Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

Narayan Sivananda for the Photo contest "TRASH" at MIC-Imagin@rium.

maps.secondlife.com/secondlife/MIC/99/230/21

Khokana, suffered considerable damage to the 7.8R earthquake that hit on April 25th 2015 and the aftershocks that followed. 80% of the villagers lost their homes to the quake. Many depend on subsistence agriculture. Rebuilding homes for them is going to be a near to impossible task.

 

. . . this photograph is not taken by me - It´s just to show you how the village is looking after the earthquake . . .

________________________________________________

 

My photographs of Khokana and Bungamati are taken shortly before the earthquake! They are the last photographs of the Newari houses in this UNESCO WORLD HERITAGE SITE . . .

 

Beside this two villages the main damage took place in Kathmandu.

 

THE WHOLE CITY OF KATHMANDU SHIFTED 3 METER TO THE SOUTH - IN 30 SECONDS !

 

The top of the Jaya Bageshwari Temple in Gaushala and some parts of the Pashupatinath Temple, Swayambhunath, Boudhanath Stupa, Ratna Mandir, inside Rani Pokhari, and Durbar High School have been destroyed. In Patan, the Char Narayan Mandir, the statue of Yog Narendra Malla, a pati inside Patan Durbar Square, the Taleju Temple, the Hari Shankar, Uma Maheshwar Temple and the Machhindranath Temple in Bungamati were destroyed.

 

MANY OF THESE HISTORICAL PLACES I HAVE VISITED SHORTLY BEFORE THE EARTHQUAKE AND I HAVE MORE THAN 2000 PHOTOGRAPHS OF THOSE ARCHITECTURAL HIGHLIGHTS

I will upload them soon. But it takes time - a lot of time - depending on how much correction is necessary. And architectural photographs need some correction!

 

. . . by the way: for many decades I was an operator for electronical picture processing in a big company in Ahrensburg/Germany . . .

 

_________________________________________________

 

THE APRIL 2015 NEPAL EARTHQUKE

The April 2015 Nepal earthquake (also known as the Gorkha earthquake) killed more than 9,000 people and injured more than 23,000. It occurred at 11:56 NST on 25 April, with a magnitude of 7.8Mw or 8.1Ms and a maximum Mercalli Intensity of IX (Violent). Its epicenter was east of the district of Lamjung, and its hypocenter was at a depth of approximately 8.2 km. It was the worst natural disaster to strike Nepal since the 1934 Nepal-Bihar earthquake.

 

The earthquake triggered an avalanche on Mount Everest, killing at least 19, making April 25, 2015 the deadliest day on the mountain in history. The earthquake triggered another huge avalanche in the Langtang valley, where 250 people were reported missing.

 

Hundreds of thousands of people were made homeless with entire villages flattened, across many districts of the country. Centuries-old buildings were destroyed at UNESCO World Heritage sites in the Kathmandu Valley, including some at the Kathmandu Durbar Square, the Patan Durbar Square, the Bhaktapur Durbar Square, the Changu Narayan Temple and the Swayambhunath Stupa. Geophysicists and other experts had warned for decades that Nepal was vulnerable to a deadly earthquake, particularly because of its geology, urbanization, and architecture.

 

Continued aftershocks occurred throughout Nepal at the intervals of 15–20 minutes, with one shock reaching a magnitude of 6.7 on 26 April at 12:54:08 NST. The country also had a continued risk of landslides.

 

A major aftershock occurred on 12 May 2015 at 12:51 NST with a moment magnitude (Mw) of 7.3. The epicenter was near the Chinese border between the capital of Kathmandu and Mt. Everest. More than 200 people were killed and more than 2,500 were injured by this aftershock.

 

EARTHQUAKE

The earthquake occurred on 25 April 2015 at 11:56 a.m. NST (06:11:26 UTC) at a depth of approximately 15 km (which is considered shallow and therefore more damaging than quakes that originate deeper in the ground), with its epicentre approximately 34 km east-southeast of Lamjung, Nepal, lasting approximately fifty seconds. The earthquake was initially reported as 7.5 Mw by the United States Geological Survey (USGS) before it was quickly upgraded to 7.8 Mw. The China Earthquake Networks Center (CENC) reported the earthquake's magnitude to be 8.1 Ms. The India Meteorological Department (IMD) said two powerful quakes were registered in Nepal at 06:11 UTC and 06:45 UTC. The first quake measured 7.8 Mw and its epicenter was identified at a distance of 80 km to the northwest of Kathmandu, the capital of Nepal. Bharatpur was the nearest major city to the main earthquake, 53 km from the epicenter. The second earthquake was somewhat less powerful at 6.6 Mw. It occurred 65 km east of Kathmandu and its seismic focus lay at a depth of 10 km below the earth's surface. Over thirty-eight aftershocks of magnitude 4.5 Mw or greater occurred in the day following the initial earthquake, including the one of magnitude 6.8 Mw.

