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Teks Dzikir Pagi Sesuai Hadits Shahih
Teks Dzikir Pagi Sesuai Hadits Shahih
Tujuan: Untuk meminta pahala, keberuntungan, keutamaan, dan kemudahan dalam hari tersebut dari Allah.
Waktu: Yang utama dibaca saat masuk waktu Shubuh hingga matahari terbit. Namun boleh juga dibaca sampai matahari akan bergeser ke barat (mendekati waktu Zhuhur).
Lafazh Dzikir:
Membaca Ayat Kursi
1- أَعُوذُ بِاللَّهِ مِنَ الشَّيْطَانِ الرَّجِيمِ* بِسْمِ اللَّهِ الرَّحْمَنِ الرَّحِيمِ* اللَّهُ لاَ إِلَهَ إِلاَّ هُوَ الْحَيُّ الْقَيُّومُ، لاَ تَأْخُذُهُ سِنَةٌ وَلاَ نَوْمٌ، لَهُ مَا فِي السَّمَاوَاتِ وَمَا فِي الْأَرْضِ، مَنْ ذَا الَّذِي يَشْفَعُ عِنْدَهُ إِلاَّ بِإِذْنِهِ، يَعْلَمُ مَا بَيْنَ أَيْدِيهِمْ وَمَا خَلْفَهُمْ، وَلَا يُحِيطُونَ بِشَيْءٍ مِنْ عِلْمِهِ إِلاَّ بِمَا شَاءَ، وَسِعَ كُرْسِيُّهُ السَّمَاوَاتِ وَالْأَرْضَ، وَلَا يَئُودُهُ حِفْظُهُمَا، وَهُوَ الْعَلِيُّ الْعَظِيمُ
“Aku berlindung kepada Allah dari godaan syaitan yang terkutuk. Dengan nama Allah yang Maha Pengasih lagi Maha Penyayang. Allah, tidak ada ilah (yang berhak disembah) melainkan Dia, yang hidup kekal lagi terus menerus mengurus (makhluk-Nya). Dia tidak mengantuk dan tidak tidur. Kepunyaan-Nya apa yang di langit dan di bumi. Tiada yang dapat memberi syafa’at di sisi-Nya tanpa seizin-Nya. Dia mengetahui apa-apa yang di hadapan mereka dan di belakang mereka. Mereka tidak mengetahui apa-apa dari ilmu Allah melainkan apa yang dikehendaki-Nya. Kursi Allah meliputi langit dan bumi. Dia tidak merasa berat memelihara keduanya. Dan Dia Maha Tinggi lagi Maha besar.” (QS. Al Baqarah: 255)(Dibaca 1 x)
Faedah: Siapa yang membacanya ketika petang, maka ia akan dilindungi (oleh Allah dari berbagai gangguan) hingga pagi. Siapa yang membacanya ketika pagi, maka ia akan dilindungi hingga petang. (HR. Al Hakim (1: 562). Syaikh Al Albani menshahihkan hadits tersebut dalam Shahih At Targhib wa At Tarhib no. 655)
Catatan: Para ulama sepakat bahwa di awal membaca Al-Qur’an dianjurkan membaca ta’awudz sebagaimana basmalah di awal surat selain surat At-Taubah. Mereka berselisih pendapat dalam membaca basmalah di selain ayat pertama. Untuk kasus ayat kursi –sebagian pendapat- menganjurkan menggunakan basmalah dengan alasan karena ta’awudz diakhiri dengan lafazh setan dan di awal ayat kursi diawali dengan nama Allah. Dengan dipisah dengan basmalah maka akan terjaga nama Allah dari nama setan yang mengiringinya. Allahu a’lam.
Membaca Surat Al Ikhlas, Al Falaq, An Naas
2- بِسْمِ اللَّهِ الرَّحْمَنِ الرَّحِيمِ* قُلْ هُوَ اللَّهُ أَحَدٌ * اللَّهُ الصَّمَدُ * لَمْ يَلِدْ وَلَمْ يُولَدْ وَلَمْ يَكُن لَّهُ كُفُوًا أَحَدٌ
“Dengan menyebut nama Allah Yang Maha Pengasih lagi Maha Penyayang. Katakanlah: Dialah Allah, Yang Maha Esa. Allah adalah ilah yang bergantung kepada-Nya segala urusan. Dia tidak beranak dan tiada pula diperanakkan, dan tidak ada seorang pun yang setara dengan Dia.” (QS. Al Ikhlas: 1-4) (Dibaca 3 x)
3- بِسْمِ اللَّهِ الرَّحْمَنِ الرَّحِيمِ * قُلْ أَعُوذُ بِرَبِّ الْفَلَقِ * مِن شَرِّ مَا خَلَقَ * وَمِن شَرِّ غَاسِقٍ إِذَا وَقَبَ * وَمِن شَرِّ النَّفَّاثَاتِ فِي الْعُقَدِ * وَمِن شَرِّ حَاسِدٍ إِذَا حَسَدَ
“Dengan menyebut nama Allah Yang Maha Pengasih lagi Maha Penyayang. Katakanlah: Aku berlindung kepada Rabb yang menguasai Shubuh, dari kejahatan makhluk-Nya, dan dari kejahatan malam apabila telah gelap gulita, dan dari kejahatan-kejahatan wanita tukang sihir yang menghembus pada buhul-buhul, dan dari kejahatan orang yang dengki apabila ia dengki”. (QS. Al Falaq: 1-5) (Dibaca 3 x)
4- بِسْمِ اللَّهِ الرَّحْمَنِ الرَّحِيمِ * قُلْ أَعُوذُ بِرَبِّ النَّاسِ * مَلِكِ النَّاسِ * إِلَهِ النَّاسِ * مِن شَرِّ الْوَسْوَاسِ الْخَنَّاسِ * الَّذِي يُوَسْوِسُ فِي صُدُورِ النَّاسِ * مِنَ الْجِنَّةِ وَ النَّاسِ
“Dengan menyebut nama Allah Yang Maha Pengasih lagi Maha Penyayang. Katakanlah: Aku berlindung kepada Rabb manusia. Raja manusia. Sembahan manusia, dari kejahatan (bisikan) syaitan yang biasa bersembunyi, yang membisikkan (kejahatan) ke dalam dada manusia, dari jin dan manusia.” (QS. An Naas: 1-6) (Dibaca 3 x)
Faedah: Siapa yang mengucapkannya masing-masing tiga kali ketika pagi dan petang, maka segala sesuatu akan dicukupkan untuknya. (HR. Abu Dawud no. 5082, At-Tirmidzi no. 3575. Al Hafizh Abu Thohir mengatakan bahwa sanad hadits ini hasan)
Membaca Dzikir-Dzikir Tertentu
5- أَصْبَحْنَا وَأَصْبَحَ الْمُلْكُ لِلَّهِ، وَالْحَمْدُ لِلَّهِ، لاَ إِلَـهَ إِلاَّ اللهُ وَحْدَهُ لاَ شَرِيْكَ لَهُ، لَهُ الْمُلْكُ وَلَهُ الْحَمْدُ وَهُوَ عَلَى كُلِّ شَيْءٍ قَدِيْرُ. رَبِّ أَسْأَلُكَ خَيْرَ مَا فِيْ هَذَا الْيَوْمِ وَخَيْرَ مَا بَعْدَهُ، وَأَعُوْذُ بِكَ مِنْ شَرِّ مَا فِيْ هَذَا الْيَوْمِ وَشَرِّ مَا بَعْدَهُ، رَبِّ أَعُوْذُ بِكَ مِنَ الْكَسَلِ وَسُوْءِ الْكِبَرِ، رَبِّ أَعُوْذُ بِكَ مِنْ عَذَابٍ فِي النَّارِ وَعَذَابٍ فِي الْقَبْرِ
Ash-bahnaa wa ash-bahal mulku lillah walhamdulillah, laa ilaha illallah wahdahu laa syarika lah, lahul mulku walahul hamdu wa huwa ‘ala kulli syai-in qodir. Robbi as-aluka khoiro maa fii hadzal yaum wa khoiro maa ba’dahu, wa a’udzu bika min syarri maa fii hadzal yaum wa syarri maa ba’dahu. Robbi a’udzu bika minal kasali wa su-il kibar. Robbi a’udzu bika min ‘adzabin fin naari wa ‘adzabin fil qobri.
Artinya:
“Kami telah memasuki waktu pagi dan kerajaan hanya milik Allah, segala puji bagi Allah. Tidak ada ilah (yang berhak disembah) kecuali Allah semata, tiada sekutu bagi-Nya. Milik Allah kerajaan dan bagi-Nya pujian. Dia-lah Yang Mahakuasa atas segala sesuatu. Wahai Rabbku, aku mohon kepada-Mu kebaikan di hari ini dan kebaikan sesudahnya. Aku berlindung kepada-Mu dari kejahatan hari ini dan kejahatan sesudahnya. Wahai Rabbku, aku berlindung kepada-Mu dari kemalasan dan kejelekan di hari tua. Wahai Rabbku, aku berlindung kepada-Mu dari siksaan di Neraka dan siksaan di alam kubur.” (Dibaca 1 x) (HR. Muslim no. 2723)
6- اَللَّهُمَّ بِكَ أَصْبَحْنَا، وَبِكَ أَمْسَيْنَا، وَبِكَ نَحْيَا، وَبِكَ نَمُوْتُ وَإِلَيْكَ النُّشُوْرُ
Allahumma bika ash-bahnaa wa bika amsaynaa wa bika nahyaa wa bika namuutu wa ilaikan nusyuur.
Artinya:
“Ya Allah, dengan rahmat dan pertolongan-Mu kami memasuki waktu pagi, dan dengan rahmat dan pertolongan-Mu kami memasuki waktu petang. Dengan rahmat dan pertolongan-Mu kami hidup dan dengan kehendak-Mu kami mati. Dan kepada-Mu kebangkitan (bagi semua makhluk).” (Dibaca 1 x) (HR. At-Tirmidzi no. 3391 dan Abu Dawud no. 5068. Al Hafizh Abu Thohir mengatakan bahwa sanad hadits ini shahih)
Membaca Sayyidul Istighfar
7- اَللَّهُمَّ أَنْتَ رَبِّيْ لاَ إِلَـهَ إِلاَّ أَنْتَ، خَلَقْتَنِيْ وَأَنَا عَبْدُكَ، وَأَنَا عَلَى عَهْدِكَ وَوَعْدِكَ مَا اسْتَطَعْتُ، أَعُوْذُ بِكَ مِنْ شَرِّ مَا صَنَعْتُ، أَبُوْءُ لَكَ بِنِعْمَتِكَ عَلَيَّ، وَأَبُوْءُ بِذَنْبِيْ فَاغْفِرْ لِيْ فَإِنَّهُ لاَ يَغْفِرُ الذُّنُوْبَ إِلاَّ أَنْتَ.
Allahumma anta robbii laa ilaha illa anta, kholaqtanii wa anaa ‘abduka wa anaa ‘ala ‘ahdika wa wa’dika mas-tatho’tu. A’udzu bika min syarri maa shona’tu. Abu-u laka bi ni’matika ‘alayya wa abu-u bi dzambii. Fagh-firlii fainnahu laa yagh-firudz dzunuuba illa anta.
Artinya:
“Ya Allah, Engkau adalah Rabbku, tidak ada ilah yang berhak disembah kecuali Engkau, Engkaulah yang menciptakanku. Aku adalah hamba-Mu. Aku akan setia pada perjanjianku pada-Mu (yaitu aku akan mentauhidkan-Mu) semampuku dan aku yakin akan janji-Mu (berupa Surga untukku). Aku berlindung kepada-Mu dari kejelekan yang kuperbuat. Aku mengakui nikmat-Mu kepadaku dan aku mengakui dosaku. Oleh karena itu, ampunilah aku. Sesungguhnya tiada yang mengampuni dosa kecuali Engkau.” (Dibaca 1 x)
Faedah: Barangsiapa mengucapkan dzikir ini di siang hari dalam keadaan penuh keyakinan, lalu ia mati pada hari tersebut sebelum petang hari, maka ia termasuk penghuni Surga. Barangsiapa yang mengucapkannya di malam hari dalam keadaan penuh keyakinan, lalu ia mati sebelum pagi, maka ia termasuk penghuni Surga. (HR. Al-Bukhari no. 6306)
8- اللَّهُمَّ عَافِنِي فِي بَدَنِي، اللَّهُمَّ عَافِنِي فِي سَمْعِي، اللَّهُمَّ عَافِنِي فِي بَصَرِي، لَا إِلَهَ إِلَّا أَنْتَ. اللَّهُمَّ إِنِّي أَعُوذُ بِكَ مِنَ الْكُفْرِ وَالْفَقْرِ، اللَّهُمَّ إِنِّي أَعُوذُ بِكَ مِنْ عَذَابِ الْقَبْرِ، لَا إِلَهَ إِلَّا أَنْتَ
Allahumma ‘aafinii fii badanii. Allahumma ‘aafinii fii sam’ii. Allahumma ‘aafinii fii basharii. Laa ilaaha illa anta. Allahumma innii a’uudzu bika minal kufri wal kufri. Allahumma innii a’uudzu bika min ‘adzaabil qubri. Laa ilaha illa anta.
