View allAll Photos Tagged chamunda
The outstretched tongue of Kali distinguishes her from all other gods and goddesses of the Hindu pantheon. There are many goddesses who, like Kali, are naked and associated with blood and death, including Chandi, Chamunda, Bhairavi and Bhagavati, but none stick out their tongue like Kali.
The fierce and intense form of Maa Kali, with her tongue out, signifies her readiness to protect and destroy any forces that threaten the divine order and the balance of the universe.
Some things that anger Goddess Kali are: 1 Cheating other people for your selfish material needs. 2 Developing false pride and having it. Ahankaar.
A fascinating sight at Mehrangarh Fort is the daily feeding of kites that is performed in the evening on the ramparts of the fort. The legend goes that the kites are considered incarnations of the Rathores' (the royals') patron deity Chamunda. It is believed that as long as kites circle the skies above the fort, the rulers of Jodhpur have the blessings of Devi Chamunda.
The kites are fed by Abdul Lateef, a Jodhpur resident whose family has been responsible for feeding these sacred birds for many centuries.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
IN FLICKR EXPLORE ON 27-11-2013, # 12.
www.flickr.com/photos/59670248@N05/11089750326/in/explore...
I HAVE REPOSTED THIS PHOTO FOR THOSE WHO HAVE NOT SEEN THIS EARLIER. THIS IS ONE OF MY MOST FAVOURITE PHOTO ON THE SERIES OF SACRED / HOLY FLAMES.
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Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
Chamunda temple dans l'état indien du Rajasthan à Jaisalmer.
Śikhara traduisant littéralement par "pic de montagne", fait référence à la tour montante de l' architecture des temples hindous du nord de l'Inde, et également souvent utilisé dans les temples jaïns.
D'après diapositive.
Chamunda the Destroyer of Evil by Daniel Arrhakis (2021)
With the Music / Mantra : Om Aim Hrim Klim Devi Mantra 108 Times
Devi Bhajan: Om Aim Hrim Klim Chamundaye Vichche
SINGER: Anuradha Paudwal
Chamunda also known as Chamundeshwari, Chamundi or Charchika is a fearsome form of Chandi, the Hindu Divine Mother Parvati and is one of the seven Matrikas (mother goddesses). She is identified with goddesses Parvati, Kali or Durga.
The name is a combination of Chanda and Munda, two monsters whom Chamunda killed. Chamunda embodies bareness and decay.
Chamunda was originally a tribal goddess, worshipped by the tribals of the Vindhya mountains in central India. These tribes were known to offer goddesses animal as well as human sacrifices along with rituals offering liquor.
Like images of Shiva in his dark form of Bhairava, such macabre images of the Goddess are common occupants of the exterior walls of temples. They appear both on shrines dedicated to Shiva and those to the Goddess herself.
The goddess is often portrayed as residing in cremation grounds or around holy fig trees. The goddess is worshiped by ritual animal sacrifices along with offerings of wine. The practice of animal sacrifices has become less common with Shaivite and Vaishnavite influences.
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A Creative mystic Hindu composition recreating Chamunda using sculptures images, stock images and images of mine, all modified for this work.
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A Wonderful Week dear friends ! : )
I will be off for some time but i will return next Thursday 9 of September !
Thank you for your always kind visit, comments and invitations, please stay safe and well ! : )
Mysore Palace also known as Amba Vilas Palace located at the heart of Mysore city is the most prominent tourist destination of Mysore that attracts millions of visitors round the year. This historical palace housed within the Old Fort facing the Chamunda Hills stands as the official residence of the Wadiyar dynasty who ruled the Kingdom of Mysore from 1399 to 1950
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
Bhadrakālī (literally "Good Kaali") is a Hindu goddess popular in Southern India. She is one of the fierce forms of the Great Goddess Adi Parashakthi or Durga (Devi) mentioned in the Devi Mahatmyam. Bhadrakali is the popular form of Devi Mahamaya worshipped in Kerala as Sri Bhadrakali, Mahakali, Chamunda and Kariam Kali Murti. In Kerala she is seen as the auspicious and fortunate form of Maha Kali who protects the good.
