Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

The road to Borden takes you through the outskirts of Sittingbourne, and very unpromising it is, until the road through a housing estate turns back into a country lane, and on a slight rise you glimpse the church through mature trees.

Borden is a fine village, full of interesting houses, pubs and an old forge, but it was the church I had my eyes on.

An impressive building, and in fine condition, though I found the porch door locked.

I was photographing a row of four fine looking grave stones when a voice asked,

"can I help you?"

I am photographing the church, but the porch was locked.

I have a key, he said.

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A wonderful Norman tower shows the typical think-set proportions of the period. It is set off well by a good rood loft staircase at the south junction of nave and chancel. Good twelfth-century west door and Norman arch from tower to nave. The chancel was later extended north and south by the addition of the chapels, with the original quoins being clearly visible on the outside of the east wall. The church was heavily restored in the nineteenth century - but its two outstanding features survive. One, a fifteenth-century wall painting of St Christopher opposite the south door, is typically found in churches on main routes of travel. The other feature, a monument to Robert Plot (d. 1671), father of the well-known seventeenth-century historian, is the finest memorial of its date in Kent and shows St Michael slaying the Devil.

www.kentchurches.info/church.asp?p=Borden

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BORDEN

IS the next parish eastward from Newington. The name of which seems to be derived from the Saxon words Burg and dena, signifying a mansion or town among the woods.

THIS PARISH lies nearly midway between Newington and Sittingborne, and contains about 1550 acres of land, of which two hundred are wood. The high London road runs along the north side of it, whence the ground rises southward for about a mile, (leaving the house of Cryals at about half that distance) to the village of Borden, through which there is but little thoroughfare. It is plainly seen from the high road, encircled by orchards of fruit trees, with the church and Borden-hall standing within it, a little to the eastward is the vicarage, a neat pretty dwelling. The land about the village, and northward of it is very fertile, being mostly a hazely mould, the plantations of fruit here, though many are not so numerous as formerly, for being worn out, no new ones have been planted in their room, and several of them have been converted into hop-grounds. This part of the parish, though it may certainly be deemed pleasant, yet from the water from the wells not being good, is not accounted healthy; southward of the village the ground still rising, it grows very hilly, and the land poor and much covered with flint stones, and the soil chalky, which renders the water wholesome, and this part much more healthy; about half a mile southward from the village is the house of Sutton Barne, and a small distance eastward Wrens, now called Rains farm, and a small hamlet called Heart's Delight. On the opposite side from Sutton Barne is the hamlet of Wood, formerly, called Hode-street, situated on high ground; at a small distance eastward from which is a long tract of woodland, in which there is a great plenty of chesnut stubs, whence they are usually known by the name of chesnut woods. These woods reach down the side of the hill to the Detling road, and the western boundary of this parish.

In 1695, in the sinking of a cellar by Dr. Plot, at Sutton Barne, several Roman bricks were found, with their edges upward, much like those, he says, which had been turned up at the antient Roman Sullonicæ, near Ellestre, in Middlesex; (fn. 1) and near Hoadstreet was, about the same time, found an antient British coin.

In the fields southward of the village, the stones affect a globular form, where there are numbers of them, of different magnitudes; but the biggest of them was ploughed up at Sutton Barne, by Dr. Plot's tenant, exactly globular, and as big as the largest cannon ball.

In 1676, Dr. Thomas Taylor found in Fridwood, in this parish, belonging to his uncle Dr. Plot, an oak, which bore leaves speckled with white; such a one, Mr. Evelyn informs us, in his Discourse on Forest Trees, from Dr. Childrey, was found in Lanhadronpark, in Cornwall.

THE JURISDICTION of the paramount manor of Milton claims over this parish, subordinate to which is

THE MANOR OF SUTTON, alias SUTTON BARNE, as it is corruptly now called, its antient name being Sutton Baron, which addition it took, undoubtedly, from the court baron of the manor held for it. It is situated about a mile southward of the church and village of Borden, and in the reign of Richard II. was in the possession of Angelus Christopher, who with Margaret his wife, passed it away, in the 17th year of that reign, by fine then levied, to Henry Vanner, ci tizen of London, who paid them one hundred marcs of silver for the purchase of it. He sold it that year to John Wotton, clerk, master of the college of All Saints, in Maidstone, who reserving an annual rent of ten pounds from it, for the term of his life, conveyed it, in the 10th year of king Henry IV. to William Bereford, by whom it was alienated in the 19th year of king Henry VI. to Mr. John Grangeman, of this parish, whose son Nicholas Grangeman, in the 29th year of that reign, passed it away to Stephen and John Norton, one of whose descendants, Alexander Norton, esq. by his will, in the 4th and 5th year of king Philip and queen Mary, devised his estates here, among which this manor was included, to John Coty and Alice his wife, Thomas Plot and Elizabeth his wife, Thomas and Alexander Pettenden, Norton Greene, Thomas and Edward Norton, and their heirs, who being afterwards much at variance concerning their respective portions in them, they were divided, according to the judgment of Ambrose Gilberd, and Roger Manwood, as appears by their award.

But the manor of Sutton Barne, not being so conveniently to be divided among so many, they finally agreed that year, to pass it away to William Cromer, esq. and John Dryland; the former of whom, in the 2d year of queen Elizabeth, sold it, together with a wood, called Fridd-wood, in this parish, to Mr. Robert Plot, of Borden, one of the sons of Mr. Alexander Plot, of Stockbury, in which parish his ancestors had been settled in the reign of Edward IV. and bore for their arms, Vert, three quaterfoils, argent, each charged with a lion's head, erased, sable. His great grandson, of the same name, resided here, and made great additions to this seat. (fn. 2)

He was born here in 1641, and became a most learned antiquarian, and excellent natural historian, of which his histories of Oxfordshire and Staffordshire are sufficient proofs. Being educated at Oxford, he commenced LL. D. and became fellow, and afterwards secretary of the Royal Society, historiographer to king James II. Mowbray herald extraordinary, and lastly, register of the court of honor. He died in 1696, at Sutton Barne, and was buried in the church of Borden, where there is a handsome monument erected to his memory.

Dr.Plot left two sons, Robert and Ralph Sherwood, of Newington, the eldest of whom inherited this manor, and at his death gave it by his will to Mr. John Palmer, who had married his only daughter Rebecca. He survived her, and at his death devised it to his second wife, and Mr. John Lucas, of Milton, whose respective heirs, about the year 1767, joined in the sale of it to Abraham Chambers, esq. of London, who for some time resided at Sutton Barne, till he removed to Tonstall. He died in 1782, leaving by his wife, daughter of Mr.James, of London, four sons, and one daughter Maria Emely, who afterwards became jointly entitled to this manor, among his other estates in this county, and they, after some years possession of them, made a division of them, when this manor became the property of the eldest son, Samuel Chambers, esq. of Tonstall, who married one of the daughters of the hon. Philip Roper, and he is the present owner of this manor. A court baron is held for it.

CRIOLS, alias KYRIELLS, with an appendage to it, called Poyles, the very name of which has been long since forgotten, is a manor here, which in early times was in the possession of the eminent family of Criol, who fixed their name on it, as they did on other estates belonging to them in different parts of this county.

Bertram de Criol died possessed of it in the 23d year of king Edward I. anno 1294, whose son John de Criol dying in the 34th year of that reign, s. p. Joane his sister, married to Sir Richard de Rokesle, became his heir, and entitled her husband to this manor.

