View allAll Photos Tagged Udgam_
Teacher’s Day was celebrated in a very novel manner this time. Udgam School and Zebar School joined hands to make the day perfect for the ‘gurus’, the givers of knowledge.
The day was the perfect blend of learning and fun. Teachers were welcomed to a learning session which had two parts. The stage was set with the Directors, Mr. Manan Choksi, Ms. Radhika Iyer and Ms. Pratima Patell occupying the dais.
The first part was a presentation on ‘Comparison between a Good Teacher and an Ordinary Teacher’ made by the Vice Principals of respective sections of the schools, pre-primary, primary, middle and secondary. The session led to a good amount of soul searching and ‘eureka’ moments among the teachers.
The next part was a topic that is often ignored, ‘Positive Discipline – an alternative to punishment’ presented by the Executive Director, Mr. Manan Choksi. He spoke at length about the need to rethink the past and present model and replace it with positive disciplining which focusses on self discipline rather than imposed.
Next came the fun part which was a Djambey session in which all the teachers joined in with great enthusiasm, beating the drums to their heart’s content while following the lively rhythms. It was a great opportunity of bonding and living it up on a day made specially for them.
No good occasion is complete without food. So if learning and fun come, can food be behind? A sumptuous spread was awaiting the happy and tired teachers who talked and laughed while enjoying the delicious food.
The joint venture on the part of the school management and the HR team worked wonderfully to make the day a memorable one for the teachers.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
The Annual Teachers Conference was held today, the 6th of June 2014, at Courtyard Marriott Hotel. It was attended by Udgam School trustees Mr. Gautambhai Choksi, Mr. Rajabhai Pathak, Mr. V. C. Shah, Mr. Rohitbhai Choksi, Mr. Shaunak Majumdar, Mr. Vartik Choksi and Mr.Sandip Parikh, Executive Director Mr. Manan Choksi, Principal Ms. Radhika Iyer, Director of Primary School Ms. Pratima Patell, Head of Preprimary Mrs. Villoo Parikh, Vice Principals and teaching and non-teaching staff of the school.
There were motivational talks by Fitness Expert Sapna Vyas Patel, Author Raksha Bharadia, Mr. Rajabhai Pathak, Mr. Rohit Choksi and presentations by Mr. Manan Choksi and Mrs. Sagarika Sahana. The event was hosted by senior teacher Mrs. Malobika Dutta and managed by Mrs. Jaksha Dixit. There was also a Panel Discussion involving the various section heads and teachers. The event winded up with an Awards Ceremony in which various teaching and non-teaching staff were given recognition for their work at Udgam. A sumptuous lunch spread followed the event.
Shot @ narmada kund , Amarkantak
Situated at an altitude of 1000 m, Amarkantak is a well. frequented Hindu pilgrimage center which is popularly known as ‘teerthraj’ or ‘the king of pilgrimages’. It is surrounded by three mountain ranges, Vindhya, Satpuras and Maikal. Bordered with lofty hills and dense forests, Amarkantak is very significant from ecological point of view.
Narmada Kund :
It is one of the ancient temples of great traditional value, Narmdeshwar temple which is dedicated to Narmada Devi is in Amarkantak. Narmada Udgam is an open ‘kund ‘at the origin of river Narmada in Amarkantak. As per mythological belief, the holy river Narmada takes its origin from Lord Shiva and descended from heaven at Narmada Udgam in Amarkantak. Pilgrims and the tourists visit Narmada Udgam to perform rituals and prayers. There are about twenty small temples around this ‘kund’, like Shiva temple, Kartikey temple, Shri Ram Janki temple, Annapurna temple, Guru Gorakhnath temple, Sri Shuryanarayan temple, Vangeshwar Mahadev temple, Durga temple, Shiv Pariwar, Siddheswar Mahadev temple, Sri Radha Krishna temple, Eleven Rudra temple,etc. Evening Aarti at temples in Amarkantak is another attraction for visitors and devotees.
The Adi-Khanda of Padma Purana mentions that one who goes to Amarkantak mountain will enjoy the fourteen worlds of thirty-seven thousand crores of years. Afterwards he will be born on earth as a king and reign as supreme emperor. A visit to Amarkantak has ten times the values of an Ashvamedha. If one has Shiva’s darshan there, one will attain the heaven. The books further mentions that at the time of an eclipse, all kinds of holy things converge towards Amarkantak.
Kalidasa is known to have visited Amarkantak and names the place Amrakoot after the beautiful mango groves that dotted this sacred land. Adi Shankaracharya is known to have come and resided by the river side and consecrated its banks, he also founded the Pataleshwar temple at Amarkantak from a clump of bamboo trees. This place is called Surajkund today.