This goddess is represented with three eyes, and four, twelve, or eighteen hands. She carries a number of weapons, with flames flowing from her head, and a small tusk protruding from her mouth. Her worship is also associated with the Tantric tradition of the Matrikas as well as the tradition of the ten Mahavidyas and falls under the broader umbrella of Shaktism. Kodungalloor, Aattukal, Chettikulangara, Thirumandhamkunnu and Chottanikkara are famous Bhadrakali temples in Kerala.
In Sanskrit, Bhadra means good. A major religious interpretation of this name is that Bhadra comes from 'Bha' and 'dra', The letter 'Bha' means 'delusion' or 'Maya' in Devanagiri and 'dra' is used as a superlative i.e. meaning 'the most/the greatest etc.' which makes the meaning of Bhadra as Maha Maya. The Sanskrit word 'Bhadra Kaali' therefore can be translated to Hindi as 'Mahamaya Kaali'.
Индия, Калькутта, India, Calcutta, Храм Кали в Дакшинешваре (Dakshineswar Kali Temple, দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर), Kali Temple in Dakshineswar Kali Temple (দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर)
Home of Chamunda Copypoint, Patel Kathiawadi Eating House, Gaffar’s Chai Lari and My & 11 Other People’s Dog Nut.
Индия, Калькутта, India, Calcutta, цапля на берегу притока реки Ганга, the heron on the banks of the Ganges River tributary
Chamunda Devi temple by Irene Becker © All rights reserved
Sun setting over the Chamunda Devi temple, Mehrangarh Fort. Jodhpur, Rajasthan, India
Rajasthan : Day 4
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From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":
"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,
This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).
— Stella Kramrisch, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
Индия, Калькутта, India, Calcutta, Храм Кали в Дакшинешваре (Dakshineswar Kali Temple, দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर), Kali Temple in Dakshineswar Kali Temple (দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर)
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
______________________________________________________________________ _______________
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Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
The outstretched tongue of Kali distinguishes her from all other gods and goddesses of the Hindu pantheon. There are many goddesses who, like Kali, are naked and associated with blood and death, including Chandi, Chamunda, Bhairavi and Bhagavati, but none stick out their tongue like Kali.
Night shot - Navaratri Hindu Festival 2018, centered around Sri Maha Mariamman Temple, Silom Rd, Bangkok.
The word Navaratri literally means "nine nights" in Sanskrit. During these nine nights and ten days, nine forms of Shakti/Devi are worshiped.
4K Video Frame Grab from Canon EOS M50.
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Paharpur Boddo Bihar is the most ancient educational institution was under ground which was rebuild by the government of BANGLADESH . plz visit at Naogoan district of BANGLADESH >
A number of monasteries grew up during the Pāla period in ancient Bengal and Magadha. According to Tibetan sources, five great Mahaviharas stood out: Vikramashila, the premier university of the era; Nalanda, past its prime but still illustrious; Somapura Mahavihara; Odantapurā; and Jaggadala.. The monasteries formed a network; "all of them were under state supervision" and there existed "a system of co-ordination among them ... it seems from the evidence that the different seats of Buddhist learning that functioned in eastern India under the Pāla were regarded together as forming a network, an interlinked group of institutions," and it was common for great scholars to move easily from position to position among them.
The excavation at Paharpur, and the finding of seals bearing the inscription Shri-Somapure-Shri-Dharmapaladeva-Mahavihariyarya-bhiksu-sangghasya, has identified the Somapura Mahavihara as built by the second Pala king Dharmapala (circa 781–821) of Pāla Dynasty. Tibetan sources, including Tibetan translations of Dharmakayavidhi and Madhyamaka Ratnapradipa, Taranatha's history and Pag-Sam-Jon-Zang, mention that Dharmapala's successor Devapala (circa 810–850) built it after his conquest of Varendra.[4] The Paharpur pillar inscription bears the mention of 5th regnal year of Devapala's successor Mahendrapala (circa 850–854) along with the name of Bhiksu Ajayagarbha.[4] Taranatha's Pag Sam Jon Zang records that the monastery was repaired during the reign of Mahipala (circa 995–1043 AD).
