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The United Palace is a church and non-profit cultural and performing arts center located at 4140 Broadway, (Washington Heights, Manhattan, New York City).
Built in 1930 as Loew's 175th Street Theatre, the venue was originally a movie palace designed by architect Thomas W. Lamb, who designed over 300 theatres
in his career.
The architectural style of the terra-cotta-faced theater has been described as "Byzantine-Romanesque-Indo-Hindu-Sino-Moorish-Persian-Eclectic-Rococo-Deco"
by David W. Dunlap of the New York Times, who wrote later that Lamb borrowed from "the Alhambra in Spain, the Kailasa rock-cut shrine in India, and the Wat
Phra Keo temple in Thailand, adding Buddhas, bodhisattvas, elephants, and honeycomb stonework in an Islamic pattern known as muqarnas.
As of 2018, the church is called the United Palace of Spiritual Arts, and offers performing arts events through the United Palace of Cultural Arts.
The United Palace is a church and non-profit cultural and performing arts center located at 4140 Broadway, (Washington Heights, Manhattan, New York City).
Built in 1930 as Loew's 175th Street Theatre, the venue was originally a movie palace designed by architect Thomas W. Lamb, who designed over 300 theatres
in his career.
The architectural style of the terra-cotta-faced theater has been described as "Byzantine-Romanesque-Indo-Hindu-Sino-Moorish-Persian-Eclectic-Rococo-Deco"
by David W. Dunlap of the New York Times, who wrote later that Lamb borrowed from "the Alhambra in Spain, the Kailasa rock-cut shrine in India, and the Wat
Phra Keo temple in Thailand, adding Buddhas, bodhisattvas, elephants, and honeycomb stonework in an Islamic pattern known as muqarnas.
As of 2018, the church is called the United Palace of Spiritual Arts, and offers performing arts events through the United Palace of Cultural Arts.
A breathtaking view of the Kailasa Temple at Ellora, where intricate elephant carvings line the base and a towering pillar supports the massive rock-cut on the right. This monolithic marvel—hewn from a single rock—stands as a timeless tribute to ancient Indian craftsmanship and devotion.
A UNESCO World Heritage Site, the temple blends architectural brilliance with spiritual depth.
A striking view of the Kailasa Temple at Ellora, featuring the Victory Pillar (Dhwajastambha)—the very pillar immortalized on the Indian ₹20 currency note. Rising proudly within this monolithic marvel, the pillar symbolizes triumph and devotion.
A UNESCO World Heritage Site, Kailasa is not just carved in stone—it’s etched in the soul of Indian heritage.
Kailasa Temple was meant to serve as Lord Shiva's, "Himalayan abode." Furthermore, the entire temple was carved out of a single piece of rock.
Este templo hindú, se construyó con martillo y cincel en unos 150 años, para representar el monte Kailasa, morada de Siva. No sólo es una maravilla arquitectónica, sino que está lleno de delicadas esculturas y relieves. De lo más increible que yo he visto.
Ellora Cave 16: the Kailasanatha Temple. 8th century.
Conceptualizing an idea that would take 200 years to complete, take 7500 people to finish, with buy-in from 10 generations of stake holders, detailing it to the T (a house of god cannot have a wrong cut), excavating 400000 tonnes of rock, all of these could only have been possible because of the sheer brilliance, love and devotion of those involved.
en.wikipedia.org/wiki/Kailasa_temple,_Ellora
Ellora Caves Album:
The Kailasha temple is the largest of the rock-cut Hindu temples at the Ellora Caves. A megalith carved from a rock cliff face, it is considered as one of the most remarkable cave temples in the world because of its size, architecture and sculptural treatment, and "the climax of the rock-cut phase of Indian architecture". The top of the superstructure over the sanctuary is 32.6 metres (107 ft) above the level of the court below, although the rock face slopes downwards from the rear of the temple to the front. Archaeologists believe it is made from a single rock.
Ellora is a UNESCO World Heritage Site located in Aurangabad, Maharashtra, India. It is one of the largest rock-cut Hindu temple cave complexes in the world, with artwork dating from the period 600–1000 CE.
There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri Hills, 34 of which are open to public. These consist of 17 Hindu (caves 13–29), 12 Buddhist (caves 1–12) and 5 Jain (caves 30–34) caves, each group representing deities and mythologies prevalent in the 1st millennium CE, as well as monasteries of each respective religion. They were built close to one another and illustrate the religious harmony that existed in ancient India.
Ellora Cave 16: the Kailasanatha Temple. 8th century.