Sun Temple, Modhera - This is a carving of childbirth
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Teacher’s Day was celebrated in a very novel manner this time. Udgam School and Zebar School joined hands to make the day perfect for the ‘gurus’, the givers of knowledge.
The day was the perfect blend of learning and fun. Teachers were welcomed to a learning session which had two parts. The stage was set with the Directors, Mr. Manan Choksi, Ms. Radhika Iyer and Ms. Pratima Patell occupying the dais.
The first part was a presentation on ‘Comparison between a Good Teacher and an Ordinary Teacher’ made by the Vice Principals of respective sections of the schools, pre-primary, primary, middle and secondary. The session led to a good amount of soul searching and ‘eureka’ moments among the teachers.
The next part was a topic that is often ignored, ‘Positive Discipline – an alternative to punishment’ presented by the Executive Director, Mr. Manan Choksi. He spoke at length about the need to rethink the past and present model and replace it with positive disciplining which focusses on self discipline rather than imposed.
Next came the fun part which was a Djambey session in which all the teachers joined in with great enthusiasm, beating the drums to their heart’s content while following the lively rhythms. It was a great opportunity of bonding and living it up on a day made specially for them.
No good occasion is complete without food. So if learning and fun come, can food be behind? A sumptuous spread was awaiting the happy and tired teachers who talked and laughed while enjoying the delicious food.
The joint venture on the part of the school management and the HR team worked wonderfully to make the day a memorable one for the teachers.
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
The Disappearance Day Of Srila Rupa Gosvami
Spoken by Srila BV Narayana Maharaja
At Radha-Damodara
On 23 August 1999
translated from Hindi into English by Manjulali dd, typed by Madhavi dd
[spoken outside Jiva Gosvami's samadhi]: This is the bhajana kutira of Krsna dasa Kaviraja and this of Jiva Gosvami. Here Jiva Gosvami did his bhajana, serving the lotus feet of Srila Rupa Gosvami, his Gurudeva. You are so fortunate to visit the bhajana kutira and samadhi sthali of Srila Jiva Gosvami. After Rupa and Sanatana, Srila Jiva Gosvami was the acarya, of entire Braja mandala, Ksetra mandala and Gaura mandala. How did they follow the guidance of the guru-varga? They put their lives on the line for their guru. Nowadays such dedication to guru is diminishing and drying up. If you want to learn, then learn from Srila Jiva Gosvami.
You should learn under the guidance of Srila Jiva Gosvami, Srila Krsnadasa Kaviraja Gosvami, and Srila Raghunatha Dasa Gosvami and then you can realize all these things. If we have no faith, 'nishta' on guru and vaisnavas, then what will happen to us? So try to understand how to do service for vaisnavas and guru by coming to Krsna das Kaviraj Gosvami, etc. What was the true condition of Raghunatha Dasa when Rupa and Sanatana left? His life air dried up, he was dying in separation, and we have no faith in guru and vaisnavas.
sunyayitam mahagostham
girindvo ajgaraye te
vyaghra tundaya te kundam
jivatu rahitasya me
meaning - "Today in the absence of Sri Rupa Gosvami, Vrajabhumi seems completely empty and void, Giriraja Govardhana seems like a big snake about to swallow me and even Radha-kunda seems like a tiger who is ready to eat me.
But I am still alive."
So after giving puspanjali to the samadhi of these two Mahapurusas we will go to the samadhi of Srila Bhaktisiddhanta Prabhupada.
[spoken outside Rupa Gosvami's samadhi]: Today is the disappearance day of Srila Rupa Gosvami who is a close and dear associate of Caitanya Mahaprabhu and of the life and soul of the Gaudiya Sampradaya. Srila Rupa Gosvami is the backbone of our sampradaya. Do you know that he fulfills the desire or mano bhista of Caitanya Mahaprabhu? What is this mano bhista of Mahaprabhu? If we meditate on the internal desire of Mahaprabhu we will be completely astonished. When Krsnacandra wrapped up His manifested pastimes here and went back to Goloka He was thinking, "See, I am God of Gods. I am Svayam Bhagavan. There's no higher paratattva in this world than me. There's no one more beautiful than me in this world, there's no one more merciful than me.