He left by her two daughters his coheirs, of whom Agnes, the eldest, married Thomas de Poynings, who in her right became possessed of it, and in his name and descendants it continued down to Sir Edward Poynings, governor of Dover-castle, and lord warden, and he died possessed of it in the 14th year of king Henry VIII. anno 1522, not only without legitimate issue, though he had several natural children, but without any collateral kindred, who could lay claim to his estates, so that this manor, among others, escheated to the crown. (fn. 3)

After which, king Henry VIII. granted this manor to Sir Thomas Wyatt, who in pursuance of an act passed for the purpose, in the 32d year of that reign, conveyed it back among other premises in the year following, in exchange to the king. After which it seems to have remained in the hands of the crown, till the year after the attainder and execution of his son Sir Thomas Wyatt, when queen Mary, in her second year, out of her royal bounty, granted it to his widow, the lady Jane Wyatt, to hold of her, as of her manor of Est Grenewich, by knight's service, and not in capite. This grant seems to have been only for the term of her life, and of her son George Wyatt, who was restored in blood in the 13th year of queen Elizabeth, during which time the reversion of it was granted by king James, in his 16th year, to Thomas Hooker and John Spencer, gent. who joining in a fine levied for that purpose, settled it on the heirs of Geo. Wyatt, esq. above-mentioned. He died in the possession of it in 1624, when Francis Wyatt, esq. of Boxley-abbey, was found to be his eldest son and heir, and accordingly succeeded to it. (fn. 4) He was afterwards knighted, and some years afterwards joining with lady Margaret his wife, conveyed it by sale to Mr. Isaac Seward, gent. from which name it afterwards passed into that of Baker, in which it remained till it was carried in marriage by Jane Baker to James Brewer, of West Farleigh, esq. who died in 1724, leaving an only daughter and heir Jane, who joined with her second husband, John Shrimpton, esq. in the conveyance of it, about the year 1750, to Mr. Robert Wollet, of Sheerness, who died in 1760, and his infant daughter, Sarah, afterwards marrying with Mr. Tho. March, entitled him to it. He rebuilt this seat, and afterwards resided in it. He died in 1797, leaving one son, Mr. Thomas Marsh, who is the present owner of it.

POSIERS is a small manor in this parish, which was antiently the inheritance of a family of that surname, who continued owners of it till the reign of king Henry VIII. about which time they became extinct here. After which it became the property of the family of Wolgate, whose seat was at Wolgate, now called Wilgate-green, in Throwley, where they resided for several generations. At length it became the property of Mr. Ralph Wolgate, who died possessed of it in 1642, leaving an only daughter and heir, who marrying with Mr. William Gennery, entitled him to the fee of this manor, with other estates in this parish. After which it was sold to Grove, of Tunstall, one of whom, John Grove, esq. of Tunstall, died possessed of it in 1755, leaving by Catherine his wife, daughter of Mr. Pearce, of Charing, two sons, Pearce and Richard, and a daughter Anne. He devised this manor to his second son Richard Grove, esq. of the Temple, London, and of St.John's college, Cambridge, who dying unmarried in 1792, devised it among the rest of his estates to W. Jemmet, gent. of Ashford, and W. Marshall, of London, and they joined in the sale of it to W. Wife, gent. of this parish, who is the present possessor of this manor, with that of Vigo, alias Gorts adjoining to it.

THERE was antiently a family which took its name from their possessions in this parish. Philip de Borden is mentioned in the chartulary of the abbey of St. Radigund, as having given half a seam of peas yearly from his manor in Borden to that abbey, and Osbert de Borden is recorded in a charter of king Henry III. and another of Henry IV. as having given pasture for sixty sheep to the monastery of St. Sexburg, in the Isle of Shepey.

There is A HAMLET in this parish, called Woodstreet, but formerly HOADE STREET, corruptly for Oade-street, the yoke of which in 1653, was held by William Genery, already mentioned before.

The family of Allen was formerly of good account in Borden, and resided at Hoad, or Oade street. John Allen resided here in the very beginning of queen Elizabeth's reign, and then held among other premises in this parish, the yoke of Boxfield. His descendant John Allen, gent. Of Oade street, died in 1679, and was buried in this church, they bore for their arms, Or, a chevron, between three blood-bounds, passant, sable, collared of the first; which coat was granted to Christopher Allen, by Sir William Segar, bart. (fn. 5) The Allens of Rochester, descended of the same stock, bore Parted per fess, a pale ingrailed, and three blood-bounds, passant, collared and counter changed.

A younger branch of the family of Forster, of Eve leigh, in Shropshire, was settled in Borden in the reign of king James I. Thomas Forster then residing here; but this family have been long ago extinct here. They bore for their arms, Per fess, indented and pale, argent and sable, two bugle borns strung in the first and fourth quarters, counterchanged.

Thomas Seager held in this parish in 1653, the yoke of Corbett, containing a house, called Banfies, and other lands in this parish, lately belonging to Thomas Reader; which name of Seager remained here till of late years, one of them having but lately owned a house here, called Borden-hall, alias Borden-court belonging to the rectory, of which a further account will be given hereafter.

The family of Napleton, which was possessed of good estates in many parishes of this county, resided here for some generations; but they have been for some time extinct. Several of them lie buried in this church. They bore for their arms, Or, a squirrel sejant, gules.

There is an estate in this parish, formerly called WRENS, but now usually Rains farm, which in 1664 was held of Tunstall manor, by Richard, son of Christopher Allen, esq. from which name it was passed away to Mr. Butler Lacy, and his daughters now possess it.

Charities.

THOMAS EVERARD, formerly vicar of this parish, gave by will in 1619, two pieces of land, containing about six acres, in Borden and Stockbury, for the use of the poor, of the annual value of 1l. 10s. and a silver cup for the use of the communion service.

MICHEAL GOODLARD, of Borden, gave a house, with an orchard and garden, to the use of the poor, of the annual produce of 4l.

A PERSON UNKNOWN, gave five seams of barley, to be paid yearly on a Good Friday out of the parsonage; and two bushels of wheat yearly on Easter-day, for the use of the poor farmers of this parish.

Mr. JOHN KENWARD gave one seam of malt, to be paid yearly on Ascension Thursday, out of some tithe-free land belonging to a farm at Oade-street, late Mrs. Hendresse's.

A PERSON UNKNOWN, gave five groats-worth of bread, to be paid yearly on Easter day, out of a house and orchard called Iron-latche, late belonging to Mr. Stephen Chapman, of Sittingborne.

MR. RALPH SHERWOOD, citizen of London, in 1700 gave a cushion and pulpit-cloth, and a cloth for the reading-desk.

MR. JOHN NAPLETON, and Elizabeth his wife, of this parish, gave a very handsome silver slaggon for the use of the communion.

MR. JOHN BROMFIELD, of Borden, in 1776, gave to the value of 10l. towards erecting the altar-piece.

MR. WILLIAM BARROW, of Borden, who died in 1707, devised the greatest part of his estates in this and many other parishes in this county, to four trustees, to the use of the poor widows and poor men of this parish, not entitled to receive alms, directing the rents of them to be distributed half yearly, the annual amount of them now being 609l. 17s. 6d.

The distribution of this charity was settled and established by a decree of the court of chancery, in the 8th year of queen Anne; by which it was ordered, that the income of this estate should be distributed half yearly to the poor men and poor widows of this parish, the poorest of it next above those who ought to be entitled to relief by the poor's rate; that the proportion of the distribution ought to be equal to all, and not less than 5l. in one year to each; that the trustees should account annually to a vestry of this parish, who should pass and allow the same, and should be allowed their costs and expences in the managing of it. According to which decree this charity is now managed.

Two of the trustees act yearly, one of whom makes the Ladyday distribution, and the other that at Michaelmas. The total annual rents now amount to the sum of 584l. 16s. besides forty acres of woodland, and the clear sum distributed, after all payments and deductions, amounts to about 200l. per annum.

The poor relieved annually, (exclusive of those by Mr. Barrow's charity) are about 28, casually 30.

BORDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

The church, which is dedicated to St. Peter and St. Paul, is a handsome building, consisting of three isles and three chancels, with a square tower at the west end of it, in which there is a clock, and six bells. It is built mostly of flint, but as a mark of its antiquity, it has a Roman brick or two interspersed among them, and the mortar is composed of cockle-shells. What is very remarkable, in the steeple there are the remains of a chimney, which seems coeval with it. The door-case on the western side of the steeple is of Saxon architecture, with zigzag ornaments, as is that on the opposite or inner side, but of a much larger size. It is kept exceedingly clean and neat, and the greatest part of it has been lately ceiled, that part of it over the high chancel, at the expence of the lay impropriator. In the high chancel is a brass plate and essigies for William Fordinall, vicar, obt. anno 1490. Several of the family of Plot lie buried in the south chancel, and there are monuments for Robert Plot, anno 1669, and his son Dr. Robert Plot, anno 1696; and there are among others in this church memorials for the Seagars, Barrows, Napletons, and Allens, all of whom have been mentioned before.

The church of Borden was part of the possessions of the priory of Leeds, to which it was appropriated before the 8th of king Richard II. (fn. 6) In which situation it continued at the dissolution of it in the 31st year of Henry VIII. when it was, together with the other possessions of the priory, surrendered up into the king's hands.

It appears by the bailiff's accounts in the Augmentation-office, of the revenues of the late priory of Leeds, that this rectory with the lands in this parish belonging to it, was then of the annual value of 41l. 14s. 5d. Soon after which it was granted by the king to Greene, but it seems to have been only for a term, for king Edward VI. in his 6th year, granted it, with all messuages and woods belonging to it, to Sir John Norton, of Northwood, to hold in capite by knight's service. He alienated it to Margaret Roch, who died in the 1st year of queen Elizabeth, and was succeeded in it by Elizabeth her daughter and heir, whose husband, Robert Colt, possessed it in her right. She survived him and died possessed of it, in the 13th year of that reign, at which time it appears to have been accounted a manor, and to have consisted of a house called Borden-hall, with its appurtenances, and three acres of land, with the rectory, tithes, and glebe belonging to it, in Borden. Her son Roger Colt died three years afterwards, leaving his widow Mary surviving, who afterwards married John Norris, esq. His grandson, Sir John Colt, bart. left three sons, John, Rowland, and Henry, who became entitled to this rectory and advowson, with the manor and lands appertaining to it, as coheirs to their father, in gavelkind; the eldest son, John Colte, esq. was of Rickmansworth, in Hertsordshire, and left an only daughter and heir, Gentilles, who entitled her husband, Sir Benjamin Titchborne, (a younger son of Sir Benjamin Tichborne, bart. of Hampshire) to his undivided third part of them, and his son Colte Tichborne, esq. of Woodoaks, in Hertfordshire, (which had been the antient seat of the Coltes) conveyed it jointly with his sister Frances in 1743, to Joseph Musgrave, esq. Rowland and Henry, the two younger sons of Sir John Colte above-mentioned, in 1676 conveyed their respective thirds to Mr. Charles Seager, gent. of Tunstall, whose son and heir of the same name was of Borden-hall, gent. and dying in 1758, was buried, with others of his family in this church. They bore for their arms, Or, a chevron between three mullets, azure. He devised them by will to his sister Mrs. Mary Seager, who in 1765 conveyed her two undivided thirds to Joseph Musgrave, esq. son of Joseph Musgrave, esq. above-mentioned, who having inherited the other third part from his father, became possessed of the entire see of this rectory and advowson, with the manor of Borden-hall, and the lands and appurtenances belonging to it, of which he is the present owner. Joseph Musgrave, is of Kypier, in the bishopric of Durham, and is descended from Joseph Musgrave, esq. of that place, the eldest son of George, the youngest son of Sir Christopher Musgrave, by his second wife Elizabeth, daughter of Sir John Frank lyn, which Sir Christopher, by his first wife, was ancestor of the present Sir Philip Musgrave, of Edenhall, in Cumberland, and of Kempton park, in Middlesex, bart. and was younger brother of Sir Richard Musgrave, bart. grandson of Sir Richard, who was created a baronet anno 9 James I. He bears for his arms, Azure, six annulets, three, two, and one, or.

The vicarage of Borden is valued in the king's books at 8l. 10s. and the yearly tenths at seventeen shillings. It is now of the yearly certified value of 67l. 14s. Sir John Norton, and Alice his wife, gave an annuity of forty shillings, to be paid yearly out of the parsonage, to the vicar of Borden and his successors. In 1578 there were fifty-three dwelling-houses in this parish. Communicants one hundred and sixty. In 1640 it was valued at eighty pounds. Communicants two hundred and seven.

A part of the portion of tithes, already mentioned in the description of the parish of Stockbury, called Ambry Tanton, extends into this parish.

¶There seems to have been continual disputes between the abbot and convent of St. Augustine's, and the prior and convent of Leeds, relative to the church of Borden, which at last was finally settled between them, about the year 1204; the prior agreeing to pay one marc of silver to the church of St. Augustine.

www.british-history.ac.uk/survey-kent/vol6/pp68-80

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

Do not reproduce, alter or reblog my images without my written permission.

Hi-Res versions of these files are available for license on application. NUJ rates apply.

about.me/peteriches

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

Do not reproduce, alter or reblog my images without my written permission.

Hi-Res versions of these files are available for license on application. NUJ rates apply.

about.me/peteriches

U.S. Army Soldiers with Urban Augmentation Medical Task Force 352-2 from Camp Parks, Calif., work at the Federal Medical Station inside the Atlantic City Convention Center, Atlantic City, N.J., April 24, 2020. (U.S. Air National Guard photo by Master Sgt. Matt Hecht)

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Le tramway de Nice est un réseau de tramway de 8,7 km, actuellement composé d'une seule ligne, et exploité par la Société nouvelle des transports de l'agglomération niçoise, sous le nom commercial Lignes d'azur. Inauguré le 24 novembre 2007, il se substitue aux lignes de bus 1, 2, 5 et 18. A sa mise en service, vingt rames Alstom Citadis sont mises en circulation, proposant ainsi une fréquence de 7 minutes en heures de pointe.

Depuis sa mise en place, le nombre de passagers ne cesse de croître, passant de 70 000 en 2008 à 90 000 par jour en 2011. Afin de pallier cette augmentation, huit rames sont reçues au cours de l'année 2010. La fréquence passe progressivement de 7 à 5 minutes, pour atteindre 4 minutes en 2011.

Au vu du succès de la ligne T1, le maire de Nice, Christian Estrosi décide de la création de deux autres lignes, dont les mises en service sont prévues à partir de 2015. La ligne 2 devrait desservir l'aéroport de Nice à l'ouest grâce à la construction d'un pôle multimodal et le Port de Nice à l'est. Quant à la ligne 3, elle devrait passer par la plaine du Var avec une correspondance avec la ligne 2 au pôle intermodal. Par ailleurs, la communauté urbaine Nice Côte d'azur choisit de prolonger la ligne 1 jusqu'au quartier de Pasteur.

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The Nice tramway is a tram system in the French city of Nice, Provence-Alpes-Côte d'Azur. Nice tramway, which opened on 24 November 2007, serves the city's northern and eastern suburbs.

The Nice tramway was designed to serve most of the population of Nice. As the city is situated on hilly ground by the sea, the line was drawn as a U shape, passing through the city centre.

There is currently only one line, served by two termini: Las Planas and Pont Michel. A second line, which would connect the city centre with the airport, is under discussion.

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La rete tranviaria di Nizza, gestita dalla Société nouvelle des transports de l'agglomération niçoise (ST2N), è un sistema di trasporto pubblico della città di Nizza ed è composta da una linea di poco meno di 9 km per un totale di 21 fermate. La tranvia è stata inaugurata del 24 novembre 2007.