Conceptualizing an idea that would take 200 years to complete, take 7500 people to finish, with buy-in from 10 generations of stake holders, detailing it to the T (a house of god cannot have a wrong cut), excavating 400000 tonnes of rock, all of these could only have been possible because of the sheer brilliance, love and devotion of those involved.
en.wikipedia.org/wiki/Kailasa_temple,_Ellora
Ellora Caves Album:
Standing tall in front of the awe-inspiring Kailasa Temple at Ellora, the Victory Pillar (Dhwajastambha) is more than just an architectural element—it is a symbol of spiritual conquest and imperial devotion. Carved from a single rock in the 8th century under the patronage of Rashtrakuta king Krishna I, the Kailasa Temple is one of the greatest monolithic structures in the world. The Victory Pillar marks the sacred threshold to this grand temple dedicated to Lord Shiva, celebrating not just military victories, but also the triumph of dharma (righteousness) over chaos.
Location: Ellora Caves, India
The Kailasha temple is the largest of the rock-cut Hindu temples at the Ellora Caves. A megalith carved from a rock cliff face, it is considered as one of the most remarkable cave temples in the world because of its size, architecture and sculptural treatment, and "the climax of the rock-cut phase of Indian architecture". The top of the superstructure over the sanctuary is 32.6 metres (107 ft) above the level of the court below, although the rock face slopes downwards from the rear of the temple to the front. Archaeologists believe it is made from a single rock.
Ellora is a UNESCO World Heritage Site located in Aurangabad, Maharashtra, India. It is one of the largest rock-cut Hindu temple cave complexes in the world, with artwork dating from the period 600–1000 CE.
There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri Hills, 34 of which are open to public. These consist of 17 Hindu (caves 13–29), 12 Buddhist (caves 1–12) and 5 Jain (caves 30–34) caves, each group representing deities and mythologies prevalent in the 1st millennium CE, as well as monasteries of each respective religion. They were built close to one another and illustrate the religious harmony that existed in ancient India.
Kailasa Temple at Ellora — an architectural marvel hewn from a single rock in the 8th century. Dedicated to Lord Shiva, this monolithic masterpiece replicates Mount Kailash and stands as the largest rock-cut temple in the world. The intricately carved elephant statues at the base seem to bear the weight of the temple, symbolizing strength and devotion.
A UNESCO World Heritage Site
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
For other uses, see Shiva (disambiguation).
"Siva" redirects here. For the bird, see Blue-winged Siva.
Shiva
A statue in Bengaluru depicting Shiva meditating
Devanagari शिव
Abode Mount Kailāsa[1]
Mantra Aum Namah Sivaya
Weapon Trident (Trishul)
Consort Parvati or Sati or Shakti or Durga
Mount Nandi (bull)
This box: view • talk • edit
Shiva:(pronunciation: [ʃɪ.ʋə]; Sanskrit: शिव, Śiva, lit. "Auspicious one" ; Tamil: சிவன்) One of the Trimurtis. Shiva is the supreme God in the Shaiva tradition of Hinduism. In the Smartha tradition, he is one of the five primary forms of God. [2][3]
Followers of Hinduism who focus their worship upon Shiva are called Shaivites or Shaivas (Sanskrit Śaiva).[4] Shaivism, along with Vaiṣṇava traditions that focus on Vishnu, and Śākta traditions that focus on the goddess Devī are three of the most influential denominations in Hinduism.[5]
Shiva is usually worshipped in the form of Shiva linga. In images, he is generally represented as immersed in deep meditation or dancing the Tandava upon maya, the demon of ignorance in his manifestation of Nataraja, the lord of the dance.
In some other Hindu denominations, Brahma, Vishnu, and Shiva represent the three primary aspects of the divine in Hinduism and are collectively known as the Trimurti. In this school of religious thought, Brahma is the creator, Vishnu is the maintainer or preserver, and Shiva is the destroyer or transformer.[6]
mount-kailash.com/shiva/shivas_aspekte.htm
Lord Shiva - Seine Form und Aspekte
Der
Lord Shiva
Name Shiva (aus dem Sanskrit) bedeutet wörtlich "gütig, gnädig, freundlich". Der Freundliche.
Lord Shiva, der sich mit halbgeschlossenen Augen ständig in Meditation befindet, ist einer der meistverehrten Gottheiten im Hinduismus. Sein Wohnsitz ist der heilige Berg Kailash im Himalaya. Ihm folgen die meisten Sadhus, die heiligen Männer Indiens.
Shiva als Teil der göttlichen Trinität "Brahma-Vishnu-Shiva" manifestiert sich als der Zerstörer. Als solcher ist er jedoch auch Ursache der Schöpfung, denn ohne die Zerstörung des alten Zyklus kann keine neue Schöpfungsperiode entstehen. Brahma wirkt als Schöpfergott und Vishnu als Gott der Erhaltung. Die drei göttlichen Aspekte stellen die drei fundamentalen Kräfte der Natur dar, die es in der Welt gibt: Schöpfung, Erhaltung und Zerstörung. Shiva verkörpert Tamas oder die Tendenz zur Auflösung und Vernichtung.