There's also no one more sweet or madhura in this world than me. But the people of this world remain deprived of my darsana and till my eyes don't get darsana of Srimati Radhika they always remain unsatisfied. Her sight is cooling to My eyes and when I touch Her, my heart becomes soothed. On hearing my vamsi the people of this world are attracted, but when I hear Srimati Radhika I forget how to play my vamsi. Gopis are actually my prema-guru. They are also my friends, gurus, disciples and beloveds." Krsna says, "On seeing Radhika I become intoxicated and on touching Her feel refreshed. But there's a contradiction here. Radhika satisfies Me because She is more qualified. But She is more affected by seeing Me than I am on seeing Her. This is contradictory. There must be something in Me which captures the gopis so much. But I don't know what. Is it my vamsi (flute) or my smiling face; or is it my sweetness? I cannot understand this speciality in me. No one understands better then Srimati Radhika about this special attraction I possess. Only Radhika, by Her prema can taste all my sweetness.
The pranaya of Srimatiji for me which goes up to mahabhava. Madana is only present in Her. I don't possess this madana-bhava." Krsna has adhirudha-bhava, citra-jalpa and even dirgonmad but He doesn't have anything above that. "So if I don't take the bhava's of Radhaji I won't understand the ecstatic joy She experiences on seeing Me. I can only understand My own joy on seeing Her. On hearing the vamsi Radhika seems to be completely maddened in prem. What is this joy that She experiences? I want to taste that. That's why I must take Her bhava.
sri radhayah pranayah mahina kirdrshovarnayava
svadyo yenadbhuta madhurima kidrsova madiya
saukhyam casya madana bhavatah kidrsam vetti lobhat
tad bhavadhya sannijani saci garbha sindho harinduh
So when Krsna couldn't find answers He was disappointed. He realized He'll have to take shelter of Srimati Radhika. He would have to accept Srimati as His guru. He would even have to make Her intimate sakhis as His guru and only then would He be able to understand the bhavas of Srimati Radhika. So when Mahaprabhu came, He first took the shelter of Visakha, in the form of Raya Ramananda, as His siksa-guru and only after that, was He able to understand this subject. And then He came to the Gambhira to taste these mellows. Rupa Gosvami not only knows the internal desires of Mahaprabhu but is also the one who established them. So how did he establish this 'manobhista?' By his granthas- 'Ujjvala Nilamini, ' 'Bhakti-rasamrta-sindhu, ' He gave the definition of bhakti, sadhaka, bhava, anuraga, prema, raganuga, bhava and Mahabhava; described them all separately and in length. He also gave the definition of sadhana.
krti sadhya bhavet sadhya
bhava sa sadhanabhida
nitya siddhasya bhavasya
prakatyam hrdi sadhyata
When our practices will lead to the manifestation of bhava, it is actually sadhana. First understand what is bhava, then to manifest it. It is already in our hearts in a latent form, we just have to manifest it. When we do sravana, kirtana, smaranam with bhava as our ultimate goal only then is it sadhana. Right now we are all far away from sadhana. If there is no ruci (taste) and we are still doing sadhana then it is vaidhi bhakti. If greed for ragatmika bhava develops and if we do bhajana under the guidance of guru-varga then all this is a symptom of Raganuga bhakti. So Rupa Gosvami explained about bhava.
suddha sattva visesatma
prema suryansu samyabhak
rucibhir citta masrnya
krd asau bhava uiyate
How beautiful that is. The people of this world didn't know this nor did the other sampradayas. So Rupa Gosvami is the guru of all sampradayas. If this associate of Mahaprabhu, Sri Rupa Gosvami hadn't come
rupa shareer na bhari
yan kali rupa sarira na dharala
tan vraja prema mahanidhi kutarika
kaun kapata udharata?
This priceless treasure of prema brought to this world by Caitanya Mahaprabhu and Nityananda prabhu. Such a priceless wealth had never been given. This chest of Radha and Krsna prema which was sealed so well that even an ant couldn't enter it was completely opened to one and all. Like these doors are open here. [Srila Gurudeva pointed out the open door of Srila Rupa Gosvami's samadhi] Rupa Gosvami ripped open the lock and opened the chest of Mahaprabhu's wealth for one and all. All who came in this sampradaya were enriched by this wealth irrespective of their qualification.
Caitanya Mahaprabhu gave special mercy to Srila Rupa Gosvami, that's why it was possible for him. Rupa Manjari is even more special than Lalita and Vishaka. Rupa Manjari is especially dear to Srimati Radhika. Without the permission and blessings of Sri Rupa Manjari, it is not possible to enter the realm of bhajana. Lalita and Vishaka also come to her to ask permission to enter the kunja saying, " Can we get darshana of Sri Yugala Kisora yet?"
Rupa Manjari has the right to even stop them or make them wait longer.
