and earthquakes during the past centuries. After the first lighting strike way back in AD1368 knocking off the top storey and two floors replaced instead, by Firoz Shah Tuglaq, inscriptions indicate that further repairs were done by Sultan Sikander Lodi in 1503. Later in 1803, the cupola on the top was thrown down and the whole pillar was seriously injured by an earthquake. It was repaired by Major R. Smith of the Royal Engineers who restored the Qutab Minar in 1829 replacing the cupola with a Bengal style chhattri. The chhattri was removed in 1848, by the Viceroy Lord Hardinge as it was criticized as not keeping in with the architectural style of the rest of the minar. Now it stands to the left of the entry path and is known as Smith’s folly.

Today, this impressively ornate tower has a slight tilt, but otherwise has worn the centuries remarkably well. The staircase inside the tower to the balconies has been closed following an accident in early 1980\’s when a party of school girls panicked when the lights failed and a stampede led to a number of deaths.

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A soaring tower of early Muslim vintage, the Qutab Minar attracts many visitors from all across the world. Impressively ornate, its construction began in the 12th century and it was completed in the 13th century. Beautiful calligraphy adorns the adjacent edifices. The Minar rises over 230 feet and can be ascended by a circular stairway for a view that is breathtaking. The monument tapers from a 15-meter diameter base to just 2½ metres at the top.

The tower has five distinct storeys, each marked by a projecting balcony. The first three storeys are made of red sandstone, the fourth and fifth of marble and sandstone. The Qutab Minar is covered with intricate carvings and deeply inscribed verses from the Koran.

Work on the minar was started by Qutb-ud-din Aibak in 1199, celebrating the advent of Muslim dominance in Delhi, but the construction was completed by his successors. To Qutb-ud-din, the tower marked the eastern extremity of the Islamic faith, casting the shadow of God over east and west. It was also a minaret, from which the muezzin called the devout to prayer.

Today, this impressively ornate tower has a slight tilt, but has otherwise remained remarkably well preserved over the centuries.

Monuments and Temples of India

India is a land of magnificent monuments and beautiful temples. The various kings and dynasties that ruled over different regions of India at different periods of time, left their mark on the pages of history, in the form of grand architectural designs. The magnificent structures built by the rulers of India, included monuments, temples, mosques, forts, palaces and churches. From the mesmerizing marble beauty of the Taj Mahal to the rock cut temples of Ajanta and Ellora; from the sandstone forts of Rajasthan to the shore temples of Mahabalipuram; from the monuments and temples of Hindu rulers to the forts and mosques of the Mughals.

This site introduces to you few of the monuments of India.

The monuments described in this site are:

Ajanta Caves

Buddhist Sites

Ellora Caves

Red Fort

Khajuraho Temple

Taj Mahal

Konark Temple

Agra Fort

Sanchi Stupa

Qutab Minar

Kailasnath Temple

Tomb at Golconda

Ajanta Caves

Ajanta is a renowned name in the world of architecture. Amidst a picturesque landscape of Deccan basalt, 101 km north of Aurangabad in Maharashtra, there occurs a small hamelts – Ajanta. It has 30 Buddhist rock-cut caves which have won admiration from all corners of the world for their unique sculptures, carvings and mural paintings. The cave excavations started here in as early as 2nd century B.C. and as many as six caves-two chaitya halls and four monasteries were completed by the end of the 1st century B.C. The momentum of further excavation gained ground during the 5th-7th century A.D. after an interval of nearly 400 years when 24 more caves were added and most of the famous sculptures were chiseled out and masterpieces of the murals were painted.

The Ajanta caves possess an invaluable treasure of Indian art which imbibes inspiration in the art-loving people of all generations. The facades and the Chaitya halls show intense ornamentation and carvings. Rocks were hewn out to make figures of classic qualities. The entire course of the evolution of Buddhist architecture can be traced in Ajanta. The Hinayana type of images continued from 2nd century B.C. to 2nd Century A.D. The remarkable period of artistry was the later phase of cave building during the 6th century A.D. When there was the stupendous architectural upsurge of the Mahayana series. During this time, images of the Buddha on his different life stories and several types of human and animal figures were carved out of in-situ rock.

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Ajanta (more properly Ajujnthi), a village in the erstwhile dominions of the Nizam of Hyderabad in India and now in Buldhana district in the state of Maharashtra(N. lat. 20 deg. 32′ by E. long. 75 deg. 48′) is celebrated for its cave hermitages and halls. As of 1983, the Ajanta Caves have been an UNESCO World Heritage Site specifically nominated for the international World heritage program.

Description of Caves

The caves are in a wooded and rugged horseshoe-shaped ravine about 3 1/2 m. from the village. Along the bottom of the ravine runs the river Wagura, a mountain stream, which forces its way into the valley over a bluff on the east, and forms in its descent a series of waterfalls, 200 ft. high, the sound of which must have been constantly audible to the dwellers in the caves. These are about thirty in number, excavated in the south side of the precipitous bank of the ravine, and vary from 35 to 110 ft. in elevation above the bed of the torrent.