Shiva der Gütige (Gnädige) ist auch bekannt als der Mahadeva (maha = groß, der grosse Gott) oder Mahayogi, der oberste aller Yogis, dessen Trommelklang die Menschen zum Erwachen aus ihrer materiellen Illusion verhilft. Shivas mächtige Trommel und göttlicher Tanz sind eine Quelle der Inspiration und drängen die Menschheit zu spiritueller Entfaltung und Vervollkommnung.
Shiva hat verschiedene Erscheinungsformen. Obwohl Er über Namen und Formen hinausgeht, stellen ihn Künstler
oft als jung und schön dar, mit weißer Hautfarbe. Er hat drei Augen und vier Arme; heilige Asche wurde über seinen ganzen Körper geschmiert. In zwei seiner Hände trägt er einen Dreizack (trisula) und eine Trommel (damaru), die zwei anderen nehmen symbolische Handstellungen (Mudras) ein, und zwar in der Bedeutung von Schutz (abhaya) und Gewährung von Wohltaten (varada).
In seinem Haar trägt er die Mondsichel, um seinen Hals winden sich Kobras. Die erhobene rechte Hand (Abhaya) bedeutet Schutz, Segen und Beruhigung. Die drei Spitzen des Dreizacks dienen der Vertreibung von Dämonen und stehen für die drei Aspekte der Gottheit: Schöpfer, Erhalter und Vernichter zugleich. Die Schlange (Naga) ist das Symbol des ewigen Kreislaufes der Zeit und der Unsterblichkeit.
Shiva sitzt auf einem Tigerfell, dazu gibt es folgende Geschichte: die Rishis (Asketen) waren neidisch auf Shiva, weil ihre Frauen alle in Liebe zu ihm entbrannt waren. Sie liessen einen wilden Tiger auf ihn los, er tötete ihn aber und zog ihm das Fell ab. Als sie ihm nun giftige Schlangen schickten, zähmte er diese und hängte sie um seinen Hals. Als man die Mondsichel nach ihm warf, steckte er sie sich als Schmuck in seine Locken. Daraufhin knieten die Rishis in Verehrung vor ihm nieder.
Shiva hat langes, filzhaftes Haar, und der lebensspendende Fluß Ganges entspringt oben am Kopf. Er trägt eine Mondsichel als Krone und Kleidung, die aus Tiger- und Elefantenhaut gefertigt wurde. Sein Hals, um den sich eine große Kobra windet, ist blau. Shiva hat eine Kette und Girlande aus Schädeln um, und Schlangen zieren seinen Körper. Ferner trägt er einen Gurt, eine heilige Schnur (yajnopavita) und Armreifen.
Shivas Augen sind halb geschlossen, d.h., weder ganz geschlossen, noch ganz offen. Es handelt sich um eine heilige Position, die Sambhavee-Mudra genannt wird. Geschlossene Augen zeigen an, daß sich die Person von der Welt zurückgezogen hat. Geöffnete Augen weisen auf jemanden hin, der voll der Welt zugewendet ist. Die halb geschlossenen Augen bedeuten daher, daß Shivas Bewußtsein im inneren Selbst ruht, während sein Körper in der äußeren Welt aktiv bleibt.
Künstler zeigen Shiva oft meditierend, mit dem schneeweißen Hintergrund des Berges Kailash, was absolut reines Bewußtsein bedeutet. Der Zustand der Meditation, den Shivas Haltung zeigt, birgt tiefe Symbolik, da Meditation das letzte Tor zur Selbstverwirklichung ist. Um Gott zu verwirklichen, ist es unerläßlich zu meditieren. Shiva repräsentiert das Ideal höchster Entsagung, die aus Gottverwirklichung entsteht.
Shivas weiße Haut symbolisiert das Licht, das die Dunkelheit vertreibt, das Wissen, das Unwissenheit vertreibt.
Album Esoteric - Ezoteryka www.flickr.com/photos/arjuna/sets/72057594082135474/
For other uses, see Shiva (disambiguation).
"Siva" redirects here. For the bird, see Blue-winged Siva.
Shiva
A statue in Bengaluru depicting Shiva meditating
Devanagari शिव
Abode Mount Kailāsa[1]
Mantra Aum Namah Sivaya
Weapon Trident (Trishul)
Consort Parvati or Sati or Shakti or Durga
Mount Nandi (bull)
This box: view • talk • edit
Shiva:(pronunciation: [ʃɪ.ʋə]; Sanskrit: शिव, Śiva, lit. "Auspicious one" ; Tamil: சிவன்) One of the Trimurtis. Shiva is the supreme God in the Shaiva tradition of Hinduism. In the Smartha tradition, he is one of the five primary forms of God. [2][3]
Followers of Hinduism who focus their worship upon Shiva are called Shaivites or Shaivas (Sanskrit Śaiva).[4] Shaivism, along with Vaiṣṇava traditions that focus on Vishnu, and Śākta traditions that focus on the goddess Devī are three of the most influential denominations in Hinduism.[5]
Shiva is usually worshipped in the form of Shiva linga. In images, he is generally represented as immersed in deep meditation or dancing the Tandava upon maya, the demon of ignorance in his manifestation of Nataraja, the lord of the dance.