La prima tranvia di Nizza è stata inaugurata il 27 febbraio 1879: si trattava di una tranvia a cavalli che collegava Nizza con i paesi circostanti e l'esercizio era gestito dalla Compagnie des Tramways de Nice et du Littoral (TNL). Verso la fine del XIX secolo a seguito la rapida crescita della città e di quelle vicine si è reso necessario un drastico intervento di rinnovamento della rete: nel 1900 su tutti i binari è stato adottato uno scartamento metrico e la trazione è diventata elettrica: il percorso partiva da Cagnes-sur-Mer fino a giungere a Menton attraversando Nizza, Beaulieu-sur-Mer e Monaco. Nel 1906 è stata inaugurata a Nizza una rete tranviaria urbana. Con il passare degli anni la tranvia è continuato a crescere: da Nizza partivano infatti linee per Bendejun e Levens.

Alla fine degli anni venti la rete tranviaria ha raggiunto la sua massima espansione: si contavano circa 145 chilometri di binari, 183 tram con 96 rimorchi ed oltre al trasporto dei passeggeri veniva effettuato anche il trasporto di merci, come cemento e calce. Già a partire dal 1927 però gli autobus sono stati preferiti ai tram segnandone cosi un lento e inesorabile declino. Nel 1934 l'intera rete extraurbana era già scomparsa, mentre quella urbana veniva soppressa gradualmente: nel 1939 delle 11 linee urbane soltanto quattro erano ancora in funzione. Durante la seconda guerra mondiale, a causa del sequestro degli autobus, sono stato riaperte due linee: nel 1942 si contavano 48 tram e 22 rimorchi. Dopo la fine del conflitto, complice anche la scarsa gestione e manutenzione, riprese l'opera di sostituzione del tram con l'autobus: il 10 gennaio 1953 anche l'ultima linea è stata chiusa.

Come in molte città della Francia, anche Nizza si è trovata a dover affrontare numerosi problemi di traffico, accentuato dal fatto che la maggior parte delle attività economiche sono concentrate nel centro. Per ovviare a questi problemi nel 1987 sono stati condotti degli studi sulla realizzazione di corsie riservate: nel 1997 gli autobus cominciarono a circolare nelle corsie preferenziali e nello stesso anno si è anche incominciato a discutere sulla costruzione di una linea tranviaria molto più affidabile degli autobus in quanto non soggetta al traffico veicolare ed allo stesso tempo meno costosa di una metropolitana.

Nel 2003 sono iniziati i lavori di costruzione della linea tranviaria[1], terminati poi nel 2007: dopo alcune settimane di prove il tram è stato inaugurato il 24 novembre 2007[2] ed è entrato in servizio due giorni dopo, il 26 novembre[3]. Il tram, fin dalla sua entrata in servizio, ha riscosso un grande successo arrivando ad avere una media passeggeri di 70.000 persone al giorno: il tempo di percorrenza totale della linea è di 34 minuti e la fraquenza è di 5 minuti nelle ora di punta e di 8 nelle altre[3]. Attualmente sono in progetto la creazione di due nuove linee.

Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

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Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Carvings of Hindu Deities: Varaha, Ganesha, Brahma, Vishnu Shiva, Kali, Narasimha, Shiva Lingam

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Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

Do not reproduce, alter or reblog my images without my written permission.

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Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Illustration of the extracapsular rupture of a silicone breast implant. Breast implants are medical devices implanted under the breast tissue or chest muscle to increase breast size (augmentation) or to replace breast tissue that has been removed because of cancer or trauma, or that has failed to develop properly because of a severe breast abnormality (reconstruction). The FDA has approved two types of breast implants: saline-filled (saltwater solution) and silicone gel-filled. Both have a silicone outer shell and vary in size, shell thickness, shell surface texture, and shape (contour). There are risks associated with all breast implants, including the risk of ruptures. Follow your surgeon’s instructions on how to monitor your breast implants. If you notice any unusual signs or symptoms, report them promptly to your surgeon or health care provider. For more information, read this FDA Consumer Update.

This illustration is free of all copyright restrictions and available for use and redistribution without permission. Credit to the U.S. Food and Drug Administration is appreciated but not required.

FDA illustration by Michael J. Ermarth

#BienvenueEnFrance: BIENVENUE NULLE PART !

Aujourd'hui c'est le 6ème jour de GREVE DE LA FAIM pour les 5 etudiant-e-s de #Nantes qui s'opposent à l'augmentation des frais d'inscription pour les étudiant-e-s étranger-e-s, ceci dans une indifférence quasi générale. Pas trop honte Frederique Vidal ?

#13février, Blocus de la Fac (dès 6h/6h30) puis Manif (10h) contre l'augmentation drastique des frais d'inscription pour les étudiant-e-s étranger-e-s.

Communiqué de Université de Nantes en Lutte : nantes.indymedia.org/articles/44531

Bilan santé par les Street Medics : nantes.indymedia.org/articles/44527

Plus d'infos sur : twitter.com/UnivNantesLutte et www.facebook.com/Universit%c3%a9-de-Nantes-en-lutte-16915... et plus de photos sur : frama.link/valk

Articles sur le sujet :

Les pré-inscriptions d'étudiants étrangers à l'université française sont-elles stables, comme l'affirme le gouvernement?

#Factchecking de Libération - www.liberation.fr/amphtml/checknews/2019/02/11/les-pre-in...

Analyse du dispositif #BienvenueEnFrance par Olivier Ertzscheid sur : www.affordance.info/mon_weblog/2018/11/bienvenueenfrance....

Puis dénonciation de Frédérique Vidal : Ministre du mensonge, du racisme d'état et de l'apartheid décomplexé. www.affordance.info/mon_weblog/2019/02/frederique-vidal-m...

When I was editing the shots from patrixbourne last week, I read that the Flemish glass there was second only to that at Temple Ewell, which is what I was in Temple Ewell this morning.

I guess, once Temple Ewell was a separate village from Dover, situated at the pace where the Dour rises. It flows down a valley into the parish of River then into Dover. In its seven miles, there were many mills on the river, all bar one have now closed, including the one in Temple Ewell.

The main London road, the A2, used to pass through the village before going on to Lydden then up the down to where it runs now. It must have been a noisy and busy place for a while, but although the main road is still there, it is fairly quiet.

Ss. Peter and Paul is on the other side of the valley from the main road, the village has narrow streets, so narrow parking is impossible, so I park the car, grab the cameras and walk down to the river then up the other side where i can see the square tower of the church.

Certainly, the church itself was barely worth the effort of climbing the hill, but I was her to see the glass, which I can tell you was worth it.

In fact, I have been here before, many years ago before the church project began, so this was like visiting it for the first time.

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In a strange position, oddly isolated from the main road and pretty valley below. The church is a severe structure of Norman origin, over-restored in 1870 by Talbot Bury, whose work in Bath stone can only be described as unfortunate. The east window is by Martin Travers - Comper's pupil - but is not a good example of his work. However, the church contains fine good examples of Swiss glass comparable to the windows at Patrixbourne. Probably the best is the Flight into Egypt. One only wishes for more splashes of colour to enliven this otherwise plain church.

www.kentchurches.info/church.asp?p=Temple+Ewell

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Temple Ewell comes from the Anglian word ‘æwell’ meaning a ‘river source’, with the Middle English prefix ‘temple’ as a ‘temple; usually in allusion to properties of the Knights Templar’ - the Knights Templar possessed the site from the 12th century. The Domesday Book chronicles Temple Ewell as Etwelle or Ewelle.