Artinya:
““Ya Allah, selamatkanlah tubuhku (dari penyakit dan dari apa yang tidak aku inginkan). Ya Allah, selamatkanlah pendengaranku (dari penyakit dan maksiat atau dari apa yang tidak aku inginkan). Ya Allah, selamatkanlah penglihatanku, tidak ada Ilah (yang berhak diibadahi) kecuali Engkau. Ya Allah, sesungguhnya aku berlindung kepada-Mu dari kekufuran dan kefakiran. Aku berlindung kepada-Mu dari siksa kubur, tidak ada Ilah (yang berhak diibadahi) kecuali Engkau.” (Dibaca 3x) (HR. Abu Dawud no. 5090 dan dihasankan Syaikh Al-Albani)
9- اَللَّهُمَّ إِنِّيْ أَسْأَلُكَ الْعَفْوَ وَالْعَافِيَةَ فِي الدُّنْيَا وَاْلآخِرَةِ، اَللَّهُمَّ إِنِّيْ أَسْأَلُكَ الْعَفْوَ وَالْعَافِيَةَ فِي دِيْنِيْ وَدُنْيَايَ وَأَهْلِيْ وَمَالِيْ، اللَّهُمَّ اسْتُرْ عَوْرَاتِى وَآمِنْ رَوْعَاتِى. اَللَّهُمَّ احْفَظْنِيْ مِنْ بَيْنِ يَدَيَّ، وَمِنْ خَلْفِيْ، وَعَنْ يَمِيْنِيْ وَعَنْ شِمَالِيْ، وَمِنْ فَوْقِيْ، وَأَعُوْذُ بِعَظَمَتِكَ أَنْ أُغْتَالَ مِنْ تَحْتِيْ
Allahumma innii as-alukal ‘afwa wal ‘aafiyah fid dunyaa wal aakhiroh. Allahumma innii as-alukal ‘afwa wal ‘aafiyah fii diinii wa dun-yaya wa ahlii wa maalii. Allahumas-tur ‘awrootii wa aamin row’aatii. Allahummahfazh-nii mim bayni yadayya wa min kholfii wa ‘an yamiinii wa ‘an syimaalii wa min fawqii wa a’udzu bi ‘azhomatik an ughtala min tahtii.
Artinya:
“Ya Allah, sesungguhnya aku memohon kebajikan dan keselamatan di dunia dan akhirat. Ya Allah, sesungguhnya aku memohon kebajikan dan keselamatan dalam agama, dunia, keluarga dan hartaku. Ya Allah, tutupilah auratku (aib dan sesuatu yang tidak layak dilihat orang) dan tenteramkanlah aku dari rasa takut. Ya Allah, peliharalah aku dari muka, belakang, kanan, kiri dan atasku. Aku berlindung dengan kebesaran-Mu, agar aku tidak disambar dari bawahku (oleh ular atau tenggelam dalam bumi dan lain-lain yang membuat aku jatuh).” (Dibaca 1 x)
Faedah: Rasulullah shallallahu ‘alaihi wa sallam tidaklah pernah meninggalkan do’a ini di pagi dan petang hari. Di dalamnya berisi perlindungan dan keselamatan pada agama, dunia, keluarga dan harta dari berbagai macam gangguan yang datang dari berbagai arah. (HR. Abu Dawud no. 5074 dan Ibnu Majah no. 3871. Al Hafizh Abu Thohir mengatakan bahwa sanad hadits ini shahih)
10- اَللَّهُمَّ عَالِمَ الْغَيْبِ وَالشَّهَادَةِ فَاطِرَ السَّمَاوَاتِ وَاْلأَرْضِ، رَبَّ كُلِّ شَيْءٍ وَمَلِيْكَهُ، أَشْهَدُ أَنْ لاَ إِلَـهَ إِلاَّ أَنْتَ، أَعُوْذُ بِكَ مِنْ شَرِّ نَفْسِيْ، وَمِنْ شَرِّ الشَّيْطَانِ وَشِرْكِهِ، وَأَنْ أَقْتَرِفَ عَلَى نَفْسِيْ سُوْءًا أَوْ أَجُرُّهُ إِلَى مُسْلِمٍ
Allahumma ‘aalimal ghoybi wasy syahaadah faathiros samaawaati wal ardh. Robba kulli syai-in wa maliikah. Asyhadu alla ilaha illa anta. A’udzu bika min syarri nafsii wa min syarrisy syaythooni wa syirkihi, wa an aqtarifa ‘alaa nafsii suu-an aw ajurruhu ilaa muslim.
Artinya:
“Ya Allah, Yang Maha Mengetahui yang ghaib dan yang nyata, wahai Rabb pencipta langit dan bumi, Rabb segala sesuatu dan yang merajainya. Aku bersaksi bahwa tidak ada ilah yang berhak disembah kecuali Engkau. Aku berlindung kepadaMu dari kejahatan diriku, setan dan balatentaranya (godaan untuk berbuat syirik pada Allah), dan aku (berlindung kepada-Mu) dari berbuat kejelekan terhadap diriku atau menyeretnya kepada seorang muslim.” (Dibaca 1 x)
Faedah: Do’a ini diajarkan oleh Rasulullah shallallahu ‘alaihi wa sallam pada Abu Bakr Ash Shiddiq radhiyallahu ‘anhu untuk dibaca pada pagi, petang dan saat beranjak tidur. (HR. At-Tirmidzi no. 3392 dan Abu Daud no. 5067. Al Hafizh Abu Thohir mengatakan bahawa sanad hadits ini shahih. Adapun kalimat terakhir (وَأَنْ أَقْتَرِفَ عَلَى نَفْسِيْ سُوْءًا أَوْ أَجُرُّهُ إِلَى مُسْلِمٍ) adalah tambahan dari riwayat Ahmad 2: 196. Dikomentari oleh Syaikh Syu’aib Al Arnauth bahwa hadits tersebut shahih dilihat dari jalur lainnya (shahih lighoirihi))
11- بِسْمِ اللَّهِ الَّذِى لاَ يَضُرُّ مَعَ اسْمِهِ شَىْءٌ فِى الأَرْضِ وَلاَ فِى السَّمَاءِ وَهُوَ السَّمِيعُ الْعَلِيمُ
Bismillahilladzi laa yadhurru ma’asmihi syai-un fil ardhi wa laa fis samaa’ wa huwas samii’ul ‘aliim.
Artinya:
“Dengan nama Allah yang bila disebut, segala sesuatu di bumi dan langit tidak akan berbahaya, Dia-lah Yang Maha Mendengar lagi Maha Mengetahui.” (Dibaca 3 x)
Faedah: Barangsiapa yang mengucapkan dzikir tersebut sebanyak tiga kali di pagi hari dan tiga kali di petang hari, maka tidak akan ada bahaya yang tiba-tiba memudaratkannya. (HR. Abu Dawud no. 5088, 5089, At-Tirmidzi no. 3388, dan Ibnu Majah no. 3869. Al Hafizh Abu Thohir mengatakan bahwa sanad hadits ini hasan)
12- رَضِيْتُ بِاللهِ رَبًّا، وَبِاْلإِسْلاَمِ دِيْنًا، وَبِمُحَمَّدٍ صَلَّى اللهُ عَلَيْهِ وَسَلَّمَ نَبِيًّا
Rodhiitu billaahi robbaa wa bil-islaami diinaa, wa bi-muhammadin shallallaahu ‘alaihi wa sallama nabiyya.
Artinya:
“Aku ridha Allah sebagai Rabb, Islam sebagai agama dan Muhammad shallallahu ‘alaihi wa sallam sebagai nabi.” (Dibaca 3 x)
Faedah: Barangsiapa yang mengucapkan dzikir ini sebanyak tiga kali di pagi hari dan tiga kali di petang hari, maka pantas baginya mendapatkan ridha Allah. (HR. Abu Dawud no. 5072, At-Tirmidzi no. 3389. Al Hafizh Abu Thohir mengatakan bahwa hadits ini hasan)
13- يَا حَيُّ يَا قَيُّوْمُ بِرَحْمَتِكَ أَسْتَغِيْثُ، وَأَصْلِحْ لِيْ شَأْنِيْ كُلَّهُ وَلاَ تَكِلْنِيْ إِلَى نَفْسِيْ طَرْفَةَ عَيْنٍ
Yaa Hayyu Yaa Qoyyum, bi-rohmatika as-taghiits, wa ash-lih lii sya’nii kullahu wa laa takilnii ilaa nafsii thorfata ‘ainin.
Artinya:
“Wahai Rabb Yang Maha Hidup, wahai Rabb Yang Berdiri Sendiri (tidak butuh segala sesuatu), dengan rahmat-Mu aku minta pertolongan, perbaikilah segala urusanku dan jangan diserahkan kepadaku sekali pun sekejap mata (tanpa mendapat pertolongan dariMu).” (Dibaca 1 x)
Faedah: Dzikir ini diajarkan oleh Nabi shallallahu ‘alaihi wa sallam pada Fathimah supaya diamalkan pagi dan petang. (HR. Ibnu As Sunni dalam ‘Amalul Yaum wal Lailah no. 46, An Nasai dalam Al Kubro (381/ 570), Al Bazzar dalam Musnadnya (4/ 25/ 3107), Al Hakim (1: 545). Sanad hadits ini hasan sebagaimana dikatakan oleh Syaikh Al Albani dalam As Silsilah Ash Shahihah no. 227)
14- أَصْبَحْنَا عَلَى فِطْرَةِ اْلإِسْلاَمِ وَعَلَى كَلِمَةِ اْلإِخْلاَصِ، وَعَلَى دِيْنِ نَبِيِّنَا مُحَمَّدٍ صَلَّى اللهُ عَلَيْهِ وَسَلَّمَ، وَعَلَى مِلَّةِ أَبِيْنَا إِبْرَاهِيْمَ، حَنِيْفًا مُسْلِمًا وَمَا كَانَ مِنَ الْمُشْرِكِيْنَ
Ash-bahnaa ‘ala fithrotil islaam wa ‘alaa kalimatil ikhlaash, wa ‘alaa diini nabiyyinaa Muhammadin shallallahu ‘alaihi wa sallam, wa ‘alaa millati abiina Ibraahiima haniifam muslimaaw wa maa kaana minal musyrikin
Artinya:
“Di waktu pagi kami memegang agama Islam, kalimat ikhlas (kalimat syahadat), agama Nabi kami Muhammad shallallahu ‘alaihi wa sallam, dan agama bapak kami Ibrahim, yang berdiri di atas jalan yang lurus, muslim dan tidak tergolong orang-orang musyrik.” (Dibaca 1 x di pagi hari saja) (HR. Ahmad (3: 406). Syaikh Syu’aib Al Arnauth mengatakan bahwa sanad hadits ini shahih sesuai syarat Bukhari Muslim. Lihat pula As Silsilah Ash Shahihah no. 2989)
15- سُبْحَانَ اللهِ وَبِحَمْدِهِ: عَدَدَ خَلْقِهِ، وَرِضَا نَفْسِهِ، وَزِنَةَ عَرْشِهِ وَمِدَادَ كَلِمَاتِهِ
Subhanallah wa bi-hamdih, ‘adada kholqih wa ridhoo nafsih. wa zinata ‘arsyih, wa midaada kalimaatih.
Artinya:
“Maha Suci Allah, aku memujiNya sebanyak makhluk-Nya, sejauh kerelaan-Nya, seberat timbangan ‘Arsy-Nya dan sebanyak tinta tulisan kalimat-Nya.” (Dibaca 3 x di waktu pagi saja)
Faedah: Nabi shallallahu ‘alaihi wa sallam mengatakan pada Juwairiyah bahwa dzikir di atas telah mengalahkan dzikir yang dibaca oleh Juwairiyah dari selepas Shubuh sampai waktu Dhuha. (HR. Muslim no. 2726)
16- سُبْحَانَ اللهِ وَبِحَمْدِهِ
Subhanallah wa bi-hamdih.
Artinya:
“Maha Suci Allah, aku memuji-Nya.” (Dibaca 100 x)
Faedah: Barangsiapa yang mengucapkan kalimat ‘subhanallah wa bi hamdih’ di pagi dan petang hari sebanyak 100 x, maka tidak ada yang datang pada hari kiamat yang lebih baik dari yang ia lakukan kecuali orang yang mengucapkan semisal atau lebih dari itu. (HR. Muslim no. 2692)
17- لاَ إِلَـهَ إِلاَّ اللهُ وَحْدَهُ لاَ شَرِيْكَ لَهُ، لَهُ الْمُلْكُ وَلَهُ الْحَمْدُ وَهُوَ عَلَى كُلِّ شَيْءٍ قَدِيْرُ
Laa ilaha illallah wahdahu laa syarika lah, lahul mulku walahul hamdu wa huwa ‘ala kulli syai-in qodiir.
Artinya:
“Tidak ada ilah yang berhak disembah selain Allah semata, tidak ada sekutu bagiNya. Bagi-Nya kerajaan dan segala pujian. Dia-lah yang berkuasa atas segala sesuatu.”
Jika Dibaca 10x Faedah: Barangsiapa yang membaca dzikir tersebut di pagi hari sebanyak sepuluh kali, Allah akan mencatatkan baginya 10 kebaikan, menghapuskan baginya 10 kesalahan, ia juga mendapatkan kebaikan semisal memerdekakan 10 budak, Allah akan melindunginya dari gangguan setan hingg petang hari. Siapa yang mengucapkannya di petang hari, ia akan mendapatkan keutamaan semisal itu pula. (HR. An Nasai Al Kubra no. 9768)
Jika Dibaca 100x Faedah: Barangsiapa yang mengucapkan dzikir tersebut dalam sehari sebanyak 100 x, maka itu seperti membebaskan 10 orang budak, dicatat baginya 100 kebaikan, dihapus baginya 100 kesalahan, dirinya akan terjaga dari gangguan setan dari pagi hingga petang hari, dan tidak ada seorang pun yang lebih baik dari yang ia lakukan kecuali oleh orang yang mengamalkan lebih dari itu. (HR. Bukhari no. 3293 dan Muslim no. 2691)
18- اَللَّهُمَّ إِنِّيْ أَسْأَلُكَ عِلْمًا نَافِعًا، وَرِزْقًا طَيِّبًا، وَعَمَلاً مُتَقَبَّلاً
Allahumma innii as-aluka ‘ilman naafi’a, wa rizqon thoyyibaa, wa ‘amalan mutaqobbalaa.