The Nalanda inscription of Vipulashrimitra records that the monastery was destroyed by fire, which also killed Vipulashrimitra's ancestor Karunashrimitra, during a conquest by the Vanga army in the 11th century.
Over time Atish's spiritual preceptor, Ratnakara Shanti, served as a sthavira of the vihara, Mahapanditacharya Bodhibhadra served as a resident monk, and other scholars spent part of their lives at the monastery, including Kalamahapada, Viryendra and Karunashrimitra.[4] Many Tibetan monks visited the Somapura between the 9th and 12th centuries.
During the rule of the Sena dynasty, known as Karnatadeshatagata Brahmaksatriya, in the second half of the 12th century the vihara started to decline for the last time. One scholar writes, "The ruins of the temple and monasteries at Pāhāpur do not bear any evident marks of large-scale destruction. The downfall of the establishment, by desertion or destruction, must have been sometime in the midst of the widespread unrest and displacement of population consequent on the Muslim invasion.
The quadrangular structure consists of 177 cells and a traditional Buddhist stupa in the center. The rooms were used by the monks for accommodation and meditation. In addition to the large number of stupas and shrines of various sizes and shapes, terracotta plaques, stone sculptures, inscriptions, coins, ceramics etc. have been discovered.
The site houses the architectural remains of a vast Buddhist monastery, Somapura Mahavihara, covering 27 acres (110,000 m2). It was an important intellectual centre for Dharmic Traditions such as Buddhists (Buddha Dharma), Jains (Jaina Dharma) and Hindus (Sanatana Dharma) alike.[6] The 21 acre (85,000 m²) complex has 177 cells, viharas, numerous stupas, temples and a number of other ancillary buildings.[7] The outside walls with ornamental terracotta palques still display the influence of these three religions.
In acreage, Somapura was the largest of the mahaviharas.[8] Its architecture was unusual. As one scholar described, the complex was dominated by a temple, which was not typical, and further, the temple had "none of the characteristic features of Indian temple architecture, but is strongly reminiscent of Buddhist temples of Burma, Java and Cambodia, reproducing the cruciform basement, terraced structure with inset chambers and gradually dwindling pyramid form ... during the age of the Palas some sort of intercourse between eastern India and south-east Asia existed ... but how this temple type, represented in India by this solitary example, became the standard of Buddhist temple architecture is not known."[9] Another commented, "there can be no doubt that this style of architecture has most profoundly influenced that of Burma, Java and Cambodia. The nearest approximation to the plan and the superstructure of the Paharpur temple is afforded by the temples known as Chandi Loro Jongrang and Chandi Sevu of Prambanam in Central Java.
The statues are reserved in the adjacent museum for display. Some nameable statues are:
'Chamunda' Statue of Clay Stone.
Standing 'Seetala' Statue of Red Stone.
Broken Parts of 'Visnu' Statue of Krishna Stone.
'Keerti' Statue of Clay Stone.
Damaged 'Haargouri' Statue.
Broken Statue of Laxmi Narayan of Krishna Stone.
'Uma' Statue of krishna Stone.
'Gouri' Statue of Clay Stone.
'Visnu' Statue of Clay Stone.
Nandi Statue.
'Visnu' Statue of Krishna Stone.
Sun Statue.
'Mansha' Statue of Clay Stone.
Shuvo Bijaya (i.e. Happy Dassera) to you all.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
At Chamunda Devi, one of the nine holy shrines of Hinduism where as the legend goes; the body parts of Parvati Ji fell from the heavens as Lord Shiv saved her from burning to death.
Okay, for all those people from project365; I accept my defeat. I simply don't have the time to click 1/day.
Amen.
Shuvo Deepavali (i.e. Happy Deewali) to you all.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
IN FLICKR EXPLORE ON 4-11-2013.
www.flickr.com/photos/59670248@N05/10676403296/in/explore...
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
Duga Puja of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
Revisited.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
The four-day Durga Puja (Worship of Durga) is the biggest annual festival in West Bengal and other parts of Eastern India.