Temple Ewell parish church is a Grade: II listed building, dedicated to Saint Peter and Saint Paul. The Templars built the church in the 12th century with additions in the following 100 years. Following the Templars suppression in 1312, the Knights Hospitaller took over the manor and made improvements to the church. In 1603, Joseph Hatch cast and hung, one of his first bells, in the Temple Ewell church, and completed a ring of three in 1610. Despite the sale of two bells, the first Hatch bell remains. In 1800, Edward Hasted, in his topographical survey described the church as ‘an antient building, consisting of only one isle and a chancel, having a low square tower at the west end.’ The architect Talbot Bury carried out extensive restoration in 1870.

www.kentpast.co.uk/temple_ewell.html

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EWELL,

WRITTEN in Domesday, both Ewelle and Etwelle, lies in the valley the next parish southward from Whitfield, alias Bewsfield, taking its name from the water or spring rising in it. It was antiently known likewise by the name of Temple Ewell, from the knights templars possessing the manor of it. The manor of Patrixborne claims over the farm of Waterend, in this parish. A borsholder for this parish is chosen at the court leet of the hundred.

EWELL is situated about three miles westward from Dover, in a like unfertile country as that last described, the soil of it being for the most part a hard chalk, the rest of it a cludgy unproductive red earth, mixed with quantities of sharp flint stones. The village of Ewell, with the church, is situated in the large and capacious valley which extends to the land's end at Dover, the high London road leading through it. The houses in this village are little more than cottages, being most of them but meanly built of flint, and a great part of them in a very ruinous condition, and it is far from being pleasantly situated.

The head of the river Dour rises in this valley, at the western boundary of the parish, and a little below Casney-court takes in another stream of it, the head of which rises about two miles higher southward, at the hamlet of Drelingore, in Alkham. This stream turns a corn-mill here near the church, and then flows on from hence eastward into the sea at Dover, a part of this stream, which is a kind of nailbourne rises from some springs in a meadow at Drelingore, which in very wet and windy weather increase to the height of ten feet, and run through the lands to the head of the river Dour, at Chilton, commonly beginning in February and ending in March or April, at which time the wells of fifteen or sixteen fathom depth are full; and the country people entertain a notion that this water has a subterraneous communication with the waters called the Liddon spouts, in the cliffs at Hougham, at least four miles from hence, of which further mention will be made below. Leland, in his Itinerary, vol. vii. p. 127, writes thus of this river: "As concerning the river of Dovar, it has no long course from no spring or hedde notable, that descendith to that botom. The principel hed as they say, is at a place cawled Ewelle, and that is not past a iii or iiii myles fro Dovar. There is also a great spring at a place cawled .......... and that ones in a vj or vij yeres brasted owt so abundantly that a great part of the water cummeth into Dovar streme, but els yt renneth yn to the se bytwyxt Dovar and Folchestan but nearer to Folchestan that ys to say withyn a ii myles of yt. Surely the hedde standeth so that it might with no great cost be brought to run away into Dovar streme."

The hills rise here on each side very high and mountainous, and the vales between them are very deep and hollow; the hills are almost wholly uninclosed, some of them arable, and the others covered with greenswerd, having furzes and broom interspersed on them at different intervals. These stupendous hills, in comparison of what the traveller has been used to in his journey hither, raise both his pleasure and admiration, the prospects on both sides being beautifully romantic and singular; and they are terminated by the town of Dover, its castle, and the sea, and beyond all, the Bologne hills on the coast of France.

In the valley, at the western part of this parish, on each side of the London road, are the two farms of Great and Little Waterend, so called from the end or rise of the river Dour. Close behind the latter, on the hill, there seems to be a line of breast works thrown up, and a large mount or barrow above them, which was opened lately, but nothing was found in it, and there are many other barrows, or tumuli, scattered about on the different hills in the neighbourhood of Dover. On the hill on the left side, about a mile from the village, is the court-lodge of the manor, called the Temple farm, situated near the scite of the antient mansion of the knights of that order, the remains of the buildings having been destroyed about sixty years ago. Some have doubted, whether this was not the house where king John resigned his crown to Pandulph, the pope's legate, A. D. 1213, on account of the pardon of archbishop Langton, which was one effect of that meeting being dated at the temple of Ewell, (fn. 1) whilst others have conjectured that this was done at Dover; but the templars had no house there. Others again have placed it at the house of the commandry of the templars, at Swingfield, where, or at this mansion of Ewell, it certainly was. Which of them is was is left to the reader's option. (fn. 2) At no great distance from hence is Archers-court; and still further, Old Park hill, so called from its having once been the park, belonging to the temple here. On this hill, is the house sitted up by Dr. Osborne, which being white, is a distinguished object between the break of these lofty hills to the adjacent country, over which, the British channel, and the coast of France, it has a most extensive prospect. On the other side of the village this parish extends again up the hills; on them is a common, called, from the barrenness of the soil, Scotland common; and a little further, to another large one, called Ewell Minnis, where it joins to Alkham, in a wild and dreary country.

AT THE TIME of taking the survey of Domesday, the bishop of Baieux held the greatest part of this parish, as appears by the following entry, under the general title of his lands in it:

In Beusherg hundred. Hugo holds Ewelle of the bishop. It was taxed at three sulings. The arable land is . . . . . In demesne there is one carucate, and fifteen villeins, with twelve borderers, having two carucates. There are two mills of forty-six shillings, and four acres of meadow. Wood for the pannage of four hogs. In the time of king Edward the Consessor, it was worth twelve pounds, and yet afterwards one hundred shillings, now ten pounds, and yet it pays twelve pounds and twelve shillings. Edric de Alkam held it of king Edward.

Of this manor, Hugo de Montfort holds seventeen acres of land, and one denne and an half, which is valued at seven shillings.

And a little further, under the same possessions:

The same Ralph (de Curbespine) holds Ewelle. It was taxed at three sulings. The arable land is . . . . . In demesne there is one carucate, and five villeins, with four borderers, having two carucates. There is wood for the pannage of ten hogs. Of this manor, a certain knight holds one suling of Ralph, and there he has one carucate, with three borderers.

The whole manor, in the time of king Edward the Consessor, was worth twelve pounds, and afterwards twenty shillings, now forty shillings, and yet what Ralph has pays four pounds. Hugo de Montfort has the chief seat of the manor, and there are five mills and an half of six pounds. Molleue held it of king Edward.

And again, in the same survey, under the title of the land of Hugh de Montfort, is the following entry:

In Estry lath, in Beusberge hundred. Hugo de Montfort himself holds Etwelle. Molleue held it. It was taxed at three sulings, and now for one suling.

The arable land is one carucate, and there it is in demesne, and nineteen borderers, having one carucate. There is a church, and four mills and an half of four pounds and seventeen shillings and four pence, and four acres of meadow. In the time of king Edward the Consessor, it was worth eleven pounds, and afterwards four pounds, now eight pounds.

Four years after taking of this survey, the bishop was disgraced, and all his possessions were confiscated as were those above-mentioned of Hugh de Montfort, on the exile of his grandson Robert, in the next reign of king William Rufus, so that the whole of the lands above described, became at those periods escheats to the crown.