The monastic complex of Ajanta consists of several viharas (dwelling halls) and chaitya-grihas (stupa halls) cut into the mountain scarp in the fifth century CE. The viharas had a broad verandah, its roof supported by pillars, and giving towards the interior on to a hall averaging in size about 35 ft. by 20 ft. To left and right, and at the back, dormitories are excavated opening on to this hall. The number of dormitories varied according to the size of the hall, and in the larger ones pillars supported the roof on all three sides, forming a sort of cloister running round the hall. The viharas incorporated a shrine to house an image of the Buddha in a niche facing the entrance and sometimes subsidiary shrines to the right or left of the entrance. The facades of the viharas were decorated with carvings and walls and ceilings were often covered with paintings (Mitra 1971). Changes in Buddhist thought in the first century BCE had made it possible for the Buddha to be deified and consequently the image of the Buddha as a focus of worship became popular (Dehejia 1997).

A mural from one of the Ajanta caves

The chaitya-grihas go back into the rock about twice as far as the viharas, the largest being 94 1/2 ft. from the verandah to the back and 41 1/4 ft. across, including the cloister. The chaitya-grihas at Ajanta continued to enshrine stupas, but generally they now had a standing or seated image of the Buddha in front of them. Another aspect of changing patterns of worship is the bodhisattva cult that was practised at Ajanta. Bodhisattvas are celestial compassionate beings on the threshold to Buddhahood that chose to remain in the world to help others towards salvation (Dehejia 1997). These bodhisattvas were often depicted as sculptures at the entrance of a vihara or chaitya-griha or on wall-paintings.

The caves are in three groups, the oldest group being of various dates from 200 BCE to CE 200, the second group belonging, approximately, to the sixth and the third group to the seventh century. Most of the interior walls of the caves were covered with murals. When first discovered in 1817, they were in a fair state of preservation, but they have since deteriorated.

Fortunately, the school of art in Bombay, especially under the supervision of J. Griffiths, had copied in colours a number of them before the last vestiges had disappeared, and other copies of certain of the paintings have also been made. These copies are invaluable as being the main evidence of pictorial art in India before the rise of Hinduism.

The expression Cave Temples used by Anglo-Indians of such halls is inaccurate. Ajanta was a kind of college monastery. Hsuan Tsang informs us that Dinnaga, the celebrated Buddhist philosopher and controversialist, author of well-known books on logic, resided there. In its prime the settlement must have afforded accommodation for several hundreds, teachers and pupils combined. Very few of the subjects have been identified, but two are illustrations of stones in Arya Sura\’s Jataka Mala, as appears from verses in Sanskrit painted beneath them.

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The Buddhist cave temples of Ajanta were excavated from a horseshoe-shaped cliff, overlooking a bend of the Waghora river in northern Maharashtra, between the 2d century BC and the 5th century AD. The caves are numbered (1-28) according to their sequential location along the cliff face, which does not correspond to the order in which they were constructed.

The caves were used as a refuge by monks in the monsoon season, when the dry riverbed seen here would be filled with running water fed by a pool and waterfall, and the surrounding valley would be blanketed in lush, green vegetation. (This photograph was taken during the dry season, in February.)

Although both Hinayana and Mahayana phases of Buddhism are represented at Ajanta, the site is best known for its stunning Mahayana murals in caves 1, 2, 16, and 17. These 5th century murals are well-preserved, and completely accessible to visitors; their beauty and antiquity distinguish them as one of the treasures of Indian, and indeed world, art. Unfortunately, lighting conditions inside the caves were too dim to photograph the murals (see Behl for a fine selection), but the following pages sample the cave facades and sculptures.

Wall painting at Ajanta

Entrance to the Ajanta Caves

Buddha Ajanta

Source

http://www.art-and-archaeology.com
http://www.travelmasti.com
http://en.wikipedia.org/wiki/Ajanta

Ellora Caves

The ELLORA rock-cut caves, the most spectacular of India’s monuments, are located 29 km northwest of Aurangabad. The majestic beauty, the architectural style and the sculptures carved out of the Deccan trap rocks of ELLORA have been acclaimed by the entire world. The excavations were executed in different periods. The construction was started in 2.5 century A.D. and was continued later in the 5th and 6th centuries A.D. in the Buddhist style of architecture. The construction activity, between 6th and 9th century A.D. was continued, mostly by the Hindus and Jains.

There are hundreds of caves cut at ELLORA. Out of these only 34 caves containing different sculptures are well preserved and have been declared as protected monuments. The Buddhist were the first religious people to make 12-rock-cut caves. These consisted of a prayer hall and attached monasteries. These were single-storied excavations with one hall up to 35 m deep and 18m wide entered through the verandah with long central hall containing different shrines or cells. Several others were three-storied with a number of cells to accommodate at least 40 priests. The most notable of the excavated caves is the Chaitya hall which measures 26*14*10m.In addition to the Buddhist caves, there are 17(Nos.13-29)Hindu caves and 5(No30-34) Jain caves.

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Ellora is an ancient village 30 km from the city of Aurangabad in the Indian state of Maharashtra. Ellora is a World Heritage Site.

It is famous for its magnificent rock cut architecture comprising of Buddhist, Hindu and Jain cave temples and monasteries built between the 6th century and 10th century. These structures were excavated out of the vertical face of the Charanandri hills, and number 34 in all – 12 Buddhist, 17 Hindu and 5 Jain. The coexistence of structures from three different religions demonstrate the prevalent religious tolerance.

The Buddhist caves

The Buddhist caves are the earliest and comprise of mostly viharas or monasteries, some of which have shrines with the image of Buddha, for example, in one of the caves, a 15 feet statue of Buddha is in a sitting position, in a preaching pose. These caves also represent the oldest caves in the group. In these caves, artists had endeavoured to give the work expression of wood, and one of the caves give impression of wooden beams on their ceilings. These caves are also called Vishvakarma caves.