In West Bengal, India, Durga is revered as the supreme goddess, a divine manifestation of Shakti, which itself is the embodiment of the spiritual dimension of the creative, feminine energy.
According to the Devi Mahatmya (a Hindu scripture in Sanskrit containing seven hundred verses, arranged into thirteen chapters, and only a part of the larger Markandeya Purana), the form of Durga was created as a warrior goddess to fight the demon Mahisasura. Through prayer and meditation, tthe demon Mahisasura earned a boon from Brahma that no man or god would be able to defeat him in battle. With this power on his side, Mahisasura invaded the abode of the gods, who went to the supreme trinity (Brahma, Vishnu and Rudra) for help. But, Mahisasura defeated all of the gods, including the trinity themselves. He unleashed a reign of terror on earth, heaven and the nether world.
Eventually, since only a woman could kill him, the trinity bestowed a dazzling beam of energy upon Uma (also known as Parvati), the wife of Shiva, transforming her into the goddess Durga. Her form was blindingly beautiful with three lotus-like, blood-bordered eyes, ten powerful hands, hair in the form of black pearls, and a golden glow from her skin. Her face was sculpted by Shiva, torso by Indra, breasts by Chandra (the moon), teeth by Brahma, bottom by the Earth, thighs and knees by Varuna (wind), and her three eyes by Agni (fire). Each god also gave her their own most powerful weapons, Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandal, Kuber's mace/club, and so forth. The Himalayas gave her a fierce, white lion. At the end of the eighth and the beginning of the ninth day of waxing moon, Chanda and Munda came to fight the goddess. She turned blue with anger and goddess Chamunda leaped out of her third eye. This form of her was the most powerful, with the three red eyes, blood-filled tongue and darkened skin. It was in this form that she annihilated the twin demons with her sword. The Chamunda form of the divine goddess is worshipped during the sandhikshan (a special hour) of the four-day Durga Puja festival. Finally, on the tenth day of waxing moon, goddess Durga killed Mahisasura with her trident.
The word Shakti, literally meaning strength, reflects the warrior form of the goddess, enveloping a traditional male role. But, she is also an embodiment of Karunamayi (Mother Kindness), who saved the Universe from destruction at the hands of the monster.
(From many sources; primarily, Wikipedia.)
The close-up image shown above is a photo I took at the 2006 Durga Puja Festival, organized by the Bengali Association Dallas-Fort Worth, in Irving, Texas.
Some of you may care to see the 'Durga, the warrior goddess!' on Black.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
I HAVE REVISITED & REPOSTED THIS PHOTO FOR THOSE WHO HAVE NOT SEEN THIS EARLIER. THIS PHOTO IS ANOTHER MOST FAVOURITE PHOTO OF MINE ON THE SERIES OF SACRED / HOLY FLAMES.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
In quest of the Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
IN FLICKR EXPLORE ON 17-11-2013.
www.flickr.com/photos/59670248@N05/10911246503/in/explore...
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
Индия, Калькутта, India, Calcutta, Храм Кали в Дакшинешваре (Dakshineswar Kali Temple, দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर), Kali Temple in Dakshineswar Kali Temple (দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर)
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
IN FLICKR EXPLORE ON 11-02-2014.
www.flickr.com/photos/59670248@N05/12464114165/in/explore...
I HAVE REPOSTED THIS PHOTO FOR THOSE WHO HAVE NOT SEEN THIS EARLIER. THIS IS ANOTHER ONE OF MY MOST FAVOURITE PHOTO ON THE SERIES OF SACRED / HOLY FLAMES.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
Индия, Калькутта, India, Calcutta, Храм Кали в Дакшинешваре (Dakshineswar Kali Temple, দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर), Kali Temple in Dakshineswar Kali Temple (দক্ষিনেশ্বর কালী মন্দির, दक्षिणेश्वर काली मन्दिर)
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai, India.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
India, Индия, Rajasthan, Раджастан, Mount Abu - the birthplace of many temples of the Jains' «Dilvara” (translated from Hindi -" The Comforter of hearts ") - a complex of temples, carved of white marble, which were built between the eleventh and thirteenth centuries AD. Маунт Абу - родина множества храмов джайнов: «Дильвара» (в переводе с хинди — «Утешитель сердец») — комплекс храмов, вырезанных из белого мрамора, которые были построены между ХI и ХIII веками нашей эры
Shuvo Bijaya (i.e. Happy Dassera) to you all.