That's why Mahaprabhu gave so much mercy to Srila Rupa Gosvami and instilled sakti in him in Prayag. He asked everyone, Nityananda, Svarupa Damodara, etc, to instill sakti in Srila Rupa Gosvami as well. If Rupa Gosvami didn't manifest all this would not have happened. Why are we worshipping his samadhi, and not his bhajana kutir first? Here Srila Rupa Gosvami is on the same level as Srimati Radhika, has the same form, features, heart, qualification, etc. here it is written: [on the wall of the samadhi]
priya svarupe dayita svarupa prema svarupe sahajabhi rupe
It is written by Kavi Karnapura. Who is he? He sucked the big toe of Mahaprabhu as a child so all the sakti came in him and then he wrote: priya svarupe dayita svarupe. Dayita svarupe means Rupa Gosvami surrendered completely to Mahaprabhu who accepted him and he became the dayita of Caitanya Maprabhu. He is most dear to Caitanya Mahaprabhu. Prema svarupe, He is a manifestation of prema. If Srila Rupa Gosvami hadn't come who would have acted as a medium to give us this prema?
Sahajabhi rupe means he understood all the bhavas of Mahaprabhu. nijanu rupe, he is like Mahaprabhu and has the same form and qualities like him and has the ability to manifest prema like Mahaprabhu.
rasika sekhara Krsna parama kavin
ei dui hetu haite icchara udgam
Krsna is very merciful and is rasika sekhara. That's why He tasted the mellows of Srimati's bhavas and is very merciful. So what did He do? He preached raganuga bhakti. Even Krsna had not given this before. This seed of Raganuga bhakti was sown by Madhavendra Puri but manifested by Rupa Gosvami.
That is why he is so dear to Caitanya Mahaprabhu. Try to surrender yourself to Srila Rupa Gosvami and meditate on his pastimes. Here Rupa Gosvami was sitting and Jiva Gosvami was fanning him when Vallabhacarya came and offered to proof-read his grantha. Srila Rupa Gosvami, who was humility personified was then writing Bhakti-rasamrta-sindhu. So this pandit picked up this sloka:
bhukti mukti sphra yavat
pisaci hrdi varttate
Bhakti will not come if there's still the desire for bhukti and mukti. The pandita proceeded to the Yamuna. Jiva Gosvami followed him and defeated him in a discussion about this sloka. This pandita was impressed. He went back and asked Srila Rupa Gosvami, "Who is this boy?" Srila Rupa Gosvami replied, "My disciple." Then the pandita said, "He is such a genuis. Now I don't need to edit. If a 16 year old disciple is so knowledgeable and genuis how high you must be." And he left. Rupa Gosvami told Jiva Gosvami, "You couldn't give this man respect. You can't live in Vrndavana. You must leave." He began writing Sandarbha at this time in separation. This was a correct stand from Srila Rupa Gosvamis view and what Srila Jiva Gosvami had done was also appropriate. If someone tries to cut our Gurudeva's words we should defeat that person completely. And Srila Rupa is a Guru who even respects a blade of grass. Srila Jiva Gosvami went to a crocodile hole, started living there and he cried day and night "Ha Gurudeva!" Sometimes he took some buttermilk.
He became so thin that his stomach and back became one. Disease afflicted his body. Villagers thought 'oh, this young babaji is so high.' One day Sanatana Gosvami went to the village. The villagers said, "This young babaji is more renounced than you." Srila Sanatana Gosvami was curious to see him and on seeing the pathetic, disease stricken body of Jiva Gosvami he began to cry. Sanatana Gosvami took him and hid him in his bhajana kutir. The next day he went to see Rupa Gosvami. A big assembly was present. Rupa Gosvami was saying one should be merciful to all jivas and help them in Krsna consciousness. Srila Sanatana Gosvami asked him, "Do you follow these instructions yourself?" Sanatana Gosvami is not only his elder brother but also his guru. He told Rupa Gosvami about the plight of Jiva Gosvami. Rupa Gosvami became very unhappy. Both went to see Jiva Gosvami. On seeing Jiva Gosvami, Rupa Gosvami began to cry. He took him on his lap, gave him a bath by his own hands, and administered medecine otherwise Jiva Gosvami would have died. So Rupa Gosvami looked after Jiva Gosvami until he recuperated.
Where are such disciples and gurus in the world today? Disciples only come for food and when there is a test they leave.
[spoken later on during the day]: Rupa Gosvami is Rupa Manjari. In Ter Kadamba Rupa Gosvami is sitting in his bhajana kutir between Yavat and Nandagaon which is full of mellows. That is why Rupa Gosvami chose that spot to live in. How did he live? Caitanya Caritamrta gives a quick glance.