They comprehended most probably the greatest part of this parish, as well as that of River adjoining. In this parish they constituted the superior manor in it, afterwards called THE MANOR OF EWELL, alias TEMPLE EWELL, which was at the time of taking the survey of Domesday, in the tenure of Hugh de Montfort, and after its becoming an escheat to the crown as before-mentioned, was granted to William the king's brother, and William Peverelle, who gave it in alms to the knights templars, as may be seen by the inquisition taken of their possessions in 1185, now in the king's remembrancer's office; which gift was afterwards increased in this and the adjoining parishes, by the donation of several others. (fn. 3)

The knights templars, who bore for their arms, Gules, a plain cross, argent, (fn. 4) were most probably first instituted in England, at the latter end of Henry I.'s reign, or the very beginning of that of king Stephen, by whose successor, king Henry II. they were much caressed, and their possessions, though in so short a time, were increased to a large revenue; but at length in the early part of king Edward II.'s reign, their over-great wealth and power had so corrupted their morals, and the vicious lives which they most of them led, had so entirely estranged the king's favor, as well as of the nobles and nation in general from them, that for the peace and safety of the realm, it was found necessary wholly to put an end to them; accordingly, being accused of various crimes, their persons were every where seized and imprisoned, and their lands and goods confiscated, which were seized on by the king and other lords as escheats, the judges affirming that by the laws of the land they might warrantably hold them; and the whole order of them was dissolved in the 6th year of that reign, anno 1312, in a general council held at Vienna by pope Clement V. who immediately afterwards conferred their lands and effects on the knights hospitallers of St. John of Jerusalem, which the king confirmed next year, and an act passed anno 17 Edward II. by which the king, nobles, and others, assembled in parliament, granted that their lands and effects should be assigned, according to the will of the donors, to other men of religion, that they might be charitably disposed of to godly uses, and as such there were by it wholly given to the knights hospitallers; who thus becoming possessed of this manor, which from the long possession of the former owners, had acquired the name of Temple Ewell, continued in the possession of it till the general dissolution of their order in king Henry VIII.'s reign, when this manor, among the rest of the possessions of it, was surrendered into the king's hands, and was confirmed to him and his heirs by the general words of the act of the 32d year of that reign; and although the order of knights hospitallers was restored by letters patent of 4 and 5 Philip and Mary, and many of their antient manors and possessions given to them. Yet their re-establishment seems never to have taken place; and on the accession of queen Elizabeth, two years afterwards, it was wholly annihilated.

The manor of Temple Ewell, with the appropriation and advowson of the vicarage appendant, after the dissolution of the order of knights hospitallers, in king Henry the VIIIth.'s reign, remained in the hands of the crown, till king Edward VI. in his 5th year, granted them to Edward, lord Clinton and Saye, lord high admiral, and of his privy council, to hold in capite, (fn. 5) and he within a few months afterwards reconveyed them to the crown, where they staid but till the next year, when the king granted them to Sir William Cavendish, to hold in like manner, who the same year alienated them to Sir Richard Sackville, chancellor of the court of augmentations, who in the beginning of queen Elizabeth's reign alienated them to Winifred, marchioness of Winchester, and she in the 24th year of it joined with other trustees in the sale of them to Thomas Digge and William Boys, who quickly afterwards passed them away to John Daniell, whose two daughters and coheirs carried them in marriage to John Mabb and William Wiseman, who at the latter end of that reign joined in the sale of them to Mr. Robert Bromley, mercer, of London, and he about the beginning of king James I.'s reign, passed them away by sale to William Angell, of London, clerk of the acatery to that king, whose ancestor resided in Northamptonshire in king Henry the VIIth.'s reign, and bore for his arms, Or, five lozenges in fess, azure, surmounted of a bendlet, gules; and in his descendants, resident at Crowhurst, in Surry, for many successive generations, (fn. 6) they continued down to John Angell, esq. who was of Stockwell, in Middlesex, and died possessed of them in 1784, unmarried, and by his will devised them to Mr. Benedict Brown, his next heirgeneral, in default of lineal male issue, from his greatgrandfather William Angell, esq. of Crowhurst, subject to which proviso, Mr. Brown soon afterwards alienated this manor of Ewell, alias Temple Ewell, with the rectory impropriate, and the advowson of the vicarage appendant, to William Osborne, esq. of London, M. D. who at times resides here at Old Park-place, a house which he has sitted up and enlarged for that purpose on this estate, and he is the present possessor of them. A court leet and court baron is held for this manor.

THERE IS a portion of tithes arsing from ninety acres of land in Coldred, payable to the lords of Temple Ewell manor. (fn. 7)

THE MANOR OF TEMPLE, alias BOSWELL BANKS, and DOWNE, called in the survey of Domesday, Brochestelle, and in other records, Brostall, lies in the southern part of this parish, and partly in the adjoining one of Swingfield. In the reign of the Conqueror it was part of the possessions of the bishop of Baieux, under the general title of whose possessions it is thus entered in that survey:

Herfrid holds of Hugo, Brochestele, and it is of the fee of the bishop. It was taxed at one suling. The arable land is . . . . In demesne there is one carucate and two servants. In the time of king Edward the Consessor, it was worth sixty shillings, and afterwards sixty, now forty. When Herbert received it three yoke, now two yoke. Ulnod held it of king Edward.

And further on: The same Ralph (de Curbespine) holds of the bishop one yoke in Brochestele, which Molleue held of king Edward; and there is one villein paying thirty pence.

Four years after taking this survey, the bishop of Baieux fell under the king's displeasure, and all his lands and possessions were confiscated; after which, it appears by an inquisition taken anno 1434, (fn. 8) to have been held by Sir Robert de Clottingham, who gave this manor of Brosthall, with its appurtenances in Swynfelde, to the knights templars, on whose suppression it came into the hands of the knights hospitallers, with whom it continued till their dissolution in the 32d year of king Henry VIII. when it came to the crown, where it staid, till it was at length granted by queen Elizabeth to Stokes, of Waterend, in this parish, in which name it continued, till it was alienated in the same reign to Harvey, from which name in king Charles I.'s reign, it was conveyed by sale to Capt. Temple, of Dover; who was possessed of it in the beginning of the next reign of king Charles II. after which it passed by sale to Freeman, of this parish, who was succeeded in it by his son, and he sold it to Capt. Fagg, of Updown, near Eastry, and he alienated it about the year 1777 to Mr. Henry Belsey, who died possessed of it in 1792, and his eldest son Mr. William Belsey, is now entitled to it. There is no court held for this manor.

There are no parochial charities. The poor constantly relieved are not more than two or three, and casually as many.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.

The church, which is dedicated to St. Peter and St. Paul, is an antient building, consisting of only one isle and a chancel, having a low square tower at the west end. In it was formerly this coat of arms, Vert, two bendlets, argent, on a chief, gules, three mullets, argent. It has at present nothing worth further notice in it.

¶This church was always appendant to the manor. It was very early appropriated to the order of knights templars, after whose dissolution it was given, with the advowson of the vicarage to the knights hospitallers, and on their suppression, passed with the manor as an appendage to it, in like manner as has been already fully mentioned before, through a succession of owners, to William Osborne, esq. of London, M. D. who is the present owner of the impropriation and advowson of the vicarage of this church, appendant to the manor of Temple Ewell.

In 1588 here were communicants one hundred and twelve, and it was valued at fifteen pounds. It is valued in the king's books at 6l. 13s. 4d. and the yearly tenths at 13s. 4d. It is now of the yearly certified value of 13l. 10s. 8d.

In the register of the archdeacon's court is a return and terrier of the glebe and profits of this vicarage, made in 1616, by which it appears to have consisted of a vicarage-house, with a garden adjoining to it. That there were belonging to it all manner of tithes, excepting those of corn, viz. hay, wood, lambs, wool, calves, and colts, fruits of trees, &c. That there were certain parcels of lands, called Hamstalles, in the whole about six acres and an half, that ever had paid the tithe of corn to the vicar as his due.

www.british-history.ac.uk/survey-kent/vol9/pp426-436

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

Do not reproduce, alter or reblog my images without my written permission.

Hi-Res versions of these files are available for license on application. NUJ rates apply.

about.me/peteriches

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

Do not reproduce, alter or reblog my images without my written permission.

Hi-Res versions of these files are available for license on application. NUJ rates apply.

about.me/peteriches

A Kennedy Space Center employee works on assembling the flight hardware of NASA’s Orbital Syngas Commodity Augmentation Reactor, or OSCAR – an Early Career Initiative project at the Florida spaceport that studies technology to convert trash and human waste into useful gasses such as methane, hydrogen and carbon dioxide. By processing small pieces of trash in a high-temperature reactor, OSCAR is advancing new and innovative technology for managing waste in space. OSCAR would reduce the amount of space needed for waste storage within a spacecraft, turn some waste into gasses that have energy storage and life support applications and ensure waste is no longer biologically active. A prototype has already been developed, and a team of Kennedy employees are in the process of constructing a new rig for suborbital flight testing. Photo credit: NASA/Isaac Watson

NASA image use policy.