Duga Puja - 2013 of our Association - South Madras Cultural association - Chennai.
In quest for the feel of Sacred Flames of the Sandhi Puja – The belief is, this will eradicate all the evils.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
Maa through the Lamps - Sacred Flames of Sandhi Puja - South Madras Cultural Association - Durga Puja 2013.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Sandhi Puja -
An integral and important part of Durga Puja, Sandhi Puja is performed at the juncture of the 8th and 9th lunar day. Sandhi puja lasts from the last 24 minutes of Ashtami till the first 24 minutes of Nabami. During this juncture (the "Sandhikhan"), Durga is worshipped in her Chamunda form. Devi Durga killed, Chando and Mundo, the two asuras at "Sandhikhan" and thus acquired the name of "Chamunda".
Myth behind Durga being worshipped as Chamunda -
While the Goddess and Mahishasura were engaged in a fierce battle, the two generals of Mahisha, Chando and Mundo attacked the Devi from the the rear. Durga appeared to them, a brilliantly glowing woman with her hair knotted on her head, a crescent moon above her forehead, a 'tilak' on her forehead and a garland around her neck. With golden earrings and clad in a yellow saari she emitted a golden glow. Her ten hands possessed ten different weapons. Though she appeared beautiful her face turned blue with anger when she faced Chondo and Mundo. From her third eye then emerged a Devi with a large falchion and a shield. She had a large face, bloody tongue and sunken blood shot eyes. She was Chamunda. With a bloodcurdling shriek she leapt forward and killed them. This moment was the juncture of the 8th and 9th lunar day.
Age old yardsticks for measuring the "Sandhikhan" -
Long back devotees in order to perform the Sandhi Puja at the exact juncture used a number of methods. With the last 24 mins. of the Ashtami puja still left, a bronze bowl with a tiny hole was placed in a bucket full of water. The bowl with the tiny hole was made in such a way that it took exactly 24 minutes for the bowl to submerge in the water. The moment the bowl submerged in the water cannon balls were
fired announcing this moment of Sandhi Puja. This yardstick for measuring the "Sandhikhan" was very popular ages ago in many "Rajbaris". Many "Rajbaris", including, the zamindar of Sutanuti of Sobhabajar Rajbari fired cannon balls to announce the "Sandhikhan". People around Sobhabajar waited for this indication to proceed with their puja. King of Krishnanagar, Raja Krishna Chandra, was given the
cannon of Plassey as a gift from Robert Clive. In Shikharbhum Rajbari a platter with vermillion (sindur) used to be kept in front of the Devi. It is said the foot prints of the Devi could be seen in the platter. This moment indicated the commencement of Sandhi Puja. Sabarno Raychoudhury of Barisha worshipped the Chamunda Devi by burning 'Layta' and 'Pholui' (types of fishes) fishes.
Things needed to perform Sandhi Puja -
Sandhi Puja requires 108 lotus flowers, a single fruit, dry rice grain for "noibiddo", 108 earthen lamps, clothes, jewelry, hibiscus garlands and wood apple (bel) leaves. The almost non existent rituals which underwent changes with the changes in the society can still be seen in some of the 200-250 year old Pujas.
India, Индия, Rajasthan, Раджастан, a statue of the Goddess Tripurasundari in Jaipur, статуя Богини Трипурасундари в Джайпуре
(best viewed in Large)
Rangda is the demon queen of the leyaks in Bali, according to traditional Balinese mythology. Terrifying to behold, the child-eating Rangda leads an army of evil witches against the leader of the forces of good - Barong.
Rangda is important in Balinese culture, and performances depicting her struggles with Barong or with Airlangga in that tale are popular tourist attractions as well as tradition. She is depicted as a mostly nude old woman, with long and unkempt hair, pendulous breasts, and claws. Her face is traditionally a horrifying fanged and goggle-eyed mask, with a long, protruding tongue.