In some other Hindu denominations, Brahma, Vishnu, and Shiva represent the three primary aspects of the divine in Hinduism and are collectively known as the Trimurti. In this school of religious thought, Brahma is the creator, Vishnu is the maintainer or preserver, and Shiva is the destroyer or transformer.[6]
mount-kailash.com/shiva/shivas_aspekte.htm
Lord Shiva - Seine Form und Aspekte
Der
Lord Shiva
Name Shiva (aus dem Sanskrit) bedeutet wörtlich "gütig, gnädig, freundlich". Der Freundliche.
Lord Shiva, der sich mit halbgeschlossenen Augen ständig in Meditation befindet, ist einer der meistverehrten Gottheiten im Hinduismus. Sein Wohnsitz ist der heilige Berg Kailash im Himalaya. Ihm folgen die meisten Sadhus, die heiligen Männer Indiens.
Shiva als Teil der göttlichen Trinität "Brahma-Vishnu-Shiva" manifestiert sich als der Zerstörer. Als solcher ist er jedoch auch Ursache der Schöpfung, denn ohne die Zerstörung des alten Zyklus kann keine neue Schöpfungsperiode entstehen. Brahma wirkt als Schöpfergott und Vishnu als Gott der Erhaltung. Die drei göttlichen Aspekte stellen die drei fundamentalen Kräfte der Natur dar, die es in der Welt gibt: Schöpfung, Erhaltung und Zerstörung. Shiva verkörpert Tamas oder die Tendenz zur Auflösung und Vernichtung.
Shiva der Gütige (Gnädige) ist auch bekannt als der Mahadeva (maha = groß, der grosse Gott) oder Mahayogi, der oberste aller Yogis, dessen Trommelklang die Menschen zum Erwachen aus ihrer materiellen Illusion verhilft. Shivas mächtige Trommel und göttlicher Tanz sind eine Quelle der Inspiration und drängen die Menschheit zu spiritueller Entfaltung und Vervollkommnung.
Shiva hat verschiedene Erscheinungsformen. Obwohl Er über Namen und Formen hinausgeht, stellen ihn Künstler
oft als jung und schön dar, mit weißer Hautfarbe. Er hat drei Augen und vier Arme; heilige Asche wurde über seinen ganzen Körper geschmiert. In zwei seiner Hände trägt er einen Dreizack (trisula) und eine Trommel (damaru), die zwei anderen nehmen symbolische Handstellungen (Mudras) ein, und zwar in der Bedeutung von Schutz (abhaya) und Gewährung von Wohltaten (varada).
In seinem Haar trägt er die Mondsichel, um seinen Hals winden sich Kobras. Die erhobene rechte Hand (Abhaya) bedeutet Schutz, Segen und Beruhigung. Die drei Spitzen des Dreizacks dienen der Vertreibung von Dämonen und stehen für die drei Aspekte der Gottheit: Schöpfer, Erhalter und Vernichter zugleich. Die Schlange (Naga) ist das Symbol des ewigen Kreislaufes der Zeit und der Unsterblichkeit.
Shiva sitzt auf einem Tigerfell, dazu gibt es folgende Geschichte: die Rishis (Asketen) waren neidisch auf Shiva, weil ihre Frauen alle in Liebe zu ihm entbrannt waren. Sie liessen einen wilden Tiger auf ihn los, er tötete ihn aber und zog ihm das Fell ab. Als sie ihm nun giftige Schlangen schickten, zähmte er diese und hängte sie um seinen Hals. Als man die Mondsichel nach ihm warf, steckte er sie sich als Schmuck in seine Locken. Daraufhin knieten die Rishis in Verehrung vor ihm nieder.
Shiva hat langes, filzhaftes Haar, und der lebensspendende Fluß Ganges entspringt oben am Kopf. Er trägt eine Mondsichel als Krone und Kleidung, die aus Tiger- und Elefantenhaut gefertigt wurde. Sein Hals, um den sich eine große Kobra windet, ist blau. Shiva hat eine Kette und Girlande aus Schädeln um, und Schlangen zieren seinen Körper. Ferner trägt er einen Gurt, eine heilige Schnur (yajnopavita) und Armreifen.
Shivas Augen sind halb geschlossen, d.h., weder ganz geschlossen, noch ganz offen. Es handelt sich um eine heilige Position, die Sambhavee-Mudra genannt wird. Geschlossene Augen zeigen an, daß sich die Person von der Welt zurückgezogen hat. Geöffnete Augen weisen auf jemanden hin, der voll der Welt zugewendet ist. Die halb geschlossenen Augen bedeuten daher, daß Shivas Bewußtsein im inneren Selbst ruht, während sein Körper in der äußeren Welt aktiv bleibt.