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Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

The Kesava Deo Temple is erected on the birthplace of the Hindu God Krishna. Among the foundations of this temple is a small room with a slab of rock on which Krishna is said to have been born 3500 years ago.

_______________________

Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

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Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

It is also believed that name Badami has come from colour of its stone (badam - Almond).

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

WIKIPEDIA

Illustration of the extracapsular rupture of a silicone breast implant. Breast implants are medical devices implanted under the breast tissue or chest muscle to increase breast size (augmentation) or to replace breast tissue that has been removed because of cancer or trauma, or that has failed to develop properly because of a severe breast abnormality (reconstruction). The FDA has approved two types of breast implants: saline-filled (saltwater solution) and silicone gel-filled. Both have a silicone outer shell and vary in size, shell thickness, shell surface texture, and shape (contour). There are risks associated with all breast implants, including the risk of ruptures. Follow your surgeon’s instructions on how to monitor your breast implants. If you notice any unusual signs or symptoms, report them promptly to your surgeon or health care provider. For more information, read this FDA Consumer Update.

This illustration is free of all copyright restrictions and available for use and redistribution without permission. Credit to the U.S. Food and Drug Administration is appreciated but not required.

FDA illustration by Michael J. Ermarth

Mathura is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA

Mathura (About this sound pronunciation (help·info)) is a city in the North Indian state of Uttar Pradesh. It is located approximately 50 kilometres north of Agra, and 145 kilometres south-east of Delhi; about 11 kilometres from the town of Vrindavan, and 22 kilometres from Govardhan. It is the administrative centre of Mathura District of Uttar Pradesh. During the ancient period, Mathura was an economic hub, located at the junction of important caravan routes. The 2011 census of India estimated the population of Mathura to be 441,894.

Mathura is the birthplace of Lord Krishna which is located at the centre of Braj or Brij-bhoomi, called Shri Krishna Janma-Bhoomi, literally: 'Lord Krishna's birthplace'. It is one of the seven cities (Sapta Puri) considered holy by Hindus. The Keshav Dev Temple was built in ancient times on the site of Krishna's birthplace (an underground prison). Mathura was the capital of the Surasena Kingdom, ruled by Kansa the maternal uncle of Krishna.

Mathura has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

HISTORY

Mathura has an ancient history and also homeland and birthplace of Krishna who was born in yadu dynasty. According to the Archaeological Survey of India plaque at the Mathura Museum, the city is mentioned in the oldest Indian epic, the Ramayana. In the epic, the Ikshwaku prince Shatrughna slays a demon called Lavanasura and claims the land. Afterwards, the place came to be known as Madhuvan as it was thickly wooded, then Madhupura and later Mathura.

In the 6th century BCE Mathura became the capital of the Surasena mahajanapada. The city was later ruled by the Maurya empire (4th to 2nd centuries BCE) and the Shunga dynasty (2nd century BCE). It may have come under the control of Indo-Greeks some time between 180 BCE and 100 BCE. It then reverted to local rule before being conquered by the Indo-Scythians during the 1st century BCE.

Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar). The dynasty had kings with the names of Kujula Kadphises, Kanishka, Huvishka and Vasudeva I.

Megasthenes, writing in the early 3rd century BCE, mentions Mathura as a great city under the name Μέθορα (Méthora).

The Indo-Scythians (aka Sakas or Shakas) conquered the area of Mathura over Indian kings around 60 BCE.

The findings of ancient stone inscriptions in Maghera, a town 17 kilometres from Mathura, provide historical artifacts giving more details on this era of Mathura. The opening of the 3 line text of these inscriptions are in Brahmi script and were translated as: "In the 116th year of the Greek kings..."

The Mathura Lion Capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharaosta Kamuio and Aiyasi Kamuia. Yuvaraja Kharostes (Kshatrapa) was the son of Arta, as is attested by his own coins.

Arta is stated to be brother of King Moga or Maues. Princess Aiyasi Kambojaka, also called Kambojika, was the chief queen of Shaka Mahakshatrapa Rajuvula. Kamboja presence in Mathura is also verified from some verses of the epic, the Mahabharata, which are believed to have been composed around this period.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", as opposed to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c 130 CE), in which they were paying allegiance to the Kushans.

Mathura served as one of the Kushan Empire's two capitals from the first to the third centuries.

Faxian mentions the city as a centre of Buddhism about 400 while his successor Xuanzang, who visited the city in 634 CE, mentions it as Mot'ulo, recording that it contained twenty Buddhist monasteries and five Brahmanical temples. Later, he went east to Thanesar, Jalandhar in the eastern Punjab, before climbing up to visit predominantly Theravada monasteries in the Kulu valley and turning southward again to Bairat and then Mathura, on the Yamuna river.

The city was sacked and many of its temples destroyed by Mahmud of Ghazni in 1018 and again by Sikandar Lodhi, who ruled the Sultanate of Delhi from 1489 to 1517.

Sikander Lodhi earned the epithet of 'Butt Shikan', the 'Destroyer of Hindu deities'. The Mughal Emperor Aurangzeb, built the city's Jami Masjid (Friday mosque) .[citation needed] The noteworthy fact is that the exact place of birth of Krishna, according to historians, is in the place of worship of the Hindus, though the mosque was built near the birthplace of Krishna. The bigger Krishna shrine, better known as Dwarkadeesh Temple is a few metres away from what is believed to be the actual birthplace of Krishna. It was built in 1815 by Seth Gokuldas Parikh, Treasurer of Gwalior.

In 2016, 24 people including 2 police officers were killed in the Jawahar Bagh clash, when the police tried to evict a large number of squatters from the public park

GEOGRAPHY

Mathura is located at 27.28°N 77.41°E. It has an average elevation of 174 metres

DEMOGRAPHICS

The 2011 census of India estimates the population of Mathura to be 441,894, a decadal growth rate of 22.53 per cent from 2001 census of India. Males account for 54% (268,445) and females for 46% (173,449) of this population. Sex ratio of Mathura is 858 females per 1000 males, which has increased from 840 in 2001. However, national sex ratio is 940. Population density in 2011 has increased from 621 per km2 in 2001 to 761 per km2. Mathura has an average literacy rate of 72.65 per cent which has increased from 61.46 per cent in 2001 but still lower than the national average of 74.04 per cent. Male and female literacy rate are 84.39 and 58.93 per cent respectively. 15.61 per cent of Mathura's population is under 6 years of age. This figure was 19.56 per cent in 2001 census. Mathura has large population of Jat and Yadav in rural areas and Brahmins & Baniyas in City. The famous cities/villages of Mathura District are as follows.

Lohwan

Vrindavan

Baldeo

Nandgaon

Barsana

Goverdhan

Gokul

Chaumuhan

Kosi Kalan

TRANSPORTATION

RAIL

Mathura is well connected by train to major cities in India such as New Delhi, Mumbai, Kolkata, Chennai, Bangalore, Hyderabad, Indore, Alwar, Jaipur, Bhopal, Gwalior, Jabalpur, Ujjain, Rewa, Lucknow, Kanpur, Varanasi etc.

The city is served by four stations, Mathura Junction being the biggest one connecting to West, North and Southern India. Mathura Cantt connects to eastern Uttar Pradesh. Bhuteshwar serves for local trains for Delhi, Delhi NCR, Agra, Bharatpur and Alwar. Another station Krishnajanmabhoomi connects to Vrindavan via rail bus.