Artinya:
“Ya Allah, sungguh aku memohon kepada-Mu ilmu yang bermanfaat (bagi diriku dan orang lain), rizki yang halal dan amal yang diterima (di sisi-Mu dan mendapatkan ganjaran yang baik).” (Dibaca 1 x setelah salam dari shalat Shubuh) (HR. Ibnu Majah no. 925 dan Ahmad 6: 305, 322. Al Hafizh Abu Thohir mengatakan bahwa hadits ini shahih)
19- أَسْتَغْفِرُ اللهَ وَأَتُوْبُ إِلَيْهِ
Astagh-firullah wa atuubu ilaih.
Artinya:
“Aku memohon ampun kepada Allah dan bertobat kepada-Nya.” (Dibaca 100 x dalam sehari) (HR. Al-Bukhari no. 6307 dan Muslim no. 2702)
20- اَللَّهُمَّ إِنِّيْ أَصْبَحْتُ أُشْهِدُكَ وَأُشْهِدُ حَمَلَةَ عَرْشِكَ وَمَلاَئِكَتَكَ وَجَمِيْعَ خَلْقِكَ، أَنَّكَ أَنْتَ اللهُ لاَ إِلَـهَ إِلاَّ أَنْتَ وَحْدَكَ لاَ شَرِيْكَ لَكَ، وَأَنَّ مُحَمَّدًا عَبْدُكَ وَرَسُوْلُكَ
Allahumma inni ash-bahtu usy-hiduka wa usy-hidu hamalata ‘arsyika wa malaa-ikatak wa jami’a kholqik, annaka antallahu laa ilaha illa anta wahdaka laa syariika lak, wa anna Muhammadan ‘abduka wa rosuuluk.
Artinya:
“Ya Allah, sesungguhnya aku di waktu pagi ini mempersaksikan Engkau, malaikat yang memikul ‘Arys-Mu, malaikat-malaikat dan seluruh makhluk-Mu, bahwa sesungguhnya Engkau adalah Allah, tiada ilah yang berhak disembah kecuali Engkau semata, tiada sekutu bagi-Mu dan sesungguhnya Muhammad adalah hamba dan utusan-Mu.” (Dibaca 4 x)
Faedah: Barangsiapa yang mengucapkan dzikir ini ketika pagi dan petang hari sebanyak empat kali, maka Allah akan membebaskan dirinya dari siksa Neraka. (HR. Abu Dawud no. 5069. Al Hafizh Abu Thohir mengatakan bahwa hadits ini hasan)
Referensi: Diringkas dari Dzikir Pagi dan Petang karya Ust Yazid Abdul Qadir Jawas, Hisnul Muslim karya Syaikh Dr. Qahthani, dan situs www.rumaysho.com.
Artikel norkandirblog.wordpress.com
Teks Dzikir Pagi Sesuai Hadits Shahih
Allahabad - Ardh Kumbh Mela.
Bathing at Sangam (the confluence of the ganga, Jamuna and Saraswati Rivers).
Allahabad - Prayagraj, Uttar Pradesh
My second day in Prayagraj: walking in the morning, by boat in the evening.
Kumbh Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The festival site is located on the banks of the river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing in this river is thought to cleanse a person of all their sins.
Kumbh Mela has been inscribed on the UNESCO's Representative List of Intangible Cultural Heritage of Humanity
Allahabad - Prayagraj, Uttar Pradesh, India
Sadhus walking to lunch.
The Kumbh Mela (the festival of the sacred pitcher) is anchored in Hindu mythology. It is the largest public gathering and collective act of faith, anywhere in the world. The Mela draws tens of millions of pilgrims over the course of approximately 48 days to bathe at the sacred confluence of the Ganga, the Yamuna, and the mystical Sarasvati. Primarily, this congregation includes Ascetics, Saints, Sadhus, Sadhvis, Kalpvasis, and Pilgrims from all walks of life.
Inscribed in 2017 on the Representative List of the Intangible Cultural Heritage of Humanity, UNESCO.
The Lizard (Cornish: An Lysardh) is a peninsula in southern Cornwall, England, United Kingdom. The most southerly point of the British mainland is near Lizard Point at SW 701115; Lizard village, also known as The Lizard, is the most southerly on the British mainland, and is in the civil parish of Landewednack, the most southerly parish. The valleys of the River Helford and Loe Pool form the northern boundary, with the rest of the peninsula surrounded by sea. The area measures about 14 by 14 miles (23 km × 23 km). The Lizard is one of England's natural regions and has been designated as a National Character Area 157 by Natural England. The peninsula is known for its geology and for its rare plants and lies within the Cornwall Area of Outstanding Natural Beauty (AONB).
The Lizard's coast is particularly hazardous to shipping and the seaways round the peninsula were historically known as the "Graveyard of Ships" (see below). The Lizard Lighthouse was built at Lizard Point in 1752 and the RNLI operates The Lizard lifeboat station.
Etymology
The name "Lizard" is most probably a corruption of the Cornish name "Lys Ardh", meaning "high court"; it is purely coincidental that much of the peninsula is composed of serpentinite-bearing rock. The peninsula's original name may have been the Celtic Bridanoc, from Britannakon ("the "British one"), preserved in the name of the former village of Predannack, now site of Predannack Airfield.
History
There is evidence of early habitation with several burial mounds and stones. Part of the peninsula is known as the Meneage (land of the monks).
Helston, the nearest town to the Lizard peninsula, is said to have once headed the estuary of the River Cober, before it was cut off from the sea by Loe Bar in the 13th century. It is speculated that Helston was once a port, but no records exist. Geomorphologists believe the bar was most likely formed by rising sea levels, after the last ice age, blocking the river and creating a barrier beach. The beach is formed mostly of flint and the nearest source is found offshore under the drowned terraces of the former river that flowed between England and France, and now under the English Channel. The medieval port of Helston was at Gweek, possibly from around 1260 onwards, on the Helford river which exported tin and copper. Helston was believed to be in existence in the sixth century, around the River Cober (Dowr Kohar). The name comes from the Cornish "hen lis" or "old court" and "ton" added later to denote a Saxon manor; the Domesday Book refers to it as Henliston (which survives as the name of a road in the town). It was granted its charter by King John in 1201. It was here that tin ingots were weighed to determine the duty due to the Duke of Cornwall when a number of stannary towns were authorised by royal decree.
The royal manor of Winnianton, which was held by King William I at the time of the Domesday Book (1086), was also the head manor of the hundred of Kerrier and the largest estate in Cornwall. It was assessed as having fifteen hides before 1066. At the time of Domesday there was land for sixty ploughs, but in the lord's land there were two ploughs and in the lands held by villeins twenty-four ploughs. There were twenty-four villeins, forty-one freedmen, thirty-three smallholders and fourteen slaves. There was 6 acres (24,000 m2), eight square leagues of pasture and half a square league of woodland. The livestock was fourteen unbroken mares, three cattle and one hundred and twenty-eight sheep (in total 145 beasts); its value was £12 annually. 11 of the hides were held by the Count of Mortain and there is more arable and pasture and 13 more persons are recorded: Rinsey, Trelowarren, Mawgan-in-Meneage and seventeen other lands are also recorded under Winnianton.
Mullion has the 15th century church of St Mellanus, and the Old Inn from the 16th century. The harbour was completed in 1895 and financed by Lord Robartes of Lanhydrock as a recompense to the fishermen for several disastrous pilchard seasons.
The small church of St Peter in Coverack, built in 1885 for £500, has a serpentinite pulpit.
The Great Western Railway operated a road motor service to The Lizard from Helston railway station. Commencing on 17 August 1903, it was the first successful British railway-run bus service and was initially provided as a cheaper alternative to a proposed light railway.
The Solar eclipse of 11 August 1999 departed the UK mainland from the Lizard.
The transatlantic record run of the unaccompanied one hand sailor Thomas Coville within less than 5 days in his sailboat Sodebo Ultim from New York, USA, to Europe landed here on 15 July 2017.
Nautical
The Lizard has been the site of many maritime disasters. It forms a natural obstacle to entry and exit of Falmouth and its naturally deep estuary. At Lizard Point stands the Lizard Lighthouse. In fact, the light was erected by Sir John Killigrew by his own expense: It was built at the cost of "20 nobles a year" for 30 years, but it caused an uproar over the following years, as King James I considered charging vessels to pass. This caused so many problems that the lighthouse was demolished, but was successfully rebuilt in 1751 by order of Thomas Fonnereau and remains almost unchanged today. Further east lie The Manacles, near Porthoustock: 1+1⁄2 square miles (4 km2) of jagged rocks just beneath the waves.
In 1721 the Royal Anne Galley, an oared frigate, was wrecked at Lizard Point. Of a crew of 185 only three survived; lost was Lord Belhaven who was en route to take up the Governorship of Barbados.
A 44-gun frigate, HMS Anson, was wrecked at Loe Bar in 1807. Although it wrecked close to shore, many lost their lives in the storm. This inspired Henry Trengrouse to invent the rocket-fired line, later to become the Breeches buoy.
The transport ship Dispatch ran aground on the Manacles in 1809 on its return from the Peninsular War, losing 104 men from the 7th Hussars. The following day, with local villagers still attempting a rescue, the Cruizer-class brig-sloop HMS Primrose hit the northern end of these rocks. The only survivor of its 126 officers, men and boys was a drummer boy.
5 Sept 1856 the Cherubim and Ocean Home collided off Lizard Point
The SS Mohegan, a 6,889 GRT passenger liner, also hit the Manacles in 1898 with the loss of 106 lives.
The American passenger liner Paris was stranded on the Manacles in 1899, with no loss of life.
The biggest rescue in the RNLI's history was 17 March 1907 when the 12,000-tonne liner SS Suevic hit the Maenheere Reef near Lizard Point in Cornwall. In a strong gale and dense fog RNLI lifeboat volunteers rescued 456 passengers, including 70 babies. Crews from the Lizard, Cadgwith, Coverack and Porthleven rowed out repeatedly for 16 hours to rescue all of the people on board. Six silver RNLI medals were later awarded, two to Suevic crew members.
The Battle at the Lizard, a naval battle, took place off The Lizard on 21 October 1707.
Smuggling was a regular, and often necessary, way of life in these parts, despite the efforts of coastguards or "Preventive men". In 1801, the king's pardon was offered to any smuggler giving information on the Mullion musket men involved in a gunfight with the crew of HM Gun Vessel Hecate.
Avionic
In the First World War a Naval Air Station was established at Bonython, flying mainly blimps used for spotting U-boats. One was sunk and several probably damaged by bombs dropped by the blimps. The airfield site is now occupied by the wind farm.
RAF Predannack Down (see Predannack Airfield) was a Second World War airbase, from which Coastal Command squadrons flew anti-submarine sorties into the Bay of Biscay as well as convoy support in the western English Channel. The runways still exist and the site is used by a local Air Cadet Volunteergliding Squadron 626VGS and as an emergency/relief base for RNAS Culdrose (HMS Seahawk).
RNAS Culdrose is Europe's largest helicopter base, and currently hosts the Training and Operational Conversion Unit operating the EH101 "Merlin" helicopter. It is also the home base for Merlin Squadrons embarked upon Royal Navy warships, the Westland Sea King airborne early warning (AEW) variant helicopter, a Search And Rescue (Sea King, again) helicopter flight, and some BAe Hawk T.1 trainer jets used for training purposes by the Royal Navy. The base also operates some other types of fixed wing aircraft for calibration and other training purposes. As befits the base's name, a non-flying example of a Hawker Sea Hawk forms the main gate guardian static display. RNAS Culdrose is a major contributor to the economy of The Lizard area.
Political
The Lizard peninsula is in the St Ives parliamentary constituency (which comprises the whole of the former district of Penwith and the southern part of the former district of Kerrier). However, the parishes northeast of the Helford River are in Camborne and Redruth parliamentary constituency
To the north, The Lizard peninsula is bordered by the civil parishes of Breage, Porthleven, Sithney, Helston, Wendron, Gweek and – across the Helford River – by Constantine, Kerrier and Mawnan.
The parishes on the peninsula proper are (west to east):
Northern parishes:
Gunwalloe
Cury
Mawgan-in-Meneage
St Martin-in-Meneage
Manaccan
St Anthony-in-Meneage
Southern parishes:
Mullion
Grade-Ruan
St Keverne
Landewednack
The Lizard's political history includes the 1497 Cornish rebellion which began in St Keverne. The village blacksmith Michael Joseph (Michael An Gof in Cornish, meaning blacksmith) led the uprising, protesting against the punitive taxes levied by Henry VII to pay for the war against the Scots. The uprising was routed on its march to London and the two leaders, Michael Joseph and Thomas Flamank, were subsequently hanged, drawn and quartered.
Technological
Titanium was discovered here by the Reverend William Gregor in 1791.
In 1869, John Pender formed the Falmouth Gibraltar and Malta Telegraph company, intending to connect India to England with an undersea cable. Although intended to land at Falmouth, the final landing point was Porthcurno near Land's End.
In 1900 Guglielmo Marconi stayed the Housel Bay Hotel in his quest to locate a coastal radio station to receive signals from ships equipped with his apparatus. He leased a plot "in the wheat field adjoining the hotel" where the Lizard Wireless Telegraph Station still stands today. Recently restored by the National Trust, it looks as it did in January 1901, when Marconi received the distance record signals of 186 miles (299 km) from his transmitter station at Niton, Isle of Wight. The Lizard Wireless Station is the oldest Marconi station to survive in its original state, and is located to the west of the Lloyds Signal Station in what appears to be a wooden hut. On 12 December 1901 Poldhu Point was the site of the first trans Atlantic, wireless signal radio communication when Marconi sent a signal to St John's, Newfoundland. The technology is one of the key advances to the development of radio, television, satellites and the internet.
A radar station called RAF Dry Tree was built during World War II. The site was later chosen for the Telstar project in 1962; its rocky foundations, clear atmosphere and extreme southerly location being uniquely suitable. This became the Goonhilly satellite earth station, now owned by Goonhilly Earth Station Ltd. Some important developments in television satellite transmission were made at Goonhilly station. A wind farm exists near to the Goonhilly station site.
Geology
Known as the Lizard Complex, the peninsula's geology is the best preserved example of an exposed ophiolite in the United Kingdom.