Künstler zeigen Shiva oft meditierend, mit dem schneeweißen Hintergrund des Berges Kailash, was absolut reines Bewußtsein bedeutet. Der Zustand der Meditation, den Shivas Haltung zeigt, birgt tiefe Symbolik, da Meditation das letzte Tor zur Selbstverwirklichung ist. Um Gott zu verwirklichen, ist es unerläßlich zu meditieren. Shiva repräsentiert das Ideal höchster Entsagung, die aus Gottverwirklichung entsteht.
Shivas weiße Haut symbolisiert das Licht, das die Dunkelheit vertreibt, das Wissen, das Unwissenheit vertreibt.
Album Esoteric - Ezoteryka www.flickr.com/photos/arjuna/sets/72057594082135474/
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
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This was a main function celebrated for Angalamman.The major function celebrated for her is the "Mayana Kollai" celebrated in the Tamil month of Maasi that means in the English month of February and March.
The functions falls on a new moon day of the Tamil month Maasi (Maasi Amavasya)and the day before the new moon day is Maha sivaratri which is a main function contributed for Lord Shiva.
Story of Angalamman
Once Shakthi was reborn as Parvati, Brahma performed a yagna to save god and men from two demons known as Sandobi and Sundaran. Through this yagna Tilottama, an apsara came to life. Attracted by the beauty of Thilothama, the demons and even Brahma, followed her. For her protection she went to Kailash where Brahma also followed. As Brahma also was with five heads, Parvati mistook him for Shiva and felt at his feet. When Parvati realized the truth, she was very angry and prayed to Shiva that the fifth head of Brahma should be destroyed. So Shiva as "Rudra" cut off one head of Brahma. Now, Brahma now with four heads cursed Shiva that his fifth head must be attached to his hand itself and hereafter Shiva must be affected having hunger, having no sleep. So Shiva came to earth and roamed everywhere. When he was hungry he begged and ate, but half of the food he begged was eaten by the fifth head of Brahma: that is, the "Kabala" so Shiva roamed in every graveyard and slept in ashes and that form of Shiva is worhipped as Bhairava in south India.
Parvati went to her brother Lord Vishnu and asked for relief for her husband so Lord Vishnu said to Parvati, "My dear sister, go to Thandakarunyam graveyard with your husband and make a pond there named "Agni kula theertham" and prepare a tasty food made by Agathi keerai (Humming bird tree leaves) and blood of chicken and serve that food to kabala and then throw the food everywhere in the graveyard. The kabala will come down, leaving Shiva's hand, to eat the food. Then take your husband to the pond and clean him with that water so that it will not catch your husbands hand". Parvati did as her brother said: she took her husband to thandakarunyam graveyard and prepared the food, served it to the kabala and then threw it in the graveyard. The kabala came down from Shiva's hand; meanwhile, Parvati took her husband to the pond and cleaned him. The kabala searched for Shiva's hand but could not touch him so it got attached to Parvati's hand. So Parvati forgot about this and danced but later she recognised what had happened and became big, assuming a terrible and fearful form and destroyed the kabala with her right leg.
The fiercest form (Angara rubam or Agora rubam) which destroyed the kabala when separated from Parvati is called Angalaamman. Parvati told Angalaamman to stay there and give a boon to the people who worship her and she went to Kailasa. However, Shiva was not there. Shiva got relief from Brahma's curse, but he was too hungry so he went Kashi and there Parvati, incarnated as "Annapoorani Devi", served him food and Shiva ate and got relief from his hunger.
In the Thandakarunyam Angalaamman give boon to the people who worship her the people who had diseases went there and get relief from the diseases she drive away the evil ghosts from the people and people go there and worship her in New moon days (Amavasya) at the midnight of every New moon day Angalamman is decorated and put on a swing (Amavasai Oonjal).
Source: Wiki
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
Shiva et Parvati sur le mont Kailasa
École moghole provinciale
Murshidabad
Fin du 18è siècle
Gouache et or sur papier
Ancien fonds
Musée national des arts asiatiques - Guimet, Paris
Nithyanandeshwara Paramashiva Hindu temple is a spiritual center that is the enlightened ecosystem created by the Avatar The Supreme Pontiff of Hinduism, Jagatguru Mahasannidhanam, His Divine Holiness Bhagavan Nithyananda Paramashivam (popularly known as Swamiji or Swami Nithyananda) for the people in the Ohio region. The temple premises and grounds have the natural ambiance of the Himalayas and the Ganga River with the Olentangy river flowing behind the temple!
DSCF6252
At the time of Sunset over Tiruthani Murugan temple - @ Tiruthani,Tamilnadu, India .
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Tiruthani Murugan temple is a Hindu temple, in the hill of Thiruttani, South India, dedicated to Lord Muruga. The hill has 365 steps indicating 365 days of the year.It is one of the Arupadaiveedu, the six holy abodes of Lord Muruga. The other five are: Palani (100 km west of Madurai), Swamimalai (150 km east of Madurai), Tirupparangunram (5 km from Madurai), Pazhamudircholai (10 km north of Madurai) and Thiruchendur (100 km south of Madurai).