ROAD

Mathura is well connected by road to the rest of Uttar Pradesh and India. NH 2 (Delhi-Howrah) Highway passes through the city and connects to National Highway 3 (to Mumbai), a part of which is known as Mathura Road. NH-11 (Agra to Bikaner). SH-33 (Bareilly to Mathura via Badaun ,Ujhani, Kasganj ,Soron, Sikandra Rao, Hathras) NH-93 (Moradabad) are also prominent arterial highways. Yamuna Expressway also connects to Mathura and in fact shortest way to reach Mathura by road.

The city is served by Upsrtc, JNNURAM, Rajasthan, Haryana, Madhya Pradesh, DTC, Chandigarh and Punjab state transportation bus companies. Mathura depot, run by upsrtc - the Uttar Pradesh state bus company - runs 120 buses. Direct buses are available to Alwar, Agra, Aligarh, Khair, Indore, Bhopal, Gwalior, Jabalpur, Jaipur, Udaipur, Ajmer, Delhi, Chandigarh, Lucknow, Kanpur, Meerut, Haridwar, Rohtak and other Indian cities. An intercity JnNURM bus facility also exists.

AIR

As of now the city has no airport but the airport was proposed to Mathura in 2012. The civil aviation minister Ajit Singh suggested Mathura's name for the site of a new greenfield international airport to chief minister of Uttar Pradesh Akhilesh Yadav. Mathura's name came into play when group of ministers terminated the planning of building Taj International Airport at Greater Noida. Land has been marked, and construction is in progress near the Yamuna Expressway, with plans to open in the next five years with regular flights to Delhi, Mumbai, Ujjain and Varanasi and some international routes in future.

TOURISM

Mathura is a holy city for Hinduism, the world's third-largest religion. There are many places of historic and religious importance in Mathura and its neighbouring towns. The twin-city to Mathura is Vrindavan. As the home of Krishna in his youth, the small town is host to a multitude of temples belonging to various sects of Hinduism proclaiming Krishna in various forms and avatars. Some places of interest are:

Baldeo(Dauji Mandir)

Lohwan Mata Mandir

Shri Ratneshwar Mahadev

Gopinath Maharaj Mandir

Keshav Dev Temple (Shri Krishna Janma Bhoomi)

Vishram Ghat (Bank of River Yamuna)

Shri Jagannath Temple Bhuteshwar Mathura

Prem Mandir, Vrindavan

Vrindavan Chandrodaya Mandir, Vrindavan

Mathura Museum

Birla Mandir

Shri Krishna Janmabhoomi

Naam yog Sadhna Mandir (Baba Jai Gurudev Temple)

Banke Bihari Temple

Shri Krishna Janmabhoomi

Iskcon Temple.

bhuteshwar temple

The Udasin Kashni Ashram (Ramanrati) near Gokul (Mahaven)

STRATEGIC IMPORTANCE

Mathura is the home for Indian I Corps (Strike Formation) within the Indian Army's Central Command, hosting Strike I Corps headquarters in a large classified area in the outskirts of the city known as Mathura Cantonment (Central Command itself has its headquarters at Lucknow). It hosts Strike Infantry units, Air Defence units, Armoured Divisions, Engineer brigades, Aritillery Units and classified units of Strategic Nuclear Command. Corps I is primarily responsible for western borders of India. In 2007 during Exercise Ashwamedha, all the armoured, artillery and infantry divisions performed a simulation of an overall NBC (nuclear-chemical-biological) environment. The aim was to show operational ability in high intensity, short duration and 'sudden' battles.

INDUSTRIES

One of the major contributors in the economy of Uttar Pradesh are Mathura Industries.[citation needed] Mathura Refinery located in the city is one of the biggest oil refineries of Asia with 8.0 MMTPA refining capacity. This oil refinery of the Indian Oil Corporation is a highly technologically advanced oil refinery. Mathura Refinery is the first in Asia and third in the world to receive the coveted ISO-14001 certification for Environment Management System in 1996.

Textile printing industry that includes both sari-printing and fabric dyeing and silver ornaments manufacturing are major industrial contributors to the region. Apart from these other industries are water tap manufacturing units and other decorative and household items. Mathura also is a big centre for production of cotton materials; prominent among them being pure white bleached cotton sarees for women and dhotis for men,and cotton niwar tapes for beds. It is also a hub for production of milk based sweet meals,prominent among them being mathura Pedas and burfis. Renowned as the place where rivers of milk flowed, Mathura till today boasts of Milk trading centres where you can buy any amount of fresh milk where rates vary every few minutes and are notified on a black board akin to stock prices.

POLITICS

In 2014 General Elections Mrs. Hema Malini of BJP became the Member of Parliament from Mathura Constituency. The Mayor of the city is Mrs. Manisha Gupta of BJP.

CULTURE

Mathura has contributed a lot towards Indian Culture through its rich heritage. The ethos of Mathura, and in fact the whole of Braj mandal is centered on Krishna and his tales. Mathura sees heightened activities during the major festivities dedicated to Krishna.

The Braj culture has been expressed widely through various practices.

Sanjhee is the colourful art of decorating the ground with flowers.

Rasiya is a tradition that is integral to Mathura's culture. It is the tradition of folk-songs that describe the love of the divine couple Radha and Krshnaji. It is an inseparable part of the Holi celebrations and all other festive occasions at Mathura. (Dhulendi – Holi with drums (dholak), colours, etc. originated from Braj region hundreds of millennia before today.)

Raaslilas of Mathura have become an integral part of Indian Folklore. Krshnaji had danced the Raas with gopis on banks of Yamuna river.

Charkula is a traditional folk dance of the Braj. In this dance, a woman balances a column of deepikas on her head and dances to the accompaniment of Rasiya songs by the menfolk.

The language spoken in the Braj mandal is mainly Hindi which is spoken in a different dialect. This dialect is characteristic with the Braj region and known as Brajbhasha. Being close to haryana and uttar pradesh haryanwi is spoken by people and very few people speak Punjabi. Before Hindi and until past few centuries, Brajbhasha used to be the dominant language in literature.

Mathura is one of the seven most holy places for Hindus in India.

- Ayodhyā Mathurā Māyā Kāsi Kāñchī Avantikā I

- Purī Dvārāvatī chaiva saptaitā moksadāyikāh II - Garuḍa Purāṇa I XVI .14

A Kṣetra is a sacred ground, a field of active power, a place where Moksha, final release can be obtained. The Garuda Purana enumerates seven cities as giver of Moksha, They are Ayodhya, Mathura, Māyā, Kāsi, Kāñchī, Avantikā, Puri and Dvārāvatī.

MEDIA AND COMMUNICATIONS

All India Radio has a local station in Mathura which transmits various programs of mass interest. Commissioned in 2001, Mathura has a Programme generating Facility (PGF) of Doordarshan - India's Public service Broadcasters.

EDUCATIONAL INSTITUTIONS

GLA University, R.K. Group of Institutions (including Rajiv Academy For Technology & Management, Rajiv Academy For Teacher's Education, Rajiv Academy For Pharmacy, K.D. Dental College & Hospital, etc.) and BSA College of engineering and technology, Excel Institute of Management & Technology has been accorded as status of university). 40 engineering & management colleges had been established in Mathura up to 12-12-2009.

Mathura is home to the Uttar Pradesh Pandit Deen Dayal Upadhyaya Veterinary University, the first of its kind in the state and the fourth in the country to be made independent veterinary universities."Mathura University ::-:: Website Loading". Upvetuniv.edu.in. Retrieved 2013-11-17.The college was established in 1947 by Govt of U.P. and it is Asia's first veterinary college which awarded Veterinary science degree. The University is located on the Mathura-Agra road, about 5 kilometres from Mathura Junction. The main campus of the University is spread over a land area of 3.1659 km2 in Mathura Cantt and about 6 km2 at Madhurikund, about 20 kilometres from the main campus.

WIKIPEDIA