Someone came from Vrndavana and met Caitanya Mahaprabhu in Puri. Sri Caitanya Mahaprabhu asked how Rupa and Sanatana are doing bhajana. The man answered, "How can I glorify the bhajana of Srila Rupa and Sanatana Gosvami? I can only say a little something. Both brothers live with only Dor kaupin, an earthen pot to drink from and they eat from their hands, they don't even possess any utensils. Sometimes they only eat roti without salt and water.They wear torn clothes. The only thing they posses is Krsna prema which not even a theif can steal. Sometimes they will eat only one mouthful of prasadam or not even that. Sometimes they sleep for half an hour, or not at all. They give respect to everyone from highest to lowest. They sleep under a different tree every night, because under each tree Radha and Krsna have performed many different pastimes.
Once Sanatana Gosvami came to visit Rupa Gosvami, they began to discuss the pastimes of Radha and Krsna and they became so absorbed Rupa Gosvami thought, " I haven't even gone for Madhukari. Then a little girl came with raw rice and milk and says, " Oh babaji, please make yourself khira with this. My mother is calling Me so I must go." Both brothers still didn't do anything and later the girl came back and cooked sweet rice for them and requested them to quickly offer and eat it. Srila Rupa Gosvami offered it to Radhika and then when Srila Sanatana Gosvami ate it he became ecstatic with prema. He realized that it was made by Srimati Radhika Herself. Then he asked Rupa Gosvami, "Have you thought anything special today?" Srila Rupa Gosvami answered, "well I thought I had nothing to offer you." Srila Sanatana Gosvami told Rupa Gosvami, "You shouldn't have done that, Srimati Radhika came Herself to fulfill that desire. You should be serving Her, not the other way around."
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
Today will be marked as a golden day in the history of education in Ahmedabad. Udgam School, one of the best schools in the city, completes her Golden Jubilee year!
50 years ago Udgam School was founded in a small building with only a handful of students. The school flourished with the years and today as we celebrate our 50th anniversary we cannot help but look back at the journey of Udgam over the years. Amidst changes in all possible spheres, what has kept us going and excelling is our Unique Udgam culture.
Unique Udgam culture doesn't comprise one thing alone. It is a cumulative effect of everything that occurred over the past 50 years. It is a blend of innovation with tradition. It is a combination of age old values and technology. It is the trust that change is the only constant. It is the belief that people come first, be it our teachers, students or parents. It is the faith that a school is not made by walls but by breaking boundaries.
We are indebted to all who contributed to our unique Udgam culture and all who have been associated with Udgam School, past and present.
A celebration was held in our school auditorium which was attended by all teachers, Principal Ms. Radhika Iyer, Director of Primary School Ms.Pratima Patell, Head of Preschool Mrs. Villoo Parikh and Executive Director Mr. Manan Choksi. In an emotionally charged atmosphere the heads and senior teachers spoke about their experience over the past decades focussing mainly on ‘what has remain unchanged in Udgam’. The travel down memory lane was a beautiful experience not without episodes of humour. Mr. Manan Choksi took the audience on a different ride speaking on the 50 years to come.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
As a part of the Environment Day celebrations students of Udgam School participated in a wide range of activities. The day began on a solemn note wherein the ways in which we are harming the environment were taken up alongwith the joint measures that need to be taken to save the planet. The celebration started with a pledge to save the environment in all possible ways. Soon the events began and students joined elocution, poster making, slogan creating, jingle creating, best out of waste and many such activities under the able guidance of their teachers. The children thoroughly enjoyed the activities especially being in a group and working together for a common goal, which is the essence of the school. No wonder even on a school holiday there were so many participants all agog to join in for the cause of the environment amidst some fun.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
The much awaited event of the year, the Annual Teachers’ Conference of this year, was held on 6th June,2017 at the Golden Glory Hall of Karnavati Club. It was attended by trustees, directors, teachers and staff of Udgam School and Zebar School. The compere for the day, Mrs. Sarmishtha Sinha, teacher of Udgam Senior Secondary section, unfolded the events of the day in an eloquent manner. The day began with a prayer song followed by lighting of the lamp by the trustees of the school Shri G. K. Choksi, Dr. Shaunak Muzumdar and Shri Sandeep Parikh alongwith Shri Rajabhai Pathak and Executive Director Shri Manan Choksi and Directors Ms Radhika Iyer, Ms Pratima Patell and Mrs Villoo Parikh and Principal Mrs. Sujata Tandon. Homage was paid by Ms. Radhika Iyer to the dynamic and revered trustee of the school, Late Shri V. C. Shah, who left for his heavenly abode this year leaving a deep void. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left a deep impact on the audience. The Motivational Speaker of the conference was Sister Shivani who has been a member of Brahma Kumari’s World Spiritual University for more than two decades. It was a proud privilege for the school to have her as a speaker. She enthralled the audience with her deep and meaningful words. She spoke at length about the need for unity, harmony and the values of teamwork. She also addressed issues such as tackling stress in teachers and students, how to instill self discipline and motivated the teachers with her enlightening thoughts. The rapt audience listened in awe as pearls of wisdom poured forth and brought to the fore ideas and realisations that had been hidden away somewhere in the recesses of the being. Next on the agenda were the presentations by the different sections of teachers and non-teaching group of Udgam School about successes and failures of the year 2016-17 and plans for 2017-18. The groups presented their ideas well with beautiful success stories, a few failures and their plans for the future. When Executive Director Shri Manan Choksi went onstage to speak, the audience was agog to listen to his dynamic and out-of-the-box ideas. Shri Choksi mainly spoke about how the future is no longer what we believed it to be, a thought well ahead of its time. Then he went on to explain the concept by giving examples from the educational sector. He also stressed on the need to improve English in order to emerge as a world class English medium school. The Zebar success story, wherein the implementation of the best practices of Udgam School in Zebar School through Udgam Consultancy skyrocketed the number of admissions from a mere 200 to a whopping 1600 in less than 8 months, was also mentioned as it is a huge example of how success of one school has influenced another’s. Awards are a form of motivation for those who get it as well as those who don’t make it. Udgam School has an accomplished and dedicated team of teachers and staff and it is quite tough to decide who are more deserving. As special cases of being first among equals, several members of the fraternity were given awards for their performance in the year 2016-17. Finally, Mrs. Manjari Jain, Vice Principal of Senior Secondary section, gave the Vote of Thanks. Of course there was a delightful lunch spread which was also the time for socializing and swapping ideas. The Annual Teachers’ Conference of 2017 was a grand success where motivation met team work to rejoice in the past and renew plans for the future.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
India’s 66th Republic Day was celebrated today with great reverence in our school.
The day began with a prayer followed by flag hoisting by the Guest of Honour, Retired Wing Commander Rajneesh Lakhanpal, who attended the session with Mrs. Lakhanpal. A commissioned officer of Indian Air Force, he has had the privilege of serving in several senior level appointments in the operations and administrative branches, during a service tenure of over 24 years. This was accompanied by the Flag Song, our national anthem and the pledge. The Guest of Honour spoke eloquently about our diverse nation and the relevance of the Constitution and the Preamble. He enthralled the audience with inspirational stories and reiterated the need for being resolute in our path to achieve our goals.
This was followed by other speeches in Hindi, Gujarati and Sanskrit and patriotic poems. The cultural programme included Bangla patriotic song, skit, patriotic mix and orchestra. The danceform of Jhansiwali Rani alongwith awe-inspiring rendition of the same by the students made all bow in allegiance to the brave freedom fighters who laid their lives for the motherland. Finally all assembled bowed to the strains of our national song, Vande Mataram, a perfect tribute to our motherland. Today we are proud of our nation’s achievements and look ahead to a bright future for our country India which has flourished despite adversities to rise victorious.
Hail India! Hail our motherland! Jai Hind!
Teacher’s Day was celebrated in a very novel manner this time. Udgam School and Zebar School joined hands to make the day perfect for the ‘gurus’, the givers of knowledge.
The day was the perfect blend of learning and fun. Teachers were welcomed to a learning session which had two parts. The stage was set with the Directors, Mr. Manan Choksi, Ms. Radhika Iyer and Ms. Pratima Patell occupying the dais.
The first part was a presentation on ‘Comparison between a Good Teacher and an Ordinary Teacher’ made by the Vice Principals of respective sections of the schools, pre-primary, primary, middle and secondary. The session led to a good amount of soul searching and ‘eureka’ moments among the teachers.
The next part was a topic that is often ignored, ‘Positive Discipline – an alternative to punishment’ presented by the Executive Director, Mr. Manan Choksi. He spoke at length about the need to rethink the past and present model and replace it with positive disciplining which focusses on self discipline rather than imposed.
Next came the fun part which was a Djambey session in which all the teachers joined in with great enthusiasm, beating the drums to their heart’s content while following the lively rhythms. It was a great opportunity of bonding and living it up on a day made specially for them.