An ophiolite is a suite of geological formations which represent a slice through a section of ocean crust (including the upper level of the mantle) thrust onto the continental crust.
The Lizard formations comprise three main units; the serpentinites, the "oceanic complex" and the metamorphic basement. The serpentinite contains significant samples of the serpentine polymorph lizardite, which were named after the Lizard complex in 1955.
Ecology
Several nature sites exist on the Lizard Peninsula; Predannack nature reserve, Mullion Island, Goonhilly Downs, and the Cornish Seal Sanctuary at Gweek. An area of the Lizard covering 16.62 square kilometres (6.42 sq mi) is designated a national nature reserve because of its coastal grasslands and heaths and inland heaths. The peninsula contains 3 main Sites of Special Scientific Interest (SSSI), both noted for their endangered insects and plants, as well as their geology. The first is East Lizard Heathlands SSSI, the second is Caerthillian to Kennack SSSI and the third is West Lizard SSSI, of which the important wetland, Hayle Kimbro Pool, forms a part of.
The area is also home to one of England's rarest breeding birds — the Cornish chough. This species of corvid is distinctive due to its red beak and legs and haunting "chee-aw" call. Choughs were extinct in Cornwall but returned naturally in 2001 and began breeding on Lizard in 2002 following a concerted effort by the National Trust, English Nature and the RSPB.
The Lizard contains some of the most specialised flora of any area in Britain, including many Red Data Book plant species. Of particular note is the Cornish heath, Erica vagans, that occurs in abundance here, but which is found nowhere else in Britain. There are more than 600 species of flowering plants on the Lizard, nearly a quarter of all UK species. The reason for this richness is partly because of the many different and unusual Lizard rocks on the Lizard Peninsula. But above all, it is a coming together of multiple factors: a very mild maritime climate, but one prone to gales and salt winds; waterlogged and boggy soils, but ones that often parch and dry out in the summer; soils of greatly contrasting fertility and pH; and lastly man's influence. Any single factor taken on its own would influence the flora; taken together, they combine, overlap and interact. Contrasting plant communities grow side-by-side in a mosaic that changes within a few metres but also changes markedly over time with the cycle of heath fires. It's not so much that conditions are ideal for growth, but that there is such a variety of different, difficult conditions. Each habitat, with its own combination of factors, attracts its own specialist plants. It is also one of the few places where the rare formicine ant, Formica exsecta, (the narrow-headed ant), can be found.
Portrayal in literature, film and music
Daphne du Maurier based many novels on this part of Cornwall, including Frenchman's Creek.
The Lizard was featured on the BBC television programme Seven Natural Wonders as one of the wonders of the South West, and on the BBC series Coast.
In James Clavell's novel Shōgun, ship's pilot Vasco Rodrigues challenges John Blackthorne to recite the latitude of the Lizard to verify that Blackthorne is the Pilot of the Dutch vessel Erasmus.
The Jennifer McQuiston 2015 novel The Spinster's Guide to Scandalous Behavior is set primarily in the fictional village Lizard Bay on the Lizard in the mid-nineteenth century.
In the television adaptation of "Horatio Hornblower", an order is given to "Weather the Lizard" in the episode Hornblower:Mutiny.
"Lizard Point" is also a track on the 1982 album Ambient 4: On Land released by Brian Eno.
The book series "Fenton House" by Ben Cheetham is set on the Lizard Peninsula.
The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
LOCATION
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India
ARCHITECTURE
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
SCULPTURES
MAIN IDOL
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
_________________________________
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
Allahabad - Prayagraj
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
Allahabad - Prayagraj
Sunset at the confluence of Ganges, Yamuna and Sarasvati rivers. It is a holy place where people bathe during Kumbh Mela.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
Naga Sadhu
A sadhu, also spelt saddhu, is a religious ascetic, mendicant (monk) or any holy person in Hinduism and Jainism who has renounced the worldly life. Naga = naked.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Dear Friends
Namaste from India
Kumbh Mela Tour Tell me what you Think About This Travel Program in India
Kumbh Mela Allahabad, India
The awaited Ardh Kumbh Mela for 6 years is going to be held in 2019 i.e. Ardh Kumbh 2019 in Allahabad. It is a Festival of great significance related to early human civilization of India. Due to its unique nature of religious/cultural congregation Ardh Kumbh is more a centre of attraction for International tourists than domestic devotees.
Tour Itinerary
Day 1 - Arrival in Delhi
Welcome to the capital of India, a city of historic importance, which has been inhabited since the earliest signs of civilisation. Its strategic and political importance has attracted political aspirants as well as those hopeful to carve a name for themselves in the arts under royal patronage. Fabled to have had at least nine lives, the city has a rich cultural heritage unlike any other. In the streets of Delhi, there is a rich mosaic of cultures, religions and people, who have all left their mark in art and architecture, music and drama, songs and museums. But most of all, it is the medley of people who inhabit the city who give it its distinctive character.
With assistance upon arrival you will be assisted with check in at your hotel.
Overnight Haveli Dharampura or similar
Day 2 - Delhi to Varanasi
Following breakfast, you’ll be transferred to airport for your flight to Varanasi.
Upon arrival at Varanasi airport you will be met and transferred to your hotel. Varanasi, also known at various times in history as Kashi (City of Light) and Benares, this is one of the world’s oldest continually inhabited cities and is regarded as one of Hinduism’s seven holy cities. Pilgrims come to the ghats lining the River Ganges here to wash away a lifetime of sins in the sacred waters or to cremate their loved ones. It’s a particularly auspicious place to die, since expiring here offers moksha (liberation from the cycle of birth and death), making Varanasi the beating heart of the Hindu universe. Most visitors agree it’s a magical place, but it’s not for the faint-hearted. Here the most intimate rituals of life and death take place in public, and the sights, sounds and smells in and around the ghats – not to mention the almost constant attention from touts – can be overwhelming. Persevere. Varanasi is unique, and a walk along the ghats or a boat ride on the river will live long in the memory.
This evening, witness the Aarti ceremony. The Aarti is performed on a stage by a group of young priests facing towards the river. It is a special ritual for the invocation of the River Ganga, which as per the sacred belief of the Hindus is a Goddess who descended from heaven to earth for a reason. The Aarti takes place every day and takes approximately one hour. (B)
Overnight at Suryuday Haveli or similar
Day 3 - Varanasi
Early this morning leave your hotel around 0530 for an early morning sunrise boat excursion on the holy River Ganges. A rowing boat ride at dawn along the Ganges is the quintessential Varanasi experience. The early-morning light is particularly good for photography and to see life (and death) as it unfolds along the ghats is a truly unique experience. An hour-long trip south from Dashashwamedh Ghat to Harishchandra Ghat and to Manikarnika Ghat and back is popular and be prepared to see a burning corpse at Harishchandra and Manikarnika Ghat. Photographs here are strictly not allowed.
After boat ride, drive back to your hotel for breakfast. Following breakfast, begin your city tour and visit Banaras Hindu University. This is one of the oldest educational centres in India, the Banaras Hindu University was built in 1917. The university was founded by Pandit Madan Mohan Malviya as a centre for the study of Indian art, culture, music and Sanskrit. The university campus is spread over five square kilometres and houses the Bharat Kala Bhavan. The Bhavan has a fine collection of miniature paintings, sculptures from first to fifteenth centuries, old photographs of Varanasi and brocade textiles.
Continue on to Kashi Vishwanath Temple. The temple is located in the premises of the Banaras Hindu University. The temple, built by the Birlas, was planned by Pandit Madan Mohan Malviya. Unlike many other temples in Varanasi, this temple is open to all irrespective of caste or creed.
Next is Durga Temple. Durga temple is also known as the Monkey temple (because of the presence of huge number of monkeys), situated in the Durga Kund, Varanasi. The temple is dedicated to the Goddess Durga. It was built in the 18th century. Durga temple was constructed by a Bengali Maharani in the north Indian Style with multi-tiered shikhara. It is believed that statue of Goddess Durga is not human made; it appeared on its own within the temple.
Following lunch, enjoy the sightseeing of Sarnath. It was at Sarnath, that the Buddha gave his first sermon to the five disciples; preaching the middle path to find ‘Nirvana’. Realising the sanctity of the place, emperor Ashoka, in the 3rd. Century BC lavished riches on it; building and creating some of the finest monuments and legacies for future generations. The 34-metre high Dhamek Stupa is the most remarkable structure as it is believed to mark the spot where the Buddha preached his sermon. ‘Choukhandi’ stupa, raised by the great Mughal emperor Akbar in 1555 AD, is believed to be the place where Lord Buddha met his five disciples. The majestic Ashoka pillar records the visit of emperor Ashoka to Sarnath. It was originally adorned by a capital of four adorned lions – the symbol of modern India. The capital now is housed in the adjoining Sarnath museum. The modern Mahabodhi Society temple ‘Mulgandha Kuti Vihar’, opened to public in 1931, has a series of brilliant frescoes by the Japanese artist K. Nosi and a life size golden statue of the Buddha. A ‘Bodhi’ tree growing here is believed to be the offspring of one under which Lord Buddha had attained enlightenment. (B)
Overnight at Suryuday Haveli or similar
Day 4 - Varanasi to Allahabad
Today you will drive to Allahabad (approx. 120km / 04 hrs). On arrival transfer to your tented accommodation. On arrival the if road is closed for traffic due to Kumbh Mela, there will be a 5-6 km walk involved to reach your tented camp.
Allahabad is located in the southern part of the Uttar Pradesh and stands at the confluence of three rivers – The Ganges, Yamuna and invisible Saraswati.
Allahabad or City of God in Persian, is one of the fastest growing cities in India at present. The ancient name of the city is Prayag and is believed to be the spot where Brahma offered his first sacrifice after creating the world. It is one of four sites of the mass Hindu pilgrimage Kumbh Mela. It has a position of importance in Hindu scriptures for it is situated at Triveni Sangam, the confluence of the holy rivers Ganges and Yamuna, and the ancient Saraswati River. (B,D)
Overnight Tented Camp
Day 5 - Allahabad
Over the next two days you will witness one of the largest human congregations that has gathered on these river banks for millennia.
The holy river Ganga is intimately linked to life lived in the Hindu faith. Beginning at birth – the mundane (shaving head hair off a new born) at the ghats (river banks) is considered auspicious to the final immersion of the ashes, and the yearly shraadha (religious anniversary service). Hindus arrive here in the hope of washing away not only their own sins but those of their ancestors.
Also present in large numbers are the sadhus who seek out divine guidance. These sadhus, having given up normal familiar lives, live the rest of their lives in akharas where they learn, practice and preach the divine path to moksha (release from the cycle of birth, death and rebirth). Gathered on the occasion of Kumbh are practitioners of numerous akharas, including the cave dwelling reclusive Naga sadhus.
Amongst the ghats, Har-ki-Pauri (footsteps of Vishnu) attracts the most visitors, especially for the evening arti (religious ceremony) when floating arrangements of flowers and lighted diyas (lamps) add a glimmering mystical sheen to the holy waters.
As you arrive in the midst of these, sometimes overwhelming crowds, be rest assured that we have taken care of your very comfort. Your special tents are erected close enough to the Ghats to make you feel one with the experience of the devotees, yet maintaining an adequate distance to assure your comfort. Over the next few days you will have numerous opportunities to attend yoga sessions, witness the evening arti, visit akharas to chat with the sadhus and observe the practices associated with the Hindu faith. (B,L,D)
Overnight Tented Camp
Day 6 - Allahabad
While breakfast, lunch and dinner have been specially arranged at the camps, the rest of the day is free to explore and mingle, become submerge in the sacred, forget the profane. Understand a culture very different from the one embraced by modernity, appreciate the philosophy underpinning this life world and the intermingling of the two, of the ancient and the modern, which forms the essence of an Indian life. (B,L,D)
Overnight Tented Camp
Day 7 - Allahabad to Lucknow
Following breakfast, drive to Lucknow. Upon arrival check-in at your hotel. Lucknow – the hallmark of cultural extravaganza, known all over the world for its many splendours. A city that has a magical charm, be it the cultural charm or the monumental one, both are well conserved here to make Lucknow ‘The city of many splendours’. Walking through the lanes and by-lanes of Chowk and Aminabad you will discover the soul of Lucknow. (B)
Overnight Lebua Lucknow or similar
Day 8 - Lucknow
Today you will embark on a city tour of Lucknow. Driving past ‘Chatar Manzil’ (outside view only), you reach the world’s most unique architecture, ‘Asifi Imambara’. This monument was built as a relief measure for a devastating famine, in order to provide employment to the subjects of the state by Nawab Asif-ud-Daula’. This is the world’s biggest hall that is devoid of any pillar support, wood, iron beams or concrete walls. Salute the ‘Nawab’ (Prince) lying in peace inside and proceed to see his noble work. Also, see the ‘Rumi Darwaza’ or the Turkish Gate and the Asfi Mosque.
Later you will reach the Hussainabad Complex – The Clock Tower is the highest Clock Tower in Asia and in some ways superior to its counterpart, ‘Big Ben’. Today the clock stands motionless but has witnessed all times, the good, the bad and the ugly. Now enter the Babylon of East, The Hussainabad Imambara – known for its beauty and pieces of décor. This was built in 1840 by Mohammad Ali Shah and is still considered to be a sacred address by the natives. The beautiful chandeliers, silver seat, sandalwood décor and calligraphy on the walls all are so creative. Admire each one and bow down to the Nawab and his Mother sleeping inside. Also, see the Satkhanda that stands as Lucknow’s incomplete leaning tower of Pisa.
Continuing on, you will visit Dhobi Ghat to see the colourful Chikan Embroidered clothes hanging after their wash, and you will get to see the washer-men at work and observe the hanging clothes that are sun-dried after having gone through the hands of women artisans.