The origins of this temple, like most Hindu temples, are buried in antiquity. This temple has been mentioned in the Sangam period work Tirumurugaatruppadai composed by Nakkeerar. It has been patronized by the Vijayanagar rulers and local chieftains and zamindars.
Legend also has it that Indra the king of the Gods gave his daughter Deivayanai in marriage to Skanda, and along with her presented his elephant Airavatam as part of his dowry offering. Upon Airavatam's departure Indra found his wealth waning. Subramanyar is said to have offered to return the white elephant, however Indra bound by protocol refused to accept a gift that he had made, and insisted that the elephant face his direction, hence the image of the elephant in this temple also faces the east.
Another legend has it that Indra presented a sandal stone as a part of his daughters dowry. The sandal paste made on this stone is applied to the image of Subramanya and the applied paste is said to acquire medicinal value. Legend also has it that Skanda bore the discus thrown by the demon Tarakasuran on his chest, and hence there is a hollow in the chest region of the image of Subramanya in this temple. Legend also has it that Skanda gifted the discus to Vishnu (Please also see Tiruveezhimizhalai and Tirumalper). Skanda is also believed to have imparted knowledge of Tamil to the sage Agasthyar and he is regarded as Veeramurthy, Gnanamurthy and Acharyamurthy in this shrine.
Lord Rama, after putting an end to Ravana, worshipped Lord Siva at Rameswaram and then came to Tiruttani to find perfect peace of mind by worshipping Lord Subrahmanya here. In Dwapara Yuga, Arjuna got the blessings of our Lord here by offering prayers to Him on his way to the South for Teertha Yatra (pilgrimage to take sacred immersion). Lord Vishnu prayed to the Lord and got back His powerful Chakra (sacred wheel), Shanku (sacred conch), which were forcibly seized from Him by Tarakasura, brother of Soorapadma. Lord Brahma propitiated the Lord here at the holy spring known as Brahmasonai after his imprisonment by our Lord for his failure to explain the Pranava ('Om' mantra) and got back his creative function of which he was deprived by our Lord due to his egotistic impudence in neglecting to worship Lord Subrahmanya on his way to Mount Kailasa to worship Lord Siva. The final steps to the eastern entrance.
On worshipping our Lord at Thanikai, the king of snakes Vasuki got his bodily wounds healed, which had been caused during the churning process in the Milky Ocean to secure the Amrita (nectar of immortality) by the devas and asuras when the Mantotra Mountain was used as the churning base and the snake king Vasuki as the rope. Sage Agasthyar Muni (of Potikai Hill) worshipped Lord Muruga at Tanikai when he was blessed with the divine gift of the Tamil language.
Apart from its puranic greatness, Saint Arunagirinathar has praised this hill as the chosen place for worship by devas and the favorite abode of saints performing prolonged tapas. He also compared this hill to Sivaloka (Bhuloka) and as the very soul of the world. Sri Muttuswami Deekshitar, who lived 200 years ago (one of the trinity of Carnatic music) had his inspiration in Tiruttani when the Lord (in the guise of an old man) met him on the steps and sweetened his tongue with the prasadam of this temple, which impelled him to compose and render his first krithi "Shri Nathadhi Guruguho Jayathi Jayathi"(song) on Lord Murugan of Tanikai. The temple vimanam was covered by gold.
Source : en.wikipedia.org/wiki/Thiruthani_Murugan_Temple
The picture is taken from the Delhi flight starting from Kathmandu. Himalaya range stands just behind the clouds on this picture. The mount Kailash is the little one on the far background between the two main massifs.
This famous mountain lies near the source of some of the longest Asian rivers: the Indus, Sutlej, Brahmaputra, and Ghaghara. Mount Kailash which is located near Lake Manasarovar and Lake Rakshastal, is considered to be sacred in four religions: Bön, Buddhism, Jainism and Hinduism.
Kailasa Temple, Ellora, Maharashtra, India
Kailasa Temple has been dubbed as ‘Cave 16’ of the Ellora Caves, and is notable for being the largest monolithic structure in the world that was carved out of a single piece of rock. Apart from the temple’s impressive size, it is also remarkable for its sculptures, as well as for the fine workmanship of its other architectural elements. The Kailasa Temple [known also as the Kailasanatha (which translates as ‘Lord of Kailasa’) Temple] is an ancient Hindu temple located in the western Indian region of Maharashtra.