No good occasion is complete without food. So if learning and fun come, can food be behind? A sumptuous spread was awaiting the happy and tired teachers who talked and laughed while enjoying the delicious food.
The joint venture on the part of the school management and the HR team worked wonderfully to make the day a memorable one for the teachers.
Reading is very necessary for learning a language well. Only a good reader knows the finer nuances of speaking a language like an art. At Udgam we always recommend fostering reading habit as early as possible, beginning right from Preschool. To further emphasise the need for regular reading, our school celebrated Reading Week from December 1 to 6 in English, Hindi, Sanskrit and Gujarati.
The Primary Section made the most of the week by inculcating activities like answering riddles, extempore speaking from chits drawn, sequencing jumbled stories, rapid fire, spinning the yard, poster making, tongue twisters, writing and reading aloud simple poems, reading newspaper articles and discussing, character description from folk tales and noun games.
In Middle Section activities that were pursued to enhance reading were news reading like a reporter after dividing new into categories like International, National, State, Sports and Weather. Along with sessions of story, book reading penned by famous authors was undertaken. In Hindi, children were encouraged to chant dohas by Kabirdas along with video screening. In Gujarati class, children had to draw lots to read books. Sanskrit reading was made interesting by giving them topics from grammar. The groups took down names and presented their topics on charts, quiz, dumb charade, housie, flash cards and so on.
The senior school children presented book reviews of novels read by them. The students shared with their classmates the highlights of the novels read, the various characters depicted, the ratings the book deserved,etc.While some students used PPTs to present their reviews, others depended on their verbal skills to interact with the others and convey the content of the book read.
In the main action area of reading, the School Library, the students were shown videos of famous stories with morals. There were activities like story writing, paragraph writing, draw-a-picture, writing about your favourite character and Read-a-thon.
A Book Fair was a Grand Finale to the Reading Week. It was attended in large numbers by students, parents and teachers. The children went around excitedly from shelf to shelf and selected books to buy and take home. We hope the spirit of reading will continue in the times to come...
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
Patriotic fervour lent warmth to a cold morning when Team Udgam got together to celebrate the 67th Republic Day of the nation. The day began with a prayer song. The Indian national flag was hoisted by Executive Director, Mr Manan Choksi. He spoke about the greatness of our Constitution and the rights and benefits it gives to the citizens. The gathered audience paid obeisance to the tricolour by singing the National Anthem and saying the Indian Pledge.
The programme was based on the theme ‘Progressive India’. Colourful dances and thematic skits based on progressive villages of Kashmir, Punjab and Gujarat were enacted by the students, under the able guidance of their teachers, which enthralled the audience.
Udgam School salutes our motherland on her 67th Republic Day!
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
Kali paltan mandir has historical significance because it is the cradle of first freedom battle started in meerut .This shaheed smarak is located in kali paltan mandir behind shiv parvati mandir .shaheed smarak is established in 1972 by lieutenant general jajgeet singh arora in memory of immortal martyrs.
Udgam School organized their Annual Sports Meet for Class 6, 7, and 8 on 9th Jan,2015. It was a fun filled day, with children bursting with energy along with all the support from Teachers, Vice Principal, and Principal. The series of events started with the ceremonial torch lighting followed by activities like March past, Running race, Lezim, Baton relay, Aerobics, Three legged race, Hurdle race, Dumb bell exercises, Pyramid, Volley ball and Hand ball. The teacher also showed their zeal and participated in Lemon and spoon race. And at the end the most stimulating moment of the day – Recognition to the winners with medals and certificates.
Always think of people whose suffering is far worse than yours and live the life given to you in the best possible manner.
…Nishtha
The Early Years
Nishtha was born on 23 December, 1973 in Raipur, Chhatisgarh. She was brought up in Junagadh, Gujarat. She was struck with muscular dystrophy in her childhood, and became aware of her malady when she was about eleven years old.
At that time, she was examined by an orthopaedic surgeon in Junagadh. In 1985, Dr. B.S. Singhal of Bombay Hospital, Mumbai, diagnosed Nishtha’s case as a rare form of Charcot Mary’s tooth. However, all the medicines and treatments prescribed were of no avail. She had difficulty understanding her ailment and wondered if any cure existed. Tired of all the medicines she was taking, she decided, one day, to stop all of them and turned instead to home remedies and traditional work outs.
Soon after, disaster struck again – Nishtha was diagnosed with Tuberculosis. The treatment and the medicines weakened her to such an extent that she could attend to her tasks only with the help of a wheelchair.