Following lunch, drive past the Kaiserbagh Complex that once was Nawab Wajid-Ali Shah’s Palace complex and the most beautiful of the palaces built in the Awadh region you visit the Baradari and the Kaiserbagh Gates. Though the palace complex is heavily encroached and redone, and it may be hard to believe that it ever was so beautiful, yet you will try and work your creative imagination to understand and reconstruct the complex.
Whilst in Kaserbagh you will now reach Kotwara House, abode to the legendary film maker, fashion designer, painter, poet, rather a couple with many feathers in their cap of creativity, Muzaffar & Meera Ali. Their Lucknow house is in the area of the palace complex of Kaiserbagh and the very aura, interiors and artefacts that adorn their living space is no less than a living museum of sorts. You will have access to the living spaces of the house to understand how this creative couple live, work and eat. You enjoy a great afternoon seeing their collection and workshop of Chikan, Zari and Mukaesh with an opportunity to interact with artisans at work. Also, enjoy a short dance clip from Muzzafar’s landmark films including Umrao Jaan or maybe watch one of his unreleased masterpiece over a cup of hot tea at his home. If you are lucky you’ll get to meet Muzzafar and Meera Ali as well. (B)
Overnight Lebua Lucknow or similar
Day 9 - Lucknow
After breakfast, you’ll visit the architectural marvel of age, La Martiniere School which was designed by the Frenchman Major-General Claude Martin as a palatial home. Even to this day, Claude martin is a revered personality in the city of Lucknow. Later on you will visit Dilkusha Palace & Gardens – This palace was built by a European architect for the Nawab – Sadat Ali Khan. The Nawab only saw this building on its completion and the first words that came to his lips were “Dil Khush Hua” meaning “My Heart is Pleased”, thus it was aptly named “Dilkusha”. The palace and gardens were used as a country house and hunting lodge by the Nawab and his begums. Light game consisting of deer and bears were kept in the surrounding woods for the Begums to indulge in some hunting themselves. Part of the palace was also used as a Maternity Home for the wives of the Nawabs.
You will also visit the grave of Walter Burley Griffin, the American architect who designed Canberra, Australia’s capital city. Griffin spent the last 15 months of his life in India where he designed the zenana (the quarters for elite Muslim women) for the palace of Raja Jahangirabad.
Driving past Sikanderbagh, the palace complex that fell prey to the British troops and the Mutineers in the revolt of 1857 and what remains is a gate and a few walls as a testimony to the bloody events of that period, you will now reach the Lucknow Residency a place where speechless walls are known to speak the gruesome tale of the 1857 mutiny. The sprawling British campus witnessed nothing less than 3000 deaths to keep the Union Jack flying. Yet the British could not defend their domain and the buildings were lost to the high spirited and enthusiastic Indians who fought till their last breath. The trees, bullet sprinkled walls, unusable canons, worn out firearms all cry aloud with the burden of deaths that were witnessed here. You also visit the graveyard to pay your homage to named and unnamed soldiers who gave up their lives in the defence of The Residency.
Following lunch, continue with your city tour and visit Shahnajaf Imambara. This Imambara is said to be a replica of the tomb of Hazrat Ali at Najaf in Iraq. It houses the replica of the Silver Rauza of Nazaf. It was built by Nawab Ghazi-ud-din-Haider the first independent King of Avadh and houses his tomb along with his three wives. (B)
Overnight Lebua Lucknow or similar
Day 10 - Delhi Departure
This morning, enjoy a leisurely breakfast at the hotel. Later you’ll be transferred to airport for your flight to Delhi. Upon arrival in Delhi, we bid farewell to you, honoured to have initiated you into the timeless traditions of a land fabled for its spirituality. (B)
Thank you,
Team Discovery
Discovery Full Circle Tours
328, Plot No. 3, Vardhman Dwarkadeesh
Sector 10, Central Market, Dwarka
New Delhi - 110 075
India
Phone: + 91 11 45573299, 28083543,
24 hours help line: + 91 9811552453
Office Cell: + 91 9873442453, 9873692453, 8860709211,
Email: tours@discoveryfullcircle.com, indiafullcircletour@gmail.com,
Allahabad - Prayagraj
Naga Sadhu
A sadhu, also spelt saddhu, is a religious ascetic, mendicant (monk) or any holy person in Hinduism and Jainism who has renounced the worldly life. Naga = naked.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
Pontoon Bridge over the river Ganges
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
En el hinduismo, el kumbhamela o kumbh mela es un peregrinaje que se realiza cuatro veces cada doce años, y tiene lugar, por turno, en los siguientes lugares santos: Prayag, el nombre hindú de Allahabad, Haridwar, Ujjain y Nasik.
Prayagraj Ardh Kumbh Mela, 2019 es el Ardh Kumbh Mela que se celebra en Triveni Sangam en Allahabad, Uttar Pradesh, India, del 15 de enero al 4 de marzo de 2019
Dear Friends
Namaste from India
Kumbh Mela Tour Tell me what you Think About This Travel Program in India
Kumbh Mela Allahabad, India
The awaited Ardh Kumbh Mela for 6 years is going to be held in 2019 i.e. Ardh Kumbh 2019 in Allahabad. It is a Festival of great significance related to early human civilization of India. Due to its unique nature of religious/cultural congregation Ardh Kumbh is more a centre of attraction for International tourists than domestic devotees.
Tour Itinerary
Day 1 - Arrival in Delhi
Welcome to the capital of India, a city of historic importance, which has been inhabited since the earliest signs of civilisation. Its strategic and political importance has attracted political aspirants as well as those hopeful to carve a name for themselves in the arts under royal patronage. Fabled to have had at least nine lives, the city has a rich cultural heritage unlike any other. In the streets of Delhi, there is a rich mosaic of cultures, religions and people, who have all left their mark in art and architecture, music and drama, songs and museums. But most of all, it is the medley of people who inhabit the city who give it its distinctive character.
With assistance upon arrival you will be assisted with check in at your hotel.
Overnight Haveli Dharampura or similar
Day 2 - Delhi to Varanasi
Following breakfast, you’ll be transferred to airport for your flight to Varanasi.
Upon arrival at Varanasi airport you will be met and transferred to your hotel. Varanasi, also known at various times in history as Kashi (City of Light) and Benares, this is one of the world’s oldest continually inhabited cities and is regarded as one of Hinduism’s seven holy cities. Pilgrims come to the ghats lining the River Ganges here to wash away a lifetime of sins in the sacred waters or to cremate their loved ones. It’s a particularly auspicious place to die, since expiring here offers moksha (liberation from the cycle of birth and death), making Varanasi the beating heart of the Hindu universe. Most visitors agree it’s a magical place, but it’s not for the faint-hearted. Here the most intimate rituals of life and death take place in public, and the sights, sounds and smells in and around the ghats – not to mention the almost constant attention from touts – can be overwhelming. Persevere. Varanasi is unique, and a walk along the ghats or a boat ride on the river will live long in the memory.
This evening, witness the Aarti ceremony. The Aarti is performed on a stage by a group of young priests facing towards the river. It is a special ritual for the invocation of the River Ganga, which as per the sacred belief of the Hindus is a Goddess who descended from heaven to earth for a reason. The Aarti takes place every day and takes approximately one hour. (B)
Overnight at Suryuday Haveli or similar
Day 3 - Varanasi
Early this morning leave your hotel around 0530 for an early morning sunrise boat excursion on the holy River Ganges. A rowing boat ride at dawn along the Ganges is the quintessential Varanasi experience. The early-morning light is particularly good for photography and to see life (and death) as it unfolds along the ghats is a truly unique experience. An hour-long trip south from Dashashwamedh Ghat to Harishchandra Ghat and to Manikarnika Ghat and back is popular and be prepared to see a burning corpse at Harishchandra and Manikarnika Ghat. Photographs here are strictly not allowed.
After boat ride, drive back to your hotel for breakfast. Following breakfast, begin your city tour and visit Banaras Hindu University. This is one of the oldest educational centres in India, the Banaras Hindu University was built in 1917. The university was founded by Pandit Madan Mohan Malviya as a centre for the study of Indian art, culture, music and Sanskrit. The university campus is spread over five square kilometres and houses the Bharat Kala Bhavan. The Bhavan has a fine collection of miniature paintings, sculptures from first to fifteenth centuries, old photographs of Varanasi and brocade textiles.
Continue on to Kashi Vishwanath Temple. The temple is located in the premises of the Banaras Hindu University. The temple, built by the Birlas, was planned by Pandit Madan Mohan Malviya. Unlike many other temples in Varanasi, this temple is open to all irrespective of caste or creed.
Next is Durga Temple. Durga temple is also known as the Monkey temple (because of the presence of huge number of monkeys), situated in the Durga Kund, Varanasi. The temple is dedicated to the Goddess Durga. It was built in the 18th century. Durga temple was constructed by a Bengali Maharani in the north Indian Style with multi-tiered shikhara. It is believed that statue of Goddess Durga is not human made; it appeared on its own within the temple.
Following lunch, enjoy the sightseeing of Sarnath. It was at Sarnath, that the Buddha gave his first sermon to the five disciples; preaching the middle path to find ‘Nirvana’. Realising the sanctity of the place, emperor Ashoka, in the 3rd. Century BC lavished riches on it; building and creating some of the finest monuments and legacies for future generations. The 34-metre high Dhamek Stupa is the most remarkable structure as it is believed to mark the spot where the Buddha preached his sermon. ‘Choukhandi’ stupa, raised by the great Mughal emperor Akbar in 1555 AD, is believed to be the place where Lord Buddha met his five disciples. The majestic Ashoka pillar records the visit of emperor Ashoka to Sarnath. It was originally adorned by a capital of four adorned lions – the symbol of modern India. The capital now is housed in the adjoining Sarnath museum. The modern Mahabodhi Society temple ‘Mulgandha Kuti Vihar’, opened to public in 1931, has a series of brilliant frescoes by the Japanese artist K. Nosi and a life size golden statue of the Buddha. A ‘Bodhi’ tree growing here is believed to be the offspring of one under which Lord Buddha had attained enlightenment. (B)
Overnight at Suryuday Haveli or similar
Day 4 - Varanasi to Allahabad
Today you will drive to Allahabad (approx. 120km / 04 hrs). On arrival transfer to your tented accommodation. On arrival the if road is closed for traffic due to Kumbh Mela, there will be a 5-6 km walk involved to reach your tented camp.
Allahabad is located in the southern part of the Uttar Pradesh and stands at the confluence of three rivers – The Ganges, Yamuna and invisible Saraswati.
Allahabad or City of God in Persian, is one of the fastest growing cities in India at present. The ancient name of the city is Prayag and is believed to be the spot where Brahma offered his first sacrifice after creating the world. It is one of four sites of the mass Hindu pilgrimage Kumbh Mela. It has a position of importance in Hindu scriptures for it is situated at Triveni Sangam, the confluence of the holy rivers Ganges and Yamuna, and the ancient Saraswati River. (B,D)
Overnight Tented Camp
Day 5 - Allahabad
Over the next two days you will witness one of the largest human congregations that has gathered on these river banks for millennia.
The holy river Ganga is intimately linked to life lived in the Hindu faith. Beginning at birth – the mundane (shaving head hair off a new born) at the ghats (river banks) is considered auspicious to the final immersion of the ashes, and the yearly shraadha (religious anniversary service). Hindus arrive here in the hope of washing away not only their own sins but those of their ancestors.
Also present in large numbers are the sadhus who seek out divine guidance. These sadhus, having given up normal familiar lives, live the rest of their lives in akharas where they learn, practice and preach the divine path to moksha (release from the cycle of birth, death and rebirth). Gathered on the occasion of Kumbh are practitioners of numerous akharas, including the cave dwelling reclusive Naga sadhus.
Amongst the ghats, Har-ki-Pauri (footsteps of Vishnu) attracts the most visitors, especially for the evening arti (religious ceremony) when floating arrangements of flowers and lighted diyas (lamps) add a glimmering mystical sheen to the holy waters.
As you arrive in the midst of these, sometimes overwhelming crowds, be rest assured that we have taken care of your very comfort. Your special tents are erected close enough to the Ghats to make you feel one with the experience of the devotees, yet maintaining an adequate distance to assure your comfort. Over the next few days you will have numerous opportunities to attend yoga sessions, witness the evening arti, visit akharas to chat with the sadhus and observe the practices associated with the Hindu faith. (B,L,D)
Overnight Tented Camp
Day 6 - Allahabad
While breakfast, lunch and dinner have been specially arranged at the camps, the rest of the day is free to explore and mingle, become submerge in the sacred, forget the profane. Understand a culture very different from the one embraced by modernity, appreciate the philosophy underpinning this life world and the intermingling of the two, of the ancient and the modern, which forms the essence of an Indian life. (B,L,D)
Overnight Tented Camp
Day 7 - Allahabad to Lucknow
Following breakfast, drive to Lucknow. Upon arrival check-in at your hotel. Lucknow – the hallmark of cultural extravaganza, known all over the world for its many splendours. A city that has a magical charm, be it the cultural charm or the monumental one, both are well conserved here to make Lucknow ‘The city of many splendours’. Walking through the lanes and by-lanes of Chowk and Aminabad you will discover the soul of Lucknow. (B)
Overnight Lebua Lucknow or similar
Day 8 - Lucknow
Today you will embark on a city tour of Lucknow. Driving past ‘Chatar Manzil’ (outside view only), you reach the world’s most unique architecture, ‘Asifi Imambara’. This monument was built as a relief measure for a devastating famine, in order to provide employment to the subjects of the state by Nawab Asif-ud-Daula’. This is the world’s biggest hall that is devoid of any pillar support, wood, iron beams or concrete walls. Salute the ‘Nawab’ (Prince) lying in peace inside and proceed to see his noble work. Also, see the ‘Rumi Darwaza’ or the Turkish Gate and the Asfi Mosque.