The Hindu caves

They represent a different style of creative vision and execution skills and the temples were carved top to down and required several generation of planning and continuation coordination to take shape. One of the caves is dedicated to Lord Shiva, represented as a cosmic destroyer. Another cave represents Mount Kailash, the abode of Lord Shiva, and is named Kailashnath temple. The Kailasanatha temple in the Hindu group of caves is a stupendous piece of architecture with interesting spatial effects and varied sculpture. The construction was a feat of human genius – it entailed removal of 200,000 tonnes of rock, took 100 years to complete and covers an area double the size of Parthenon in Athens. Another caves, the Ramesvara cave has figurines of river goddesses at the entrance.

The Jain caves

Jain caves reveal specific dimension of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large, compared to others, but they present exceptionally detailed art works. For example, the 32nd cave is a shrine with very fine carvings of lotus flower on the ceiling. On another cave, an imposing yakshi is seated on her lion under a mongo tree, laden with fruits. All other Jain caves are also characterised by intricate detailing. Many of the structures had rich paintings in the ceilings, fragments of which are still visible.

The town of Elora, Ontario, Canada is named after the Caves.

Kailasanatha Temple

Kailasanatha Temple

Kailasanatha Temple

Source

http://en.wikipedia.org

Konark Temple

The great temple of the sun god at Konark about 66 km from Bhubaneswar in Orissa, is a brilliant achievement in the artistic perfection of the 13th century. The genius of king Narasimha Deva 1 (1238-1264 A.D.) of Orissa who constructed this temple, achieved a unique synthesis of faith and architecture in this giant fantasy.
                                                                                                   
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The massive chariot-shaped temple has twelve pairs of wheels symbolizing the twelve months, each pair representing the dark and bright halves of the lunar period attached to the seven horses representing seven rays of the sun. The vast scheme of work is based on the realization of the sun's vital radiating power. The carving depict various activities like the circumambulation of pilgrims, operation of hunt, the joining of the passionate mithunas in kisses, warm embraces or ultimate union. The beauty of this masterpiece of monolithic architecture has received admiration from all corners of the world. In the words of the poet Tagore, "The language of man is here defeated by the language of stone."

The konark temple has been built on the bed of river Chandrabhaga having a thick pile of boulders and sand. However, no evidence of sinking or settlement of the building at any point have been observed.
                                                                                                    
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The astonishing Surya temple at Konarak (sometimes spelled "Konark") was built by King Narasimha I (1238-1264) of the Eastern Ganga dynasty as an offering, it is said, to commemorate the king's military victories, greatness, and piety. Konarak had long been a center of sun worship, which is rare in other parts of India. Even in its present ruinous and eroded state (rear of sanctuary, photo) the temple exudes grandeur in its size, its design concept, and in the detail and excellence of its carving. Its enormous sanctuary tower collapsed in the 19th century; the large pyramidal roof in the photo (38.4m, or 126ft) covers only the temple's jagamohan, or entrance hall. The sanctuary tower was about twice as tall. 
                                                                                                 
 The temple faces east (plan). It was conceived as the chariot of the sun god, Surya, carried upon twelve pairs of wheels representing the months, and drawn by seven horses representing the days of the week (following pages). The idea of a temple as the chariot of its god is not unique to Konarak, although this is certainly the most splendid instance; see the glossary entry about rathas for additional examples.                       
                                                                            
Seen from the east in this photo are the remains of a columned dance hall in front of the jagamohan. The dance hall is elevated upon a tall platform, and fronted by curious oversize images of rampant lions
                                                                                                     
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Konark is one of the well known tourist attractions of Orissa. Konark, Konark houses a colossal temple dedicated to the Sun God. Even in its ruined state it is a magnificient temple reflecting the genius of the architects that envisioned and built it. Bhubaneshwar, Konark and Puri constitute the Golden triangle of Orissa, visited in large numbers by pilgrims and tourists.                                                                                                     
Konark is also known as Konaditya. The name Konark is derived form the words Kona – Corner and Arka – Sun; it is situated on the north eastern corner of Puri or the Chakrakshetra. Konark is also known as Arkakshetra.          
                                                                                         
This temple built in 1278 CE by the Ganga King Narasimha Deva is one of the grandest temples of India and was referred to as the Black Pagoda. The ruins of this temple were excavated in late 19th century. The tower over the Garbagriha is missing, however the Jagmohana is intact, and even in this state, it is awe inspiring.     
                                                                                              
Legend has it that Samba, the king of Krishna and Jambavati entered the bathing chamber of Krishna's wifes, and was cursed by Krishna with leprosy. It was decreed that he would be relieved of the curse by worshipping the sun God on the sea coast north east of Puri. Accordingly Samba reached Konaditya Kshetra and discovered an image of Surya seated on the lotus, worshipped him and was relieved of his curse.
                                                                                                   
It is said that the temple was not completed as conceived because the foundation was not strong enough to bear the weight of the heavy dome. Local beleif has it that it was constructed in entirety, however its magnetic dome caused ships to crash near the seashore, and that the dome was removed and destroyed and that the image of the Sun God was taken to Puri.  
                                                                                                