A UNESCO World Heritage, this temple is part of the Ellora Caves, a religious complex consisting of 34 rock-cut monasteries and temples. This temple derives its name from Mount Kailasa, the Himalayan abode of the Hindu god Shiva. It is generally believed that this temple was constructed in the 8th century AD, during the reign of Krishna I, a ruler of the Rashtrakuta Empire. As the Kailasa Temple is supposed to represent the sacred mountain of Shiva, this temple was dedicated to this particular Hindu god. The construction of the Kailasa Temple is thought to have taken place between 757 and 783 AD. It has been commonly estimated that over this period of about two and a half decades, a total of 200,000 (other estimations range from 150,000 to 400,000) tons of rock were excavated out of a vertical basalt cliff in the Charanandri Hills to form the magnificent temple. It may be added that the temple was carved from top to bottom with only simple hammers and chisels.
Spectacular view of Kailasa Temple at Ellora caves, India. Read all about it in my blog here >> gops.org/?p=1834
Nandi is the gate- guardian deity of Kailasa, the abode of Lord Shiva. He is depicted as a bull which is the mount to the god Shiva. According to Saivite tradition, he is considered as the chief guru of eight disciples of Nandinatha Sampradaya - Sanaka, Sanatana, Sanandana, Sanatkumara, Tirumular, Vyagrapada, Patanjali and Sivayoga Muni who were send to eight directions to spread the wisdom of Shaivism.
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Although my interest of layering can be seen in my photographs,I choose to post this just because of emotion in the painted face of this guy.
This was a main function celebrated for Angalamman.The major function celebrated for her is the "Mayana Kollai" celebrated in the Tamil month of Maasi that means in the English month of February and March.
The functions falls on a new moon day of the Tamil month Maasi (Maasi Amavasya)and the day before the new moon day is Maha sivaratri which is a main function contributed for Lord Shiva.
Story of Angalamman
Once Shakthi was reborn as Parvati, Brahma performed a yagna to save god and men from two demons known as Sandobi and Sundaran. Through this yagna Tilottama, an apsara came to life. Attracted by the beauty of Thilothama, the demons and even Brahma, followed her. For her protection she went to Kailash where Brahma also followed. As Brahma also was with five heads, Parvati mistook him for Shiva and felt at his feet. When Parvati realized the truth, she was very angry and prayed to Shiva that the fifth head of Brahma should be destroyed. So Shiva as "Rudra" cut off one head of Brahma. Now, Brahma now with four heads cursed Shiva that his fifth head must be attached to his hand itself and hereafter Shiva must be affected having hunger, having no sleep. So Shiva came to earth and roamed everywhere. When he was hungry he begged and ate, but half of the food he begged was eaten by the fifth head of Brahma: that is, the "Kabala" so Shiva roamed in every graveyard and slept in ashes and that form of Shiva is worhipped as Bhairava in south India.
Parvati went to her brother Lord Vishnu and asked for relief for her husband so Lord Vishnu said to Parvati, "My dear sister, go to Thandakarunyam graveyard with your husband and make a pond there named "Agni kula theertham" and prepare a tasty food made by Agathi keerai (Humming bird tree leaves) and blood of chicken and serve that food to kabala and then throw the food everywhere in the graveyard. The kabala will come down, leaving Shiva's hand, to eat the food. Then take your husband to the pond and clean him with that water so that it will not catch your husbands hand". Parvati did as her brother said: she took her husband to thandakarunyam graveyard and prepared the food, served it to the kabala and then threw it in the graveyard. The kabala came down from Shiva's hand; meanwhile, Parvati took her husband to the pond and cleaned him. The kabala searched for Shiva's hand but could not touch him so it got attached to Parvati's hand. So Parvati forgot about this and danced but later she recognised what had happened and became big, assuming a terrible and fearful form and destroyed the kabala with her right leg.
The fiercest form (Angara rubam or Agora rubam) which destroyed the kabala when separated from Parvati is called Angalaamman. Parvati told Angalaamman to stay there and give a boon to the people who worship her and she went to Kailasa. However, Shiva was not there. Shiva got relief from Brahma's curse, but he was too hungry so he went Kashi and there Parvati, incarnated as "Annapoorani Devi", served him food and Shiva ate and got relief from his hunger.
In the Thandakarunyam Angalaamman give boon to the people who worship her the people who had diseases went there and get relief from the diseases she drive away the evil ghosts from the people and people go there and worship her in New moon days (Amavasya) at the midnight of every New moon day Angalamman is decorated and put on a swing (Amavasai Oonjal).
Source: Wiki
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This was a main function celebrated for Angalamman.The major function celebrated for her is the "Mayana Kollai" celebrated in the Tamil month of Maasi that means in the English month of February and March.
The functions falls on a new moon day of the Tamil month Maasi (Maasi Amavasya)and the day before the new moon day is Maha sivaratri which is a main function contributed for Lord Shiva.