Later you will reach the Hussainabad Complex – The Clock Tower is the highest Clock Tower in Asia and in some ways superior to its counterpart, ‘Big Ben’. Today the clock stands motionless but has witnessed all times, the good, the bad and the ugly. Now enter the Babylon of East, The Hussainabad Imambara – known for its beauty and pieces of décor. This was built in 1840 by Mohammad Ali Shah and is still considered to be a sacred address by the natives. The beautiful chandeliers, silver seat, sandalwood décor and calligraphy on the walls all are so creative. Admire each one and bow down to the Nawab and his Mother sleeping inside. Also, see the Satkhanda that stands as Lucknow’s incomplete leaning tower of Pisa.
Continuing on, you will visit Dhobi Ghat to see the colourful Chikan Embroidered clothes hanging after their wash, and you will get to see the washer-men at work and observe the hanging clothes that are sun-dried after having gone through the hands of women artisans.
Following lunch, drive past the Kaiserbagh Complex that once was Nawab Wajid-Ali Shah’s Palace complex and the most beautiful of the palaces built in the Awadh region you visit the Baradari and the Kaiserbagh Gates. Though the palace complex is heavily encroached and redone, and it may be hard to believe that it ever was so beautiful, yet you will try and work your creative imagination to understand and reconstruct the complex.
Whilst in Kaserbagh you will now reach Kotwara House, abode to the legendary film maker, fashion designer, painter, poet, rather a couple with many feathers in their cap of creativity, Muzaffar & Meera Ali. Their Lucknow house is in the area of the palace complex of Kaiserbagh and the very aura, interiors and artefacts that adorn their living space is no less than a living museum of sorts. You will have access to the living spaces of the house to understand how this creative couple live, work and eat. You enjoy a great afternoon seeing their collection and workshop of Chikan, Zari and Mukaesh with an opportunity to interact with artisans at work. Also, enjoy a short dance clip from Muzzafar’s landmark films including Umrao Jaan or maybe watch one of his unreleased masterpiece over a cup of hot tea at his home. If you are lucky you’ll get to meet Muzzafar and Meera Ali as well. (B)
Overnight Lebua Lucknow or similar
Day 9 - Lucknow
After breakfast, you’ll visit the architectural marvel of age, La Martiniere School which was designed by the Frenchman Major-General Claude Martin as a palatial home. Even to this day, Claude martin is a revered personality in the city of Lucknow. Later on you will visit Dilkusha Palace & Gardens – This palace was built by a European architect for the Nawab – Sadat Ali Khan. The Nawab only saw this building on its completion and the first words that came to his lips were “Dil Khush Hua” meaning “My Heart is Pleased”, thus it was aptly named “Dilkusha”. The palace and gardens were used as a country house and hunting lodge by the Nawab and his begums. Light game consisting of deer and bears were kept in the surrounding woods for the Begums to indulge in some hunting themselves. Part of the palace was also used as a Maternity Home for the wives of the Nawabs.
You will also visit the grave of Walter Burley Griffin, the American architect who designed Canberra, Australia’s capital city. Griffin spent the last 15 months of his life in India where he designed the zenana (the quarters for elite Muslim women) for the palace of Raja Jahangirabad.
Driving past Sikanderbagh, the palace complex that fell prey to the British troops and the Mutineers in the revolt of 1857 and what remains is a gate and a few walls as a testimony to the bloody events of that period, you will now reach the Lucknow Residency a place where speechless walls are known to speak the gruesome tale of the 1857 mutiny. The sprawling British campus witnessed nothing less than 3000 deaths to keep the Union Jack flying. Yet the British could not defend their domain and the buildings were lost to the high spirited and enthusiastic Indians who fought till their last breath. The trees, bullet sprinkled walls, unusable canons, worn out firearms all cry aloud with the burden of deaths that were witnessed here. You also visit the graveyard to pay your homage to named and unnamed soldiers who gave up their lives in the defence of The Residency.
Following lunch, continue with your city tour and visit Shahnajaf Imambara. This Imambara is said to be a replica of the tomb of Hazrat Ali at Najaf in Iraq. It houses the replica of the Silver Rauza of Nazaf. It was built by Nawab Ghazi-ud-din-Haider the first independent King of Avadh and houses his tomb along with his three wives. (B)
Overnight Lebua Lucknow or similar
Day 10 - Delhi Departure
This morning, enjoy a leisurely breakfast at the hotel. Later you’ll be transferred to airport for your flight to Delhi. Upon arrival in Delhi, we bid farewell to you, honoured to have initiated you into the timeless traditions of a land fabled for its spirituality. (B)
Thank you,
Team Discovery
Discovery Full Circle Tours
328, Plot No. 3, Vardhman Dwarkadeesh
Sector 10, Central Market, Dwarka
New Delhi - 110 075
India
Phone: + 91 11 45573299, 28083543,
24 hours help line: + 91 9811552453
Office Cell: + 91 9873442453, 9873692453, 8860709211,
Email: tours@discoveryfullcircle.com, indiafullcircletour@gmail.com,
Allahabad - Prayagraj, Uttar Pradesh, India
Sadhus
The Kumbh Mela (the festival of the sacred pitcher) is anchored in Hindu mythology. It is the largest public gathering and collective act of faith, anywhere in the world. The Mela draws tens of millions of pilgrims over the course of approximately 48 days to bathe at the sacred confluence of the Ganga, the Yamuna, and the mystical Sarasvati. Primarily, this congregation includes Ascetics, Saints, Sadhus, Sadhvis, Kalpvasis, and Pilgrims from all walks of life.
Inscribed in 2017 on the Representative List of the Intangible Cultural Heritage of Humanity, UNESCO.
Allahabad - Prayagraj
Visitors live in tents. This is a luxury tent hotel.
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
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Dear Friends
Namaste from India
Kumbh Mela Tour Tell me what you Think About This Travel Program in India
Kumbh Mela Allahabad, India
The awaited Ardh Kumbh Mela for 6 years is going to be held in 2019 i.e. Ardh Kumbh 2019 in Allahabad. It is a Festival of great significance related to early human civilization of India. Due to its unique nature of religious/cultural congregation Ardh Kumbh is more a centre of attraction for International tourists than domestic devotees.
Tour Itinerary
Day 1 - Arrival in Delhi
Welcome to the capital of India, a city of historic importance, which has been inhabited since the earliest signs of civilisation. Its strategic and political importance has attracted political aspirants as well as those hopeful to carve a name for themselves in the arts under royal patronage. Fabled to have had at least nine lives, the city has a rich cultural heritage unlike any other. In the streets of Delhi, there is a rich mosaic of cultures, religions and people, who have all left their mark in art and architecture, music and drama, songs and museums. But most of all, it is the medley of people who inhabit the city who give it its distinctive character.
With assistance upon arrival you will be assisted with check in at your hotel.
Overnight Haveli Dharampura or similar
Day 2 - Delhi to Varanasi
Following breakfast, you’ll be transferred to airport for your flight to Varanasi.
Upon arrival at Varanasi airport you will be met and transferred to your hotel. Varanasi, also known at various times in history as Kashi (City of Light) and Benares, this is one of the world’s oldest continually inhabited cities and is regarded as one of Hinduism’s seven holy cities. Pilgrims come to the ghats lining the River Ganges here to wash away a lifetime of sins in the sacred waters or to cremate their loved ones. It’s a particularly auspicious place to die, since expiring here offers moksha (liberation from the cycle of birth and death), making Varanasi the beating heart of the Hindu universe. Most visitors agree it’s a magical place, but it’s not for the faint-hearted. Here the most intimate rituals of life and death take place in public, and the sights, sounds and smells in and around the ghats – not to mention the almost constant attention from touts – can be overwhelming. Persevere. Varanasi is unique, and a walk along the ghats or a boat ride on the river will live long in the memory.
This evening, witness the Aarti ceremony. The Aarti is performed on a stage by a group of young priests facing towards the river. It is a special ritual for the invocation of the River Ganga, which as per the sacred belief of the Hindus is a Goddess who descended from heaven to earth for a reason. The Aarti takes place every day and takes approximately one hour. (B)
Overnight at Suryuday Haveli or similar
Day 3 - Varanasi
Early this morning leave your hotel around 0530 for an early morning sunrise boat excursion on the holy River Ganges. A rowing boat ride at dawn along the Ganges is the quintessential Varanasi experience. The early-morning light is particularly good for photography and to see life (and death) as it unfolds along the ghats is a truly unique experience. An hour-long trip south from Dashashwamedh Ghat to Harishchandra Ghat and to Manikarnika Ghat and back is popular and be prepared to see a burning corpse at Harishchandra and Manikarnika Ghat. Photographs here are strictly not allowed.
After boat ride, drive back to your hotel for breakfast. Following breakfast, begin your city tour and visit Banaras Hindu University. This is one of the oldest educational centres in India, the Banaras Hindu University was built in 1917. The university was founded by Pandit Madan Mohan Malviya as a centre for the study of Indian art, culture, music and Sanskrit. The university campus is spread over five square kilometres and houses the Bharat Kala Bhavan. The Bhavan has a fine collection of miniature paintings, sculptures from first to fifteenth centuries, old photographs of Varanasi and brocade textiles.
Continue on to Kashi Vishwanath Temple. The temple is located in the premises of the Banaras Hindu University. The temple, built by the Birlas, was planned by Pandit Madan Mohan Malviya. Unlike many other temples in Varanasi, this temple is open to all irrespective of caste or creed.
Next is Durga Temple. Durga temple is also known as the Monkey temple (because of the presence of huge number of monkeys), situated in the Durga Kund, Varanasi. The temple is dedicated to the Goddess Durga. It was built in the 18th century. Durga temple was constructed by a Bengali Maharani in the north Indian Style with multi-tiered shikhara. It is believed that statue of Goddess Durga is not human made; it appeared on its own within the temple.
Following lunch, enjoy the sightseeing of Sarnath. It was at Sarnath, that the Buddha gave his first sermon to the five disciples; preaching the middle path to find ‘Nirvana’. Realising the sanctity of the place, emperor Ashoka, in the 3rd. Century BC lavished riches on it; building and creating some of the finest monuments and legacies for future generations. The 34-metre high Dhamek Stupa is the most remarkable structure as it is believed to mark the spot where the Buddha preached his sermon. ‘Choukhandi’ stupa, raised by the great Mughal emperor Akbar in 1555 AD, is believed to be the place where Lord Buddha met his five disciples. The majestic Ashoka pillar records the visit of emperor Ashoka to Sarnath. It was originally adorned by a capital of four adorned lions – the symbol of modern India. The capital now is housed in the adjoining Sarnath museum. The modern Mahabodhi Society temple ‘Mulgandha Kuti Vihar’, opened to public in 1931, has a series of brilliant frescoes by the Japanese artist K. Nosi and a life size golden statue of the Buddha. A ‘Bodhi’ tree growing here is believed to be the offspring of one under which Lord Buddha had attained enlightenment. (B)
Overnight at Suryuday Haveli or similar
Day 4 - Varanasi to Allahabad
Today you will drive to Allahabad (approx. 120km / 04 hrs). On arrival transfer to your tented accommodation. On arrival the if road is closed for traffic due to Kumbh Mela, there will be a 5-6 km walk involved to reach your tented camp.
Allahabad is located in the southern part of the Uttar Pradesh and stands at the confluence of three rivers – The Ganges, Yamuna and invisible Saraswati.
Allahabad or City of God in Persian, is one of the fastest growing cities in India at present. The ancient name of the city is Prayag and is believed to be the spot where Brahma offered his first sacrifice after creating the world. It is one of four sites of the mass Hindu pilgrimage Kumbh Mela. It has a position of importance in Hindu scriptures for it is situated at Triveni Sangam, the confluence of the holy rivers Ganges and Yamuna, and the ancient Saraswati River. (B,D)
Overnight Tented Camp
Day 5 - Allahabad
Over the next two days you will witness one of the largest human congregations that has gathered on these river banks for millennia.
The holy river Ganga is intimately linked to life lived in the Hindu faith. Beginning at birth – the mundane (shaving head hair off a new born) at the ghats (river banks) is considered auspicious to the final immersion of the ashes, and the yearly shraadha (religious anniversary service). Hindus arrive here in the hope of washing away not only their own sins but those of their ancestors.
Also present in large numbers are the sadhus who seek out divine guidance. These sadhus, having given up normal familiar lives, live the rest of their lives in akharas where they learn, practice and preach the divine path to moksha (release from the cycle of birth, death and rebirth). Gathered on the occasion of Kumbh are practitioners of numerous akharas, including the cave dwelling reclusive Naga sadhus.
Amongst the ghats, Har-ki-Pauri (footsteps of Vishnu) attracts the most visitors, especially for the evening arti (religious ceremony) when floating arrangements of flowers and lighted diyas (lamps) add a glimmering mystical sheen to the holy waters.
As you arrive in the midst of these, sometimes overwhelming crowds, be rest assured that we have taken care of your very comfort. Your special tents are erected close enough to the Ghats to make you feel one with the experience of the devotees, yet maintaining an adequate distance to assure your comfort. Over the next few days you will have numerous opportunities to attend yoga sessions, witness the evening arti, visit akharas to chat with the sadhus and observe the practices associated with the Hindu faith. (B,L,D)
Overnight Tented Camp
Day 6 - Allahabad
While breakfast, lunch and dinner have been specially arranged at the camps, the rest of the day is free to explore and mingle, become submerge in the sacred, forget the profane. Understand a culture very different from the one embraced by modernity, appreciate the philosophy underpinning this life world and the intermingling of the two, of the ancient and the modern, which forms the essence of an Indian life. (B,L,D)
Overnight Tented Camp
Day 7 - Allahabad to Lucknow
Following breakfast, drive to Lucknow. Upon arrival check-in at your hotel. Lucknow – the hallmark of cultural extravaganza, known all over the world for its many splendours. A city that has a magical charm, be it the cultural charm or the monumental one, both are well conserved here to make Lucknow ‘The city of many splendours’. Walking through the lanes and by-lanes of Chowk and Aminabad you will discover the soul of Lucknow. (B)
Overnight Lebua Lucknow or similar
Day 8 - Lucknow
Today you will embark on a city tour of Lucknow. Driving past ‘Chatar Manzil’ (outside view only), you reach the world’s most unique architecture, ‘Asifi Imambara’. This monument was built as a relief measure for a devastating famine, in order to provide employment to the subjects of the state by Nawab Asif-ud-Daula’. This is the world’s biggest hall that is devoid of any pillar support, wood, iron beams or concrete walls. Salute the ‘Nawab’ (Prince) lying in peace inside and proceed to see his noble work. Also, see the ‘Rumi Darwaza’ or the Turkish Gate and the Asfi Mosque.