The Temple: The Konark temple is widely known not only for its architectural grandeur but also for the intricacy and profusion of sculptural work. The entire temple has been conceived as a chariot of the sun god with 24 wheels, each about 10 feet in diameter, with a set of spokes and elaborate carvings. Seven horses drag the temple. Two lions guard the entrance, crushing elephants. A flight of steps lead to the main entrance.    
                                                                                               
The nata mandir in front of the Jagamohana is also intricately carved. Around the base of the temple, and up the walls and roof, are carvings in the erotic style. There are images of animals, foliage, men, warriors on horses and other interesting patterns. There are three images of the Sun God, positioned to catch the rays of the sun at dawn, noon and sunset.                                                                                                   
The Melakkadambur Shiva temple, built in the form of a chariot during the age of Kulottunga Chola I (1075-1120), is the earliest of this kind, and is still in a well preserved state. It is believed that this temple set the pace for the ratha (chariot) vimana temples in India, as a distant descendant of Kulottunga I on the female line, and thefamous Eastern Ganga ruler Narasimha Deva, built the Sun Temple at Konark in the form of a chariot in the 13th century. Kulottunga Chola is also credited with having built the Suryanaar temple near Kumbhakonam. Temples dedicated to the Sun are not a common feature in the Tamil speaking region of the Indian subcontinent.      
                                                                                             
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Situated 36 kilometers from Puri and 64km from Bhubaneswar in the State of Orissa, Konark Temple also known as the Black Pagoda from its dark colour seen from a distance. The Sun temple, also known as 'Konark Temple' and 'Black Pagoda' is considered as an Orissan temple architectural, engineering wonder and one of the finest monuments of religious architecture in the world. The entire temple complex in Konark is conceived by its architect, Sibei Samantaray, in the shape of a chariot with seven horses (three on the north and four on the south) and 24 spoke gigantic wheels on each side of the temple to pull the Sun God, Surya, across the heavens.  
                                                                                                  
The Temple was erected in the mid-13th century by Orissan King of Ganga Dynasty Narasimhadev I (AD 1238-64) to commemorate his victorious expansion into Bengal, and as a symbol of Hindu might against the encroaching Muslims; in the late 15th century, however, Konark was taken and pillaged by Muslim armies, and over the years its great tower collapsed, and sand and rubble covered most of the structure. It was only in the early 20th century that archaeologists unearthed and began to restore the stone temple, which is constructed in the form of a processional chariot. The regally splendid monument is dedicated to both to god and man.
                                                                                                    
Konark derives its name from Konarka, the presiding deity of the Sun Temple. It is the combination of Kona (corner) and Arka (sun), which, when combined, means the sun of the corner. According to popular lore, it was here that the cult of sun-worship began some 5,000 years ago. However, legend has it that the temple was constructed by Samba, the son of Lord Krishna. It is said that Samba was afflicted by leprosy, brought about by his father's curse on him. After 12 years of penance, he was cured by Surya, the Sun God, in whose honour he built this temple. Sun temple has been declared a World Heritage site by UNESCO.  
                                                                                                   
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 The temple is a brilliant chronicle in stone, with impressive sculptures. It took 16 years to complete. 1,200 artisans and 12,000 labourers were employed on the task. In its original form. the total height of the temple was 227 feet and the temple is set in the middle of a spacious compound which lies about 2m below the surrounding land. The temple consists of a Deula, a Jagamohana and pillared Natamandapa. The Deula and Jagamohana stand close to each other above a high platform but the Natamandapa is a detached structure. The super structure of main shrine i.e.Deula has fallen down so also the super structure of the Natamandapa. The Jagamohana is intact. The joint structure of the Vimana (The main sanctum) and Jagamohana were conceived in the form of a Chariot (Ratha) of the Sun,drawn by seven impetuous horses, the chariot having 12 pairs of 8-spoke wheels. Some say the wheels represent the 24 hours in a day and others say the 12 months in its concept. The seven horses make up the seven colours of the prism. The surface of it is intricately carved with some of the most fantastic sculpture seen in India. Both the main Deul and the Jagamohana, the ruins of the dancing hall and of the Mayadevi Temple in the Sun Temple compound, are covered with platforms, horses, floral motifs, colossal mythical animals, whimsical depictions of daily life, trade, erotic sculptures of amorous dalliances, war and trade and erotic imagery of human love manifested in countless forms as marvelous and detailed as those seen at Khajuraho.\r\nThere are also huge animal statues: two lions guard the pyramidal entrance, and on each side of the temple is a colossal war elephant, and a war horse trampling on fallen warriors. The pyramidal roof of the temple, made of sandstone, soars over 30 m in height and constructed with great precision.               
                                                                                 
The temple looks particularly impressive in the evening as it is illuminated between 6 and 9pm. Today the amphitheater with the Sun Temple at the backdrop is the venue of classical dance during the Konark Dance Festival in winter.
                                                                                                     
<strong>Source</strong>      
                                                                                             
http://www.art-and-archaeology.com                                                                                                  http://www.templenet.com                                                                                                     http://www.webindia123.com

Tomb at Golconda

The Qutb Shahi tombs are located in a pleasant, park-like, setting, near Golconda Fort. They are constructed of local granite and plaster, and were originally decorated with green and turquoise tiles. The tombs contain the burials of seven rulers of the dynasty (two additional rulers died in exile), and other persons associated with the royal family.