In 1993, Dr. Ketan Thaker, who specialized in Ayurveda started her on Ayurvedic medicines (more as an experiment). Willing to try the new treatment and feeling hopeful, Nishtha continued the treatment for one year, at the end of which there was no noticeable improvement in her condition. She, however, did not give up hope and continued to take her medicines regularly. Finally, her perseverance paid off. Now, she is able to move around with the help of a walker.
Nishtha did not allow her ailment to affect her studies. She completed her graduation from Junagadh and did a Post Graduate Diploma in Human Resource Management at Ahmedabad and MBA. She has worked with a number of organizations like the Ellisbridge Gymkhana, SEWA, and Udgam School, and is currently working with the Indian Institute of Management, Ahmedabad as a Clerical Assistant.
Nishtha’s Turning point of life
After meeting Ms. Sanjana Goel (President IAMD) in 2004, Nishtha took active interest in the field of rehabilitation and the empowering of people afflicted by muscular dystrophy.
In 2008, she coordinated the 19th Medical Awareness Camp of the Indian Association of Muscular Dystrophy (IAMD) in Ahmedabad. Since then, she has conducted camps in nine districts in Gujarat, Three picnics and donated 14 wheelchairs which empowered the people living with Muscular Dystrophy. She is now the Chapter Head (Gujarat) for the IAMD.
Nishtha has travelled all over the country and motivated many people suffering from muscular dystrophy.She successfully completed Toughest Amarnath Yatra also with her strong courage . She has helped in their rehabilitation by providing wheelchairs and other aids.
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.
Udgam School believes in holistic development of the individual and while academics holds the key role in education, sports and co-curricular activities are also given importance.
Sports Day for Class 11 and 12 was held over two days when a series of events were held which included races, volley ball, football, kabaddi, jumps and so on.
Patriotic fervour lent warmth to a cold morning when Team Udgam got together to celebrate the 67th Republic Day of the nation. The day began with a prayer song. The Indian national flag was hoisted by Executive Director, Mr Manan Choksi. He spoke about the greatness of our Constitution and the rights and benefits it gives to the citizens. The gathered audience paid obeisance to the tricolour by singing the National Anthem and saying the Indian Pledge.
The programme was based on the theme ‘Progressive India’. Colourful dances and thematic skits based on progressive villages of Kashmir, Punjab and Gujarat were enacted by the students, under the able guidance of their teachers, which enthralled the audience.
Udgam School salutes our motherland on her 67th Republic Day!
On 8th of June 2018, 600 teachers and staff of Udgam School for Children and Zebar School for Children came together under one roof to celebrate the successes and embrace the challenges that lay ahead. The Annual Teachers’ Conference was held at YMCA , Ahmedabad. It was a colourful gathering of trustees, directors, teacher and other staff members of Udgam School and Zebar School. The compere for the day, Ms. Aarti Kellogg, Supervisor of Udgam Primary Section engaged brilliantly with the audience and facilitated the event with ease. The day began with a prayer followed by the traditional lighting of the lamp by the trustees of the school Shri G.K. Choksi, Shri J.D. Patel, Shri Shaunak Majmudar and Shri Vartik Choksi along with Academic Advisors Ms. Radhika Iyer, Ms. Pratima Patell and Mrs Villoo Parikh. A motivating speech by veteran educationist, Shri Rajabhai Pathak, left an indelible mark on the audience. The guest speaker of the day was Swami Sukhabodhananda. He is the founder Chairman of Prasanna Trust. It was a great honour for the schools to have him as a speaker. His speech was based on Alacrity to life. He addressed our teachers and explained to them as to how they can expand their vision which in turn would help their students achieve success in life. The conference was a platform for knowledge sharing and an opportunity to discuss the successes and failures of 2017-18 and the future plans of 2018-19. Using power point presentations, the Vice-Principals of Udgam School for Children and Zebar School for Children spoke at length about challenges they faced last year and the changes they would bring in their respective sections in the future. The Executive Director, Sri Manan Choksi then presented his ideas on dealing with day to day challenges in schools with parents and students. He spoke at length on how parents, school and teachers have a common goal and how they can join hands and mould intelligent, hardworking and healthy responsible citizens for the country. Both schools have an accomplished and dedicated the teaching and non-teaching staff and it is quite difficult to decide who is more deserving. Finally came the much-awaited Employee Recognition and Motivation through awards to those who had proved themselves to be a shade better than their colleagues this year. Concluding the conference, Ms.Reena Kahlon, Vice-Principal of Middle and Secondary Section, Zebar School for Children, gave the Vote of Thanks.