Later you will reach the Hussainabad Complex – The Clock Tower is the highest Clock Tower in Asia and in some ways superior to its counterpart, ‘Big Ben’. Today the clock stands motionless but has witnessed all times, the good, the bad and the ugly. Now enter the Babylon of East, The Hussainabad Imambara – known for its beauty and pieces of décor. This was built in 1840 by Mohammad Ali Shah and is still considered to be a sacred address by the natives. The beautiful chandeliers, silver seat, sandalwood décor and calligraphy on the walls all are so creative. Admire each one and bow down to the Nawab and his Mother sleeping inside. Also, see the Satkhanda that stands as Lucknow’s incomplete leaning tower of Pisa.
Continuing on, you will visit Dhobi Ghat to see the colourful Chikan Embroidered clothes hanging after their wash, and you will get to see the washer-men at work and observe the hanging clothes that are sun-dried after having gone through the hands of women artisans.
Following lunch, drive past the Kaiserbagh Complex that once was Nawab Wajid-Ali Shah’s Palace complex and the most beautiful of the palaces built in the Awadh region you visit the Baradari and the Kaiserbagh Gates. Though the palace complex is heavily encroached and redone, and it may be hard to believe that it ever was so beautiful, yet you will try and work your creative imagination to understand and reconstruct the complex.
Whilst in Kaserbagh you will now reach Kotwara House, abode to the legendary film maker, fashion designer, painter, poet, rather a couple with many feathers in their cap of creativity, Muzaffar & Meera Ali. Their Lucknow house is in the area of the palace complex of Kaiserbagh and the very aura, interiors and artefacts that adorn their living space is no less than a living museum of sorts. You will have access to the living spaces of the house to understand how this creative couple live, work and eat. You enjoy a great afternoon seeing their collection and workshop of Chikan, Zari and Mukaesh with an opportunity to interact with artisans at work. Also, enjoy a short dance clip from Muzzafar’s landmark films including Umrao Jaan or maybe watch one of his unreleased masterpiece over a cup of hot tea at his home. If you are lucky you’ll get to meet Muzzafar and Meera Ali as well. (B)
Overnight Lebua Lucknow or similar
Day 9 - Lucknow
After breakfast, you’ll visit the architectural marvel of age, La Martiniere School which was designed by the Frenchman Major-General Claude Martin as a palatial home. Even to this day, Claude martin is a revered personality in the city of Lucknow. Later on you will visit Dilkusha Palace & Gardens – This palace was built by a European architect for the Nawab – Sadat Ali Khan. The Nawab only saw this building on its completion and the first words that came to his lips were “Dil Khush Hua” meaning “My Heart is Pleased”, thus it was aptly named “Dilkusha”. The palace and gardens were used as a country house and hunting lodge by the Nawab and his begums. Light game consisting of deer and bears were kept in the surrounding woods for the Begums to indulge in some hunting themselves. Part of the palace was also used as a Maternity Home for the wives of the Nawabs.
You will also visit the grave of Walter Burley Griffin, the American architect who designed Canberra, Australia’s capital city. Griffin spent the last 15 months of his life in India where he designed the zenana (the quarters for elite Muslim women) for the palace of Raja Jahangirabad.
Driving past Sikanderbagh, the palace complex that fell prey to the British troops and the Mutineers in the revolt of 1857 and what remains is a gate and a few walls as a testimony to the bloody events of that period, you will now reach the Lucknow Residency a place where speechless walls are known to speak the gruesome tale of the 1857 mutiny. The sprawling British campus witnessed nothing less than 3000 deaths to keep the Union Jack flying. Yet the British could not defend their domain and the buildings were lost to the high spirited and enthusiastic Indians who fought till their last breath. The trees, bullet sprinkled walls, unusable canons, worn out firearms all cry aloud with the burden of deaths that were witnessed here. You also visit the graveyard to pay your homage to named and unnamed soldiers who gave up their lives in the defence of The Residency.
Following lunch, continue with your city tour and visit Shahnajaf Imambara. This Imambara is said to be a replica of the tomb of Hazrat Ali at Najaf in Iraq. It houses the replica of the Silver Rauza of Nazaf. It was built by Nawab Ghazi-ud-din-Haider the first independent King of Avadh and houses his tomb along with his three wives. (B)
Overnight Lebua Lucknow or similar
Day 10 - Delhi Departure
This morning, enjoy a leisurely breakfast at the hotel. Later you’ll be transferred to airport for your flight to Delhi. Upon arrival in Delhi, we bid farewell to you, honoured to have initiated you into the timeless traditions of a land fabled for its spirituality. (B)
Thank you,
Team Discovery
Discovery Full Circle Tours
328, Plot No. 3, Vardhman Dwarkadeesh
Sector 10, Central Market, Dwarka
New Delhi - 110 075
India
Phone: + 91 11 45573299, 28083543,
24 hours help line: + 91 9811552453
Office Cell: + 91 9873442453, 9873692453, 8860709211,
Email: tours@discoveryfullcircle.com, indiafullcircletour@gmail.com,
Allahabad - Prayagraj
Naga Sadhu
A sadhu, also spelt saddhu, is a religious ascetic, mendicant (monk) or any holy person in Hinduism and Jainism who has renounced the worldly life. Naga = naked.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
Allahabad - Prayagraj
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river.
Prayagraj Ardh Kumbh Mela, 2019 is the Ardh Kumbh Mela to being held at Triveni Sangam in Allahabad, Uttar Pradesh, India from 15 January to 4 March 2019
According to Hindu mythology, Vishnu dropped drops of amrita (the drink of immortality) at four places, while transporting it in a kumbha (pot). These four places, including Allahabad, are identified as the present-day sites of the Kumbh Mela. The river-side fair at Allahabad is centuries old, but its association with the kumbha myth and a 12-year old cycle dates back to the 19th century. The priests of Allahabad borrowed these concepts from the Haridwar Kumbh Mela and applied it to their local Magh Mela, an annual celebration. The Magh Mela probably dates back to the early centuries CE, and has been mentioned in several Puranas.
Rising attendance and scale
Kumbh Mela at Prayagraj, c. 2001.
Maha Kumbh at Prayagraj is the largest in the world, the attendance and scale of preparation of which keeps rising with each successive celebration. For the 2019 Ardh Kumbh at Prayagraj, the preparations include a ₹42,000 million (US$580 million or €510 million) temporary city over 2,500 hectares with 122,000 temporary toilets and range of accommodation from simple dormitory tents to 5-star tents, 800 special trains by the Indian Railway, artificially intelligent video surveillance and analytics by IBM, disease surveillance, river transport management by Inland Waterways Authority of India, and an app to help the visitors.
In 1903, 400,000 pilgrims were recorded as attending the fair at Prayagraj.
On 14 April 1998, 10 million pilgrims attended the Kumb Mela at Haridwar on the busiest single day.
In 2001, 70 million pilgrims attended the 55 days long Kumbh Mela at Prayagraj, including more than 40 million on the busiest single day.
In 2007, 70 million pilgrims attended the 45-day long Ardha Kumbh Mela at Prayagraj.
In 2013, 120 million pilgrims attended the Kumbh Mela at Prayagraj.
#kumbhmela #kumbh #prayagraj #ardh #allahabad #2019
The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
LOCATION
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India
ARCHITECTURE
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
SCULPTURES
MAIN IDOL
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
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The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
The Lakshmana Temple is a Hindu temple built by Yashovarman located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
LOCATION
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India
ARCHITECTURE
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati), as seen in image. The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara).
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
SCULPTURES
MAIN IDOL
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
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The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.
The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.
LOCATION
Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.
HISTORY
The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.
NOMENCLATURE
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
DESCRIPTION
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.
All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.
Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
ARCHITECTURE OF THE TEMPLES
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.
Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.
CONSTRUCTION
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.
CHRONOLOGY
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
ARTS AND SCULPTURE
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.
TOURISM AND CULTURAL EVENTS
The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.
The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
Kumbh | 2019
Prayagraj Ardh Kumbh Mela, 2019 is the Ardh Kumbh Mela to being held at Triveni Sangam in Allahabad, Uttar Pradesh, India from 15 January to 4 March 2019 According to Hindu mythology, Vishnu dropped drops of amrita (the drink of immortality) at four places, while transporting it in a kumbha (pot). These four places, including Allahabad, are identified as the present-day sites of the Kumbh Mela. The river-side fair at Allahabad is centuries old, but its association with the kumbha myth and a 12-year old cycle dates back to the 19th century. The priests of Allahabad borrowed these concepts from the Haridwar Kumbh Mela and applied it to their local Magh Mela, an annual celebration. The Magh Mela probably dates back to the early centuries CE, and has been mentioned in several Puranas.
Allahabad - Prayagraj
Bath in Ganges
Starting on January 15, 2019, and lasting until March 4, 2019, the Hindu festival of Kumbh Mela will take place in Allahabad, India. Authorities are expecting approximately 100 million visitors to come for a holy dip at Sangam, the confluence of the Ganges, Yamuna, and mythical Saraswati Rivers.
Allahabad - Prayagraj, Uttar Pradesh
My second day in Prayagraj: walking in the morning, by boat in the evening.
Kumbh Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The festival site is located on the banks of the river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing in this river is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
The bathing ceremony, not everyone follows it.
Sunset at the confluence of Ganges, Yamuna and Sarasvati rivers. It is a holy place where people bathe during Kumbh Mela.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
The bathing ceremony, not all follow it.
Sunset at the confluence of Ganges, Yamuna and Sarasvati rivers. It is a holy place where people bathe during Kumbh Mela.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Prayagraj
Sunset at the confluence of Ganges, Yamuna and Sarasvati rivers. It is a holy place where people bathe during Kumbh Mela.
Kumbh Mela or Kumbha Mela is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. The main festival site is located on the banks of a river: the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad. Bathing is thought to cleanse a person of all their sins.
Allahabad - Ardh Kumbh Mela.
Bathing at Sangam (the confluence of the ganga, Jamuna and Saraswati Rivers).
The Lizard (Cornish: An Lysardh) is a peninsula in southern Cornwall, England, United Kingdom. The most southerly point of the British mainland is near Lizard Point at SW 701115; Lizard village, also known as The Lizard, is the most southerly on the British mainland, and is in the civil parish of Landewednack, the most southerly parish. The valleys of the River Helford and Loe Pool form the northern boundary, with the rest of the peninsula surrounded by sea. The area measures about 14 by 14 miles (23 km × 23 km). The Lizard is one of England's natural regions and has been designated as a National Character Area 157 by Natural England. The peninsula is known for its geology and for its rare plants and lies within the Cornwall Area of Outstanding Natural Beauty (AONB).
The Lizard's coast is particularly hazardous to shipping and the seaways round the peninsula were historically known as the "Graveyard of Ships" (see below). The Lizard Lighthouse was built at Lizard Point in 1752 and the RNLI operates The Lizard lifeboat station.
Etymology
The name "Lizard" is most probably a corruption of the Cornish name "Lys Ardh", meaning "high court"; it is purely coincidental that much of the peninsula is composed of serpentinite-bearing rock. The peninsula's original name may have been the Celtic Bridanoc, from Britannakon ("the "British one"), preserved in the name of the former village of Predannack, now site of Predannack Airfield.
History
There is evidence of early habitation with several burial mounds and stones. Part of the peninsula is known as the Meneage (land of the monks).
Helston, the nearest town to the Lizard peninsula, is said to have once headed the estuary of the River Cober, before it was cut off from the sea by Loe Bar in the 13th century. It is speculated that Helston was once a port, but no records exist. Geomorphologists believe the bar was most likely formed by rising sea levels, after the last ice age, blocking the river and creating a barrier beach. The beach is formed mostly of flint and the nearest source is found offshore under the drowned terraces of the former river that flowed between England and France, and now under the English Channel. The medieval port of Helston was at Gweek, possibly from around 1260 onwards, on the Helford river which exported tin and copper. Helston was believed to be in existence in the sixth century, around the River Cober (Dowr Kohar). The name comes from the Cornish "hen lis" or "old court" and "ton" added later to denote a Saxon manor; the Domesday Book refers to it as Henliston (which survives as the name of a road in the town). It was granted its charter by King John in 1201. It was here that tin ingots were weighed to determine the duty due to the Duke of Cornwall when a number of stannary towns were authorised by royal decree.
The royal manor of Winnianton, which was held by King William I at the time of the Domesday Book (1086), was also the head manor of the hundred of Kerrier and the largest estate in Cornwall. It was assessed as having fifteen hides before 1066. At the time of Domesday there was land for sixty ploughs, but in the lord's land there were two ploughs and in the lands held by villeins twenty-four ploughs. There were twenty-four villeins, forty-one freedmen, thirty-three smallholders and fourteen slaves. There was 6 acres (24,000 m2), eight square leagues of pasture and half a square league of woodland. The livestock was fourteen unbroken mares, three cattle and one hundred and twenty-eight sheep (in total 145 beasts); its value was £12 annually. 11 of the hides were held by the Count of Mortain and there is more arable and pasture and 13 more persons are recorded: Rinsey, Trelowarren, Mawgan-in-Meneage and seventeen other lands are also recorded under Winnianton.
Mullion has the 15th century church of St Mellanus, and the Old Inn from the 16th century. The harbour was completed in 1895 and financed by Lord Robartes of Lanhydrock as a recompense to the fishermen for several disastrous pilchard seasons.
The small church of St Peter in Coverack, built in 1885 for £500, has a serpentinite pulpit.