Mohammad Quli Qutb Shah (IV) was the fourth ruler of Golconda, a poet-king who founded the city of Hyderabad. His tomb (the north face is seen here) is 200 feet high, including its 60-foot dome. The structure’s impressive 200-foot height is exactly balanced by the 200-foot wide double terrace on which it rests.

The lower terrace, 20 feet high, is supported by an arcade of 28 arches per side. Above, each side of the cubical building is elaborated with five recessed porticoes and a thick cornice, on top of which runs a battlemented parapet that is squared off by minarets. The dome rests on a lotus base that descends in transitions of 32-, 16-, and 8-sided figures to a square support. Mohammad Quli’s cenotaph (see photo) is located at the upper floor level, underneath the dome; the actual crypt is located at ground level, within the lower terrace.

Agra Fort

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

History

By most estimates, the fort was taken over from the Lodis by the Moghuls in the late 16th century, by Akbar the Great. During his reign, he shifted the government of his empire from Delhi to Agra. Because of this, much of Agra flourished and the site of the old Lodis fort began changing into more of a royal estate. Akbar tended to build from red sandstone, often inlaid with white marble and intricate decorations.

It was only during the reign of Akbar’s grandson, Shah Jahan, that the site finally took on its current state. Legend fortells that Shah Jahan built the beautiful Taj Mahal for his wife. (Some evidence reveals Hindu scripture beneath the markings dating back 500 years prior to Shah Jahan’s birth.) Unlike his grandfather, Shah Jahan tended have buildings made from white marble, often inlaid with gold or semi-precious gems. He destroyed some of the earlier buildings inside the fort in order to make his own.

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

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

The Taj Mahal

Built by Shah Jahan as a mausoleum for himself and his principal wife, the Taj Mahal sits on the south bank of the Yamuna river, approximately 2km downstream from the Red Fort at Agra (map). Directly across the river from the Taj, Shah Jahan built a Mahtab Bagh ( “Moonlight Garden”, now largely overgrown), giving it exactly the same dimensions as the Taj itself. This photo shows the Taj Mahal as viewed from across the river, just downstream from the Moonlight Garden, late in the afternoon, with the setting sun on its west face and its north face in shadow. The Taj is flanked by a pair of large sandstone buildings. The one on the west (photo right) was a mosque; its twin (jawab, “duplicate”) on the east side was added for reasons of symmetry. Its actual function (if any) is uncertain.

Buried in the Taj Mahal are Shah Jahan and his principal wife, Mumtaz Mahal, who predeceased him by 35 years. (The name “Taj Mahal” is a corruption of “Mumtaz Mahal”.) The actual burials are underneath the main floor. They are marked on the main floor by cenotaphs, as is usual in Islamic funerary monuments. Thus, the Taj Mahal is, technically, a mausoleum which contains the two tombs and their cenotaphs.

Two legends have persisted about this monument which it is well to correct. First is the romantic story that Shah Jahan built the Taj as a memorial to his beloved wife. It is true that he was fond of his wife, but Shah Jahan planned and built the Taj for himself. Naturally, since his wife died before him, she was buried there first. (In fact, she died in 1629 and was not interred there until the building was completed in 1643.)

The second legend refers to a so-called “Black Taj” which was allegedly to have been built on the site of the Moonlight Garden as Shah Jahan’s own tomb, reserving the Taj Mahal for his wife. This story is considered, by the archaeologists who have excavated there, to have no basis in fact.

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Taj Mahal is the name of a monument located in Agra, India. It was commissioned by the Mughal Emperor Shah Jahan, the son of Jahangir, as a mausoleum for his Persian wife, Arjumand Banu Begum, also known as Mumtaz-ul-Zamani. It took 23 years to complete (1630 – 1653).

The site

The architectural complex of the Taj Mahal covers an area of approximately 1900 ft Ã- 1000 ft (580 m Ã- 300 m) and comprises of five main components: the darwaza (gateway), the bageecha (garden) which is in the form of the typical Mughal charbagh (garden divided into four parts), the masjid (mosque), the mihman khana (guest house), and finally the mausoleum or the tomb of Taj Mahal, at the Northern end of the complex.

The tomb complex was designed to be accessed from both the northern and the southern sides, from the river Yamuna as well as by land. The entry from the landside has the gateway and other utility buildings constituting the front (and Southern) part of the complex. On entering the gateway which visually frames the tomb, one is inside the charbagh. Measuring 1000 ft Ã- 1000 ft (300 m Ã- 300 m), the garden has sunken parterres or flower-beds, raised pathways, water channels that reflect the Taj and avenues of trees. At the termination and along the central axis articulated by the garden is the tomb. To the Western or Mecca side of the tomb is a mosque of red sandstone that sanctifies the complex and provides a place for pilgrims to worship. On the Eastern side is a structure that duplicates the mosque in order to maintain architectural symmetry. This is known as the jawab (“answer”) and was put to use as a guest house.

The tomb of Queen Mumtaz-ul-Zamani stands on a raised terrace with four minarets at each corner framing the tomb. The minarets are slanting outwards so that in the event of an earthquake they will fall away from the tomb. Like most Mughal tombs, the Taj shows a great amount of Persian influence. There are some typical Hindu-influenced characteristics as well; the dome is a upside down lotus-flower, as well as the pillars. In the ceiling of the dome, there is a drawing of the Sun. Both the lotus and sun are central elements of Hinduism. A derivative of a square in plan with edges chamfered, it is a multi-chambered structure with a central main chamber surrounded by eight divisions (of which four are important bays) with openings in the form of arched alcoves. The central chamber is surmounted by a bulbous double dome (having inner and outer layers) generally referred to as the onion or Tartar or Persian dome because of its form. There are four Kiosks (chattris, small domes over pavilions) over the surrounding bays which articulate the main dome. The cenotaph is at the entry level of the main chamber whereas the grave is at the level below. The black and white chessboard marble floor inside the tomb chamber and the pietra dura artwork that includes geometric patterns, plants and flowers are impressive.