Bali is a Hindu island, and it is suggested that Rangda may also be closely associated with Durga. She has also been identified with the Hindu mother warrior goddess, and Kali, the black mother goddess of destruction, transformation and protection in Hinduism.
While Rangda is seen as fearsome and by many as the personification of evil, she is also nevertheless considered a protective force in certain parts of Bali, much like Kali is seen as a benevolent mother goddess in the Indian states of West Bengal, Assam and Kerala. The colors associated with her — white, black and red — are identical with those associated with Kali. Her iconography is similar to that of both Kali and Chamunda, who are closely related.
Other interpretations claim that Rangda may be derived from the 11th century Javan queen Mahendradatta who was exiled by the king, Dharmodayana, for allegedly practising witchcraft. The tale surrounding this is that she proceeded to take her revenge by killing off half the kingdom, which by then belonged to her and Dharmodayana's son Erlangga, with plague before being overcome by a holy man. The name Rangda means "widow".
(Wikipedia)
Inside Gangolihat Kalika Mata Temple - Pithoragarh District, Uttarakhand, India.
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Gangolihat is a small Himalayan hill town in the Pithoragarh district of Uttarakhand, India. It is tehsil and sub divisional headquarters of the district. Gangolihat is famous for its Shakti Peethas of Hat Kalika of goddess Kali. Nearby at 'Patal Bhubneshwar', underground caves are major tourist attraction. Also nearby are the tiny hill stations of Chaukori and Berinag.From Gangolihat Panchchuli peaks and Nanda Devi are clearly visible.
Gangolihat is located at
29.48°N 80.05°E. It has an average elevation of 1,760 metres (5,773 feet). It is 78 km from Pithoragarh. The main town is at a hill top. The region is surrounded by two rivers Saryu and Ramganga. Which meet at Ghat at the foothill of the region. These two rivers make it like a Garland on the shoulders of mighty Himalaya. These two rivers gave the name to the region Gang (River in local dialect) + Awali (Garland) making Gangawali. Which became Gangoli later on. and Hat were the main markets/ gathering place for local people in past. Which made the name of Gangolihat.
Gangolihat is native of Pant Brahmins mainly. Along with Pant's, Joshi's, Upreti's, Pathak's, Mahar's, Negi's, Bisht, Rawal's, Verma's, Shah and Aryas are other major surnames found.
Gangolihaat is famous for its ancient temples and underground caves. 'Haat Kalika', 'Ambika Dewaal', 'Chamunda Mandir', 'Vaishnavi Mandir' are some of the famous temples here. 'Vaishnavi Mandir' is a special one because from here one can clearly view the Himalayas. This temple is situated on a mountain that is called 'Shail Parvat', which is notable in Hindu holy books.
There are many beautiful underground caves in Gangolihaat. 'Patal Bhuvneshwar', 'Shailashwer Gufa' and 'Mukteshwar Gufa' are most notable ones. A new underground cave has been also found recently and that is called 'Bholeshwar Gufa'.
'Haat Kalika Mandir' was chosen by Adi Guru Sankaracharya for installation of Mahakali Shaktipeeth. It is believed that the Original Goddes Kalika Mata, which supposed to be in West Bangal, shifted her place form Bangal to Gangolihat. This Temple is very famous all over the India, specially among Indian Armed Forces. Posthumous Param Veer Chakra award winner Capt. Bikram Batra was a great devotee of Goddess. The goddess Mahakali is the designated goddess of brave Kumaun Regiment which proved its unmatched bravery and patriotism during all major wars fought by India. Kumaun regiment has created an Army Rest House near the Temple for Army Personnel, who come Gangloihat to get the blessing of Goddess.
There are historical monuments made during 8-11th century near the famous temple. Which is a site preserved by Archaeological Survey of India (ASI). It depicts the nervelessness of the artistic creation at that time.
The highest peak in the range, Lankeshwar is a great picnic place. The view of greenery rich valleys of Kumaun Himalayas from this hilltop is memorable and heavenly.
SOURCE : en.wikipedia.org/wiki/Gangolihat