Story of Angalamman
Once Shakthi was reborn as Parvati, Brahma performed a yagna to save god and men from two demons known as Sandobi and Sundaran. Through this yagna Tilottama, an apsara came to life. Attracted by the beauty of Thilothama, the demons and even Brahma, followed her. For her protection she went to Kailash where Brahma also followed. As Brahma also was with five heads, Parvati mistook him for Shiva and felt at his feet. When Parvati realized the truth, she was very angry and prayed to Shiva that the fifth head of Brahma should be destroyed. So Shiva as "Rudra" cut off one head of Brahma. Now, Brahma now with four heads cursed Shiva that his fifth head must be attached to his hand itself and hereafter Shiva must be affected having hunger, having no sleep. So Shiva came to earth and roamed everywhere. When he was hungry he begged and ate, but half of the food he begged was eaten by the fifth head of Brahma: that is, the "Kabala" so Shiva roamed in every graveyard and slept in ashes and that form of Shiva is worhipped as Bhairava in south India.
Parvati went to her brother Lord Vishnu and asked for relief for her husband so Lord Vishnu said to Parvati, "My dear sister, go to Thandakarunyam graveyard with your husband and make a pond there named "Agni kula theertham" and prepare a tasty food made by Agathi keerai (Humming bird tree leaves) and blood of chicken and serve that food to kabala and then throw the food everywhere in the graveyard. The kabala will come down, leaving Shiva's hand, to eat the food. Then take your husband to the pond and clean him with that water so that it will not catch your husbands hand". Parvati did as her brother said: she took her husband to thandakarunyam graveyard and prepared the food, served it to the kabala and then threw it in the graveyard. The kabala came down from Shiva's hand; meanwhile, Parvati took her husband to the pond and cleaned him. The kabala searched for Shiva's hand but could not touch him so it got attached to Parvati's hand. So Parvati forgot about this and danced but later she recognised what had happened and became big, assuming a terrible and fearful form and destroyed the kabala with her right leg.
The fiercest form (Angara rubam or Agora rubam) which destroyed the kabala when separated from Parvati is called Angalaamman. Parvati told Angalaamman to stay there and give a boon to the people who worship her and she went to Kailasa. However, Shiva was not there. Shiva got relief from Brahma's curse, but he was too hungry so he went Kashi and there Parvati, incarnated as "Annapoorani Devi", served him food and Shiva ate and got relief from his hunger.
In the Thandakarunyam Angalaamman give boon to the people who worship her the people who had diseases went there and get relief from the diseases she drive away the evil ghosts from the people and people go there and worship her in New moon days (Amavasya) at the midnight of every New moon day Angalamman is decorated and put on a swing (Amavasai Oonjal).
Source: Wiki
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
Kailasa Temple is the largest single monolithic rock excavation in the world. Built by King Krishna to represent Mt Kailash, Shiva's Himalayan abode. It was started in AD 760 and took 150 years to complete.
Ellora Cave 16: the Kailasanatha Temple. 8th century.
An idea that would take 200 years to complete, take 7500 people to finish, with buy-in from 10 generations of stake holders, detailed to a T (a house of god cannot have a wrong cut), 400000 tonnes of rock excavated...
Early in the morning, you can beat the crowds... and the heat as the day progresses...
en.wikipedia.org/wiki/Kailasa_temple,_Ellora
Ellora Caves Album:
Nandi (Sanskrit: नन्दि, Tamil: நந்தி, Kannada: ನಂದಿ, Telugu: న౦ది, Odia: ନନ୍ଦି) is the gate-guardian deity of Kailasa, the abode of Lord Shiva. He is usually depicted as a bull, which also serves as the mount to Shiva. According to Saivite siddhantic tradition, he is considered as the chief guru of eight disciples of Nandinatha Sampradaya, namely, Sanaka, Sanatana, Sanandana, Sanatkumara, Tirumular, Vyagrapada, Patanjali, and Sivayoga Muni, who were sent in eight different directions, to spread the wisdom of Shaivism.The Cham Hindus of Vietnam believes that when they die, the Nandi will come and take their soul to the holy land of India from Vietnam.
The word Nandi has come from the Tamil root word, Nandhu (Tamil: நந்து), which means to grow, to flourish, or to appear, which was used to indicate growing or flourishing of white bulls, as well as divine bull Nandi. The Sanskrit word nandi (Sanskrit: नन्दि) has the meaning of happy, joy, and satisfaction, the properties of divine guardian of Shiva- Nandi. Almost all Shiva temples display stone-images of a seated Nandi, generally facing the main shrine.
It is recently documented, that the application of the name Nandi to the bull (Sanskrit: Vṛṣabha), is in fact a development of recent syncretism of different regional beliefs within Saivism. The name Nandi was widely used instead for an anthropomorphic door-keeper of Kailasha, rather than his mount, in the oldest Saivite texts in Sanskrit, Tamil, and other Indian languages. Siddhantic texts clearly distinct Nandi from Vṛṣabha. According to them, Devi, Chandesha, Mahakala, Vṛṣabha, Nandi, Ganesha, Bhringi, and Murugan, are the eight Ganeshwaras (commanders) of Shiva.