Construction and design

It must be emphasised that the design of the Taj Mahal cannot be ascribed to any single master-mind. The Taj is the culmination of an evolutionary process. It is the perfected stage in the development of Mughal architecture. The names of many of the builders who participated in the construction of the Taj in different capacities have come down to us through Persian sources. A project as ambitious as the tomb of Mumtaz Mahal demanded talent from many quarters. Isa Shirazi, has been mentioned as the supervising architect in Persian language texts (e.g. see ISBN 964-7483-39-2). From Turkey came Ismail Khan, a designer of hemispheres and a builder of domes. Qazim Khan, a native of Lahore, travelled to Agra to cast the solid gold finial that crowned the Turkish master’s dome. Chiranjilal, a local lapidary from Delhi, was chosen as the chief sculptor and mosaicist. Amanat Khan from Persian Shiraz, Iran was the chief calligrapher, and this fact is attested on the Taj gateway where his name has been inscribed at the end of the inscription. Muhammad Hanif was the Supervisor of masons, while Mir Abdul Karim and Mukkarimat Khan of Shiraz handled finances and the management of daily production. Sculptors from Bukhara, calligraphers from Syria and Persia, inlayers from southern India, stonecutters from Baluchistan, a man who specialised in building turrets, another who carved only marble flowers – thirty seven men in all formed the creative nucleus, and to this core was added a labour force of twenty thousand workers recruited from across northern India.

According to most commonly accepted theory, the Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The white marble was brought from Rajasthan, the jasper from Punjab and the jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the cornelian from Arabia. In all, 28 types of precious and semi-precious stones were inlaid into the white marble. The total cost of construction was about 40 million Rupees, at a time when 1 gram of gold was sold for about 1.3 Rupees.

Origin of the name

The name “Taj” is of Persian origin (meaning “crown”) while “Mahal” is Arabic in origin (meaning “place”). Taj in Urdu also means crown or diadem. While Mahal means palace/edifice or a stately mansion, it is sometimes simply and evocatively referred to as The Taj.

Aesthetics

Various studies on the Taj speculate on what makes it unique and beautiful. One reason is attributed to its perfect proportions and geometry. Another is ascribed to the various moods that the Taj presents to its viewers.
Clad in delicate, white Makrana marble, the Taj changes its character across time as the light changes- dawn, noon, twilight, night. The shadows that fall on the marble too enhance the effect, being very delicate. The Taj is considered especially ethereal when viewed on a full moon night. For Tagore, the Taj was a “tear in the face of eternity”.
Legends and theories

An unlikely legend claims that after the completion of the Taj Mahal, Shah Jahan had the eyes of architect Ustad Ahmed gouged, ensuring that nothing could be built competing with its magnificence. Other exaggerated stories tell of skilled scupltors and artisans whose hands were lopped off after their work was complete to prevent them from ever making anything as glorious as the Taj again.

A longstanding popular tradition holds that an identical complex was originally supposed to be built on the other side of the river, in black marble instead of white. The story suggests that Shah Jahan was overthrown by his son Aurangzeb before the black version could be built. Ruins of dark marble found across the river are, the story suggests, the unfinished base of this “Black Taj”.

Recent scholarship disputes this theory, and throws some interesting light on the design of the Taj. All other major Mughal tombs were sited in gardens that form a cross, with the tomb at the intersection of the vertical and horizontal pieces. The Taj gardens, by contrast, form a great ‘T’, with the tomb at the center of the crosspiece. But the outline of the ruins on the other river bank would extend the design of the Taj gardens to form a cross of proportions typical of other Mughal tombs. Further, the marble in the ruins opposite the Taj, while dark from staining, would naturally be white. In addition, an octagonal pool in these ruins would have reflected the Taj. Scholars have called these ruins the Mahtab Bagh or “Moonlight Garden.”

History

As part of the struggle for succession, Shah Jahan was put under house arrest at nearby Agra Fort by his son Aurangzeb, and legend has it that he spent the remainder of his days there gazing from a window at the Taj. Upon Shah Jahan’s death, Aurengzeb buried him in the Taj Mahal, next to his wife, the only disruption of the otherwise perfect symmetry in the architecture.

By the late 19th century, parts of the Taj Mahal had fallen badly into disrepair. During the time of the Mutiny, the Taj faced defacement by British soldiers, sepoys and government officials who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a restoration project. At the same time the traditional garden was replaced with the more English-looking lawns that are visible today.

By the 20th century the Taj Mahal was being better taken care of. In 1942, the the British Raj erected a behemoth scaffolding over it in anticipation of a air attack on it by the German Luftwaffe and later by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were erected by the Government of India (along with those at the Somnath Temple in Gujarat) to mislead would-be bomber pilots. Its most recent threats came from environmental pollution on the banks of the Jamuna river, acid rain occuring due to the Mathura oil refinery (something opposed by Supreme Court of India directives) and views of revisionist historians of the Hindutva movement.