The Great Western Railway operated a road motor service to The Lizard from Helston railway station. Commencing on 17 August 1903, it was the first successful British railway-run bus service and was initially provided as a cheaper alternative to a proposed light railway.
The Solar eclipse of 11 August 1999 departed the UK mainland from the Lizard.
The transatlantic record run of the unaccompanied one hand sailor Thomas Coville within less than 5 days in his sailboat Sodebo Ultim from New York, USA, to Europe landed here on 15 July 2017.
Nautical
The Lizard has been the site of many maritime disasters. It forms a natural obstacle to entry and exit of Falmouth and its naturally deep estuary. At Lizard Point stands the Lizard Lighthouse. In fact, the light was erected by Sir John Killigrew by his own expense: It was built at the cost of "20 nobles a year" for 30 years, but it caused an uproar over the following years, as King James I considered charging vessels to pass. This caused so many problems that the lighthouse was demolished, but was successfully rebuilt in 1751 by order of Thomas Fonnereau and remains almost unchanged today. Further east lie The Manacles, near Porthoustock: 1+1⁄2 square miles (4 km2) of jagged rocks just beneath the waves.
In 1721 the Royal Anne Galley, an oared frigate, was wrecked at Lizard Point. Of a crew of 185 only three survived; lost was Lord Belhaven who was en route to take up the Governorship of Barbados.
A 44-gun frigate, HMS Anson, was wrecked at Loe Bar in 1807. Although it wrecked close to shore, many lost their lives in the storm. This inspired Henry Trengrouse to invent the rocket-fired line, later to become the Breeches buoy.
The transport ship Dispatch ran aground on the Manacles in 1809 on its return from the Peninsular War, losing 104 men from the 7th Hussars. The following day, with local villagers still attempting a rescue, the Cruizer-class brig-sloop HMS Primrose hit the northern end of these rocks. The only survivor of its 126 officers, men and boys was a drummer boy.
5 Sept 1856 the Cherubim and Ocean Home collided off Lizard Point
The SS Mohegan, a 6,889 GRT passenger liner, also hit the Manacles in 1898 with the loss of 106 lives.
The American passenger liner Paris was stranded on the Manacles in 1899, with no loss of life.
The biggest rescue in the RNLI's history was 17 March 1907 when the 12,000-tonne liner SS Suevic hit the Maenheere Reef near Lizard Point in Cornwall. In a strong gale and dense fog RNLI lifeboat volunteers rescued 456 passengers, including 70 babies. Crews from the Lizard, Cadgwith, Coverack and Porthleven rowed out repeatedly for 16 hours to rescue all of the people on board. Six silver RNLI medals were later awarded, two to Suevic crew members.
The Battle at the Lizard, a naval battle, took place off The Lizard on 21 October 1707.
Smuggling was a regular, and often necessary, way of life in these parts, despite the efforts of coastguards or "Preventive men". In 1801, the king's pardon was offered to any smuggler giving information on the Mullion musket men involved in a gunfight with the crew of HM Gun Vessel Hecate.
Avionic
In the First World War a Naval Air Station was established at Bonython, flying mainly blimps used for spotting U-boats. One was sunk and several probably damaged by bombs dropped by the blimps. The airfield site is now occupied by the wind farm.
RAF Predannack Down (see Predannack Airfield) was a Second World War airbase, from which Coastal Command squadrons flew anti-submarine sorties into the Bay of Biscay as well as convoy support in the western English Channel. The runways still exist and the site is used by a local Air Cadet Volunteergliding Squadron 626VGS and as an emergency/relief base for RNAS Culdrose (HMS Seahawk).
RNAS Culdrose is Europe's largest helicopter base, and currently hosts the Training and Operational Conversion Unit operating the EH101 "Merlin" helicopter. It is also the home base for Merlin Squadrons embarked upon Royal Navy warships, the Westland Sea King airborne early warning (AEW) variant helicopter, a Search And Rescue (Sea King, again) helicopter flight, and some BAe Hawk T.1 trainer jets used for training purposes by the Royal Navy. The base also operates some other types of fixed wing aircraft for calibration and other training purposes. As befits the base's name, a non-flying example of a Hawker Sea Hawk forms the main gate guardian static display. RNAS Culdrose is a major contributor to the economy of The Lizard area.
Political
The Lizard peninsula is in the St Ives parliamentary constituency (which comprises the whole of the former district of Penwith and the southern part of the former district of Kerrier). However, the parishes northeast of the Helford River are in Camborne and Redruth parliamentary constituency
To the north, The Lizard peninsula is bordered by the civil parishes of Breage, Porthleven, Sithney, Helston, Wendron, Gweek and – across the Helford River – by Constantine, Kerrier and Mawnan.
The parishes on the peninsula proper are (west to east):
Northern parishes:
Gunwalloe
Cury
Mawgan-in-Meneage
St Martin-in-Meneage
Manaccan
St Anthony-in-Meneage
Southern parishes:
Mullion
Grade-Ruan
St Keverne
Landewednack
The Lizard's political history includes the 1497 Cornish rebellion which began in St Keverne. The village blacksmith Michael Joseph (Michael An Gof in Cornish, meaning blacksmith) led the uprising, protesting against the punitive taxes levied by Henry VII to pay for the war against the Scots. The uprising was routed on its march to London and the two leaders, Michael Joseph and Thomas Flamank, were subsequently hanged, drawn and quartered.
Technological
Titanium was discovered here by the Reverend William Gregor in 1791.
In 1869, John Pender formed the Falmouth Gibraltar and Malta Telegraph company, intending to connect India to England with an undersea cable. Although intended to land at Falmouth, the final landing point was Porthcurno near Land's End.
In 1900 Guglielmo Marconi stayed the Housel Bay Hotel in his quest to locate a coastal radio station to receive signals from ships equipped with his apparatus. He leased a plot "in the wheat field adjoining the hotel" where the Lizard Wireless Telegraph Station still stands today. Recently restored by the National Trust, it looks as it did in January 1901, when Marconi received the distance record signals of 186 miles (299 km) from his transmitter station at Niton, Isle of Wight. The Lizard Wireless Station is the oldest Marconi station to survive in its original state, and is located to the west of the Lloyds Signal Station in what appears to be a wooden hut. On 12 December 1901 Poldhu Point was the site of the first trans Atlantic, wireless signal radio communication when Marconi sent a signal to St John's, Newfoundland. The technology is one of the key advances to the development of radio, television, satellites and the internet.
A radar station called RAF Dry Tree was built during World War II. The site was later chosen for the Telstar project in 1962; its rocky foundations, clear atmosphere and extreme southerly location being uniquely suitable. This became the Goonhilly satellite earth station, now owned by Goonhilly Earth Station Ltd. Some important developments in television satellite transmission were made at Goonhilly station. A wind farm exists near to the Goonhilly station site.
Geology
Known as the Lizard Complex, the peninsula's geology is the best preserved example of an exposed ophiolite in the United Kingdom.
An ophiolite is a suite of geological formations which represent a slice through a section of ocean crust (including the upper level of the mantle) thrust onto the continental crust.
The Lizard formations comprise three main units; the serpentinites, the "oceanic complex" and the metamorphic basement. The serpentinite contains significant samples of the serpentine polymorph lizardite, which were named after the Lizard complex in 1955.
Ecology
Several nature sites exist on the Lizard Peninsula; Predannack nature reserve, Mullion Island, Goonhilly Downs, and the Cornish Seal Sanctuary at Gweek. An area of the Lizard covering 16.62 square kilometres (6.42 sq mi) is designated a national nature reserve because of its coastal grasslands and heaths and inland heaths. The peninsula contains 3 main Sites of Special Scientific Interest (SSSI), both noted for their endangered insects and plants, as well as their geology. The first is East Lizard Heathlands SSSI, the second is Caerthillian to Kennack SSSI and the third is West Lizard SSSI, of which the important wetland, Hayle Kimbro Pool, forms a part of.
The area is also home to one of England's rarest breeding birds — the Cornish chough. This species of corvid is distinctive due to its red beak and legs and haunting "chee-aw" call. Choughs were extinct in Cornwall but returned naturally in 2001 and began breeding on Lizard in 2002 following a concerted effort by the National Trust, English Nature and the RSPB.
The Lizard contains some of the most specialised flora of any area in Britain, including many Red Data Book plant species. Of particular note is the Cornish heath, Erica vagans, that occurs in abundance here, but which is found nowhere else in Britain. There are more than 600 species of flowering plants on the Lizard, nearly a quarter of all UK species. The reason for this richness is partly because of the many different and unusual Lizard rocks on the Lizard Peninsula. But above all, it is a coming together of multiple factors: a very mild maritime climate, but one prone to gales and salt winds; waterlogged and boggy soils, but ones that often parch and dry out in the summer; soils of greatly contrasting fertility and pH; and lastly man's influence. Any single factor taken on its own would influence the flora; taken together, they combine, overlap and interact. Contrasting plant communities grow side-by-side in a mosaic that changes within a few metres but also changes markedly over time with the cycle of heath fires. It's not so much that conditions are ideal for growth, but that there is such a variety of different, difficult conditions. Each habitat, with its own combination of factors, attracts its own specialist plants. It is also one of the few places where the rare formicine ant, Formica exsecta, (the narrow-headed ant), can be found.
Portrayal in literature, film and music
Daphne du Maurier based many novels on this part of Cornwall, including Frenchman's Creek.
The Lizard was featured on the BBC television programme Seven Natural Wonders as one of the wonders of the South West, and on the BBC series Coast.
In James Clavell's novel Shōgun, ship's pilot Vasco Rodrigues challenges John Blackthorne to recite the latitude of the Lizard to verify that Blackthorne is the Pilot of the Dutch vessel Erasmus.
The Jennifer McQuiston 2015 novel The Spinster's Guide to Scandalous Behavior is set primarily in the fictional village Lizard Bay on the Lizard in the mid-nineteenth century.
In the television adaptation of "Horatio Hornblower", an order is given to "Weather the Lizard" in the episode Hornblower:Mutiny.
"Lizard Point" is also a track on the 1982 album Ambient 4: On Land released by Brian Eno.
The book series "Fenton House" by Ben Cheetham is set on the Lizard Peninsula.
The 1914 station was an improvement to previous facilities but the station was still extremely exposed and in certain conditions launching lifeboats was a hazardous exercise. The result of these difficulties were costly repairs to the lifeboats from time to time. The exposed position of the station also required a great deal of expense to maintain its general upkeep. It was also becoming clear that a larger lifeboat would be required for this vitally important area for shipping. Taking all these factors in to consideration, it was decided in 1958 to provide a new larger station and at a location that would be easy to operate from. The RNLI decided that the new station would be built at Kilcobben Cove which lies 1¼ miles east of The Lizard lighthouse. Construction of the new station was a work of major civil engineering and was completed by 1961 at a cost of £90,000. The new station was opened on 7 July 1961 by HRH The Duke of Edinburgh. His Royal Highness also named the new Barnett class lifeboat The Duke of Cornwall ON952. The lifeboat station was called The Lizard Cadgwith Lifeboat Station. This name was officially changed in 1987 to its present The Lizard Lifeboat Station. In 1988 a new Tyne Class lifeboat called David Robinson ON 1145 was placed on the station which required adaptation work to be carried out on the station and the slipway.
The Lizard (Cornish: An Lysardh) is a peninsula in south Cornwall, England, United Kingdom. The most southerly point of the British mainland is near Lizard Point.
Lizard village, the most southerly village on the British mainland, is in Landewednack, the most southerly civil parish.
The peninsula measures approximately 14 miles (23 km) x 14 miles (23 km). It is situated southwest of Falmouth ten miles (16 km) east of Penzance.
The name "Lizard" is most probably a corruption of the Cornish name "Lys Ardh", meaning "high court"; it is purely coincidental that much of the peninsula is composed of a rock called serpentinite. The Lizard peninsula's original name may have been the Celtic name "Predannack" ("British one"); during the Iron Age (Pytheas c. 325 BC) and Roman period, Britain was known as Pretannike (in Greek) and as Albion (and Britons the "Pretani").
The Lizard's coast is particularly hazardous to shipping and the seaways round the peninsula were historically known as the "Graveyard of Ships". The Lizard Lighthouse was built at Lizard Point in 1752 and the RNLI operates The Lizard lifeboat station.
The Lizard lies within the Cornwall Area of Outstanding Natural Beauty (AONB). Almost a third of Cornwall has AONB designation, with the same status and protection as a National Park.
Kumbh | 2019
Prayagraj Ardh Kumbh Mela, 2019 is the Ardh Kumbh Mela to being held at Triveni Sangam in Allahabad, Uttar Pradesh, India from 15 January to 4 March 2019 According to Hindu mythology, Vishnu dropped drops of amrita (the drink of immortality) at four places, while transporting it in a kumbha (pot). These four places, including Allahabad, are identified as the present-day sites of the Kumbh Mela. The river-side fair at Allahabad is centuries old, but its association with the kumbha myth and a 12-year old cycle dates back to the 19th century. The priests of Allahabad borrowed these concepts from the Haridwar Kumbh Mela and applied it to their local Magh Mela, an annual celebration. The Magh Mela probably dates back to the early centuries CE, and has been mentioned in several Puranas.
Allahabad - Ardh Kumbh Mela.
Bathing at Sangam (the confluence of the ganga, Jamuna and Saraswati Rivers).
Allahabad - Prayagraj, Uttar Pradesh, India
Bath ceremony
The Kumbh Mela (the festival of the sacred pitcher) is anchored in Hindu mythology. It is the largest public gathering and collective act of faith, anywhere in the world. The Mela draws tens of millions of pilgrims over the course of approximately 48 days to bathe at the sacred confluence of the Ganga, the Yamuna, and the mystical Sarasvati. Primarily, this congregation includes Ascetics, Saints, Sadhus, Sadhvis, Kalpvasis, and Pilgrims from all walks of life.
Inscribed in 2017 on the Representative List of the Intangible Cultural Heritage of Humanity, UNESCO.