The Taj Mahal, as of 1983, is an UNESCO World Heritage Site and a major tourist destination.

The Taj is one of the nominees for the modern seven wonders of the world.

Recent disputes

The Taj Mahal was declared Sunni Wakf property on the grounds that it is the grave of a woman whose husband, Emperor Shah Jahan was a Sunni. The Indian government has dismissed claims by the Muslim trust saying that their claims were baseless and the Taj Mahal is Indian national property.

Recently some Hindu historians have asserted that the Taj was essentially a temple, or that its architecture is based on Hindu temples. Most prominent among these is the Indian writer P.N. Oak, who suggests that the term ‘Taj Mahal’ is derived from ‘Tejo Mahalaya’. He further states that the Taj was originally a Hindu temple of the God Shiva, usurped and remodeled by Shah Jahan. Such theories are not accepted by mainstream scholars.

Source

http://en.wikipedia.org
http://www.art-and-archaeology.com

Sanchi Stupa

The great Stupa in Sanchi looms above its hill-top, a few miles from Bhopal, in all the impressiveness of its mass. It is in good order, and its surroundings are in immaculate condition. Sanchi had many names in the past; initially Kakanayan or Kakanava, then kakanada-bota, later Botha Sri Parvata  and still later Sri Parvata or Santhi Sri Parvata. It obtained its present name from a village near its hill. Though today it stands out among all the ancient Buddhist monuments, it was not connected with Buddha's life or ministry, and none of the Chinese pilgrims says a word about it.                                                                                              
 

                                                        
The region near Sanchi is one of the richest in archaeological and historical remains in the entire country. There are Stupas on many of the hills nearby. There is the site of the great ancient city of Vidisa.The "Ramayana" says that Satrughna made his son, Subahu, a king ruling from that city. In Buddha's time, the sixth century B.C.,it was an important city. Then and later it was an emporium connected with the great trade routes connenting Kashi, Pataliputra and Kausambi with Bharukkacha (modern Broach) and Surparaka (now Sopara), both on the west coast, and with Pratisthana (Paithan) in the Deccan. It was the merchants of Vidisa who paid for the making of many of Sanchi's monuments. On the Southern gateway of the great Stupa there is an inscription which states that it was carved by the ivory workers of Vidisa.    
                                                                                   
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Sanchi is a serene hill crowned by a group of stupas, monasteries, temples and pillars dating from 3rd century BC to 12th century AD. The glory that was Sanchi, an ancient place of pilgrimage, can still be experienced in its complex structures where many Buddhist legends found expression in the rich sculpture. The Buddha is not represented through figures at Sanchi, but through symbols, as was the tradition in the early period of Buddhism. The lotus represents the Buddha's birth, the tree signifies his enlightenment, the wheel represents his nirvana or salvation .The footprints and the throne denote the Buddha's presence. Sanchi was virtually forgotten after the 13th Century until 1818, when General Taylor, a British Officer rediscovered it, half buried and well preserved. Later in 1912, Sir John Marshal, Director General of Archeology ordered the restoration work at the site. Some of the important monuments in Sanchi are: – The Great Stupa No.1- 36.5mts in diameter and 16.4 mts high it is one of the oldest stone structures in India. With a massive hemispherical dome, the stupa stands majestically. The paved procession path around it has become smooth by centuries of pilgrim's visit. Built originally as an earthen stupa by the Emperor Ashoka, it was rebuilt in the 3rd and 2nd centuries BC. The last of the additions to this remarkable stupa are the elaborate and richly carved four gateways or Toranas. The first of the four gateways to be erected was the one at the Southern Entrance, followed, in chronological order by the Northern, the Eastern and the Western Gateways. The Southern Gateway: Reveals the birth of Gautum in a series of dramatically rich carvings. The southern Gateway: crowned by a wheel of law, illustrates the miracle associated with the Buddha as told in the Jataka tales. The Eastern Gateway, depicts the young prince, Gautam, leaving his father's place, renouncing worldly life to seek enlightenment .The inner face of the right pillar portrays the dream of Maya, the mother of Buddha, when she conceived him. The Western Gateway depicts the Seven incarnations of the Buddha, four represented by trees and three by stupas; the Buddha preaching his first sermon at the Deer Park, Sarnath and the Chhaddanta Jataka tale. Stupa No. 2, dating back to the 2nd Century BC, stands at the very edge of the hill and its most striking feature is the stone balustrade that surrounds it. Stupa No.3 situated northeast of the Great Stupa is where the relics of Sariputra and Mahamogalana, the two famous disciples of the Buddha were found in its inner most chambers. The hemispherical dome is crowned, as a mark of its special religious significance, with an umbrella of polished stone. It has only one gateway. This structure belongs to the period between 150-140 BC. Ashoka Pillar, with its four lion head stump, erected during the 3rd Century BC, is situated close to the Southern Gateway of the Great Stupa. Though, similar to the intricately carved pillar in Sarnath, the lions did not support a "Wheel of Law" (Dharmachakra). A unique feature of this pillar is its brilliant polish. The Gupta Temple (4th Century AD), in ruins now, is one of the earliest known examples of temple architecture in India. It consists of a simple flat roofed chamber with a pillared porch in front. Temple 18, a Chaitya Hall, situated in front of the Southern Gateway of the Great Stupa is comparatively recent (around 7th Century A.D.) resembles the rock-cut Chaitya halls at Karla Caves in Maharashtra. The Monastery and Temple 45, built between the 7th and 11th Centuries, show more developed styles of architecture. On the ornamental doorway here, one can see the image of Buddha with an oval Halo. The Great Bowl, carved out of one block of stone, contained food that was distributed amongst the monks of Sanchi. The Archaeological Survey of India Museum, situated at the entrance to the monument, exhibits findings and remains of the excavated site. Among these are caskets, pottery, and parts of gateways, lion capital of the Ashokan Pillar and images.                                                                                                   

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Emperor Asoka (273-236 B.C.) built stupas in Buddha's honour at many places in India. The stupas at Sanchi are the most magnificent structures of ancient India. UNESCO has included them as one of the heritage sites of the world. Stupas are large hemispherical domes, containing a central chamber, in which the relics of the Buddha were placed. The stupas at Sanchi trace the development of the Buddhist architecture and sculpture at the same location beginning from the 3rd century B.C. to the 12th century A.D.                                                                                                    

Asoka when he was a governor married Devi, the daughter of a respected citizen of Vidisha, a town 10 km from the Sanchi hill. Prince Mahendra visited Sanchi with his mother before leaving for the island of Lanka for taking Buddhism there. Emperor Asoka had put up at Sanchi a pillar edict and a stupa containing relics of the Buddha. Addition of new stupas and expressions in stone of legends around the life of the Buddha and the monastic activities at the Sanchi hill continued under several dynasties for over fifteen hundred years. Also, the Brahmi script could be deciphered from the similarities in inscriptions carved at different places in the main stupa.                                                                                                    

The Sanchi stupas are noteworthy for their gateways as they contain ornamented depiction of incidents from the life of the Buddha and his previous incarnations as Bodhisattvas described in Jataka tales. Sculptors belonging to different times tried to depict the same story by repeating figures. The Buddha has been shown symbolically in the form of tree or through other inanimate figures. One of the sects of Buddhism opposed depiction of the Buddha by a human figure.                                                                                                     

The top of the Asoka pillar, which comprise of four lions, has been kept in the museum maintained by the Department of Archaeology. The size and the weight of the pillar point to the advanced technology that was existent at the time of Asoka. It must have been an incredible feat of engineering to bring the stone for carving the pillar from the mine to Sanchi and installing it up the hill.                                                                                                     

Jataka Tales

Jataka tales as do Aesop's fables teach generosity and self-abnegation based on previous lives of the Buddha as Bodhisattvas. As a Bodhisattva he took births as man, animal or bird. It is believed that the Buddha accumulated virtue by the good deeds he did as Bodhisattvas and had attained merit for achieving nirvana in his last birth when he was born as the prince Siddhartha.                                                                                                    
* Six-tusked Elephant Jataka
* The Great Monkey Jataka
* The Vessantra Jataka
* The Sama Jataka                                                                                                    

From Wikipedia                                                                                                    

Sanchi is a small village of India, located 46 km north east of Bhopal, in the central part of the state of Madhya Pradesh. It is the location of several Buddhist monuments, dating from the third century BCE to the twelfth century CE.                                                                                                    
 

                                                                                                   
Stupa 1 (the 'great stupa') at Sanchi was commissioned by the emperor Ashoka in the third century BCE. Its nucleus was a simple hemispherical brick structure built over the relics of the Buddha. It was crowned by the chhatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics (Dehejia 1997). In the first century BCE it was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at groundlevel was enclosed by a stone balustrade with four monumental gateways (toranas) facing the cardinal directions.                       

                                                                            The gateways and the balustrade, even though made of stone, were carved and constructed in the manner of wood and the gateways were covered with narrative sculptures. These showed scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives. In the case of Sanchi and most other stupas it was the local population who donated money towards the embellishment of the stupa to attain spiritual merit. There was no direct royal patronage. Devotees, both men and women, who donated money towards a sculpture would often choose their favourite scene from the life of the Buddha and then have their names inscribed on it. This accounts for the random repetition of particular episodes on the stupa (Dehejia 1992). On these stone carvings the Buddha was never depicted as a human figure. Instead the artists chose to represent him by certain attributes, such as the horse on which he left his father’s home, his footprints or a canopy under the bodhi tree at the point of his enlightenment. The human body was thought to be too confining for the Buddha.                                                                                                    
Further stupas and other religious Buddhist and early Hindu structures were added over the following centuries until the 12th century CE. Temple 17 is probably one of the earliest Buddhist temples as it dates to the early Gupta period. It consists of a flat roofed square sanctum with a portico and four pillars. The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, giving the temple an almost ‘classical’ appearance (Mitra 1971).                                                                                                     With the revival of Hinduism, the monuments of Sanchi went out of use and fell into a state of disrepair.                                                                                                     The site was re-discovered in 1818 by a British officer, General Taylor. Amateur archaeologists and treasure hunters, ravaged the site until 1881, when proper restoration work was initiated. Between 1912 and 1919 the structures were restored to their present condition under the supervision of Sir John Marshall.                                                                                                    
Today, around fifty monuments remain on the hill of Sanchi, including three stupas and several temples. The monuments have been are listed among the UNESCO World Heritage Sites since 1998.                                                                                                    

Source                                                                                                     http://www.travelmasti.com                                                                                                     http://www.geocities.com/Athens/Parthenon/2686/DCP_0663.html                                                                                             http://en.wikipedia.org