 

KATHMANDU SHIFTED IN 30 SECONDS 3 METER TO THE SOUTH

According to the USGS, the temblor was caused by a sudden thrust, or release of built-up stress, along the major fault line where the Indian Plate, carrying India, is slowly diving underneath the Eurasian Plate, carrying much of Europe and Asia. Kathmandu, situated on a block of crust approximately 120 km wide and 60 km long, reportedly shifted 3 m to the south in a matter of just 30 seconds.

 

The risk of a large earthquake was well known beforehand. In 2013, in an interview with seismologist Vinod Kumar Gaur, The Hindu quoted him as saying, "Calculations show that there is sufficient accumulated energy [in the Main Frontal Thrust], now to produce an 8 magnitude earthquake. I cannot say when. It may not happen tomorrow, but it could possibly happen sometime this century, or wait longer to produce a much larger one." According to Brian Tucker, founder of a nonprofit organization devoted to reducing casualties from natural disasters, some government officials had expressed confidence that such an earthquake would not occur again. Tucker recounted a conversation he had had with a government official in the 1990s who said, "We don't have to worry about earthquakes anymore, because we already had an earthquake"; the previous earthquake to which he referred occurred in 1934.

 

GEOLOGY

Nepal lies towards the southern limit of the diffuse collisional boundary where the Indian Plate underthrusts the Eurasian Plate, occupying the central sector of the Himalayan arc, nearly one-third of the 2,400 km long Himalayas. Geologically, the Nepal Himalayas are sub-divided into five tectonic zones from north to south, east to west and almost parallel to sub-parallel. These five distinct morpho-geotectonic zones are: (1) Terai Plain, (2) Sub Himalaya (Sivalik Range), (3) Lesser Himalaya (Mahabharat Range and mid valleys), (4) Higher Himalaya, and (5) Inner Himalaya (Tibetan Tethys). Each of these zones is clearly identified by their morphological, geological, and tectonic features.

 

The convergence rate between the plates in central Nepal is about 45 mm per year. The location, magnitude, and focal mechanism of the earthquake suggest that it was caused by a slip along the Main Frontal Thrust.

 

The earthquake's effects were amplified in Kathmandu as it sits on the Kathmandu Basin, which contains up to 600 m of sedimentary rocks, representing the infilling of a lake.

 

Based on a study published in 2014, of the Main Frontal Thrust, on average a great earthquake occurs every 750 ± 140 and 870 ± 350 years in the east Nepal region. A study from 2015 found a 700-year delay between earthquakes in the region. The study also suggests that because of tectonic stress buildup, the earthquake from 1934 in Nepal and the 2015 quake are connected, following a historic earthquake pattern.

 

The convergence rate between the plates in central Nepal is about 45 mm per year. The location, magnitude, and focal mechanism of the earthquake suggest that it was caused by a slip along the Main Frontal Thrust.

 

The earthquake's effects were amplified in Kathmandu as it sits on the Kathmandu Basin, which contains up to 600 m of sedimentary rocks, representing the infilling of a lake.

 

Based on a study published in 2014, of the Main Frontal Thrust, on average a great earthquake occurs every 750 ± 140 and 870 ± 350 years in the east Nepal region. A study from 2015 found a 700-year delay between earthquakes in the region. The study also suggests that because of tectonic stress buildup, the earthquake from 1934 in Nepal and the 2015 quake are connected, following a historic earthquake pattern.

 

INTENSITY

According to "Did You Feel It?" (DYFI?) responses on the USGS website, the intensity in Kathmandu was IX (Violent). Tremors were felt in the neighboring Indian states of Bihar, Uttar Pradesh, Assam, West Bengal, Sikkim, Jharkhand, Uttarakhand, Gujarat in the National capital region around New Delhi and as far south as Karnataka. Many buildings were brought down in Bihar. Minor cracks in the walls of houses were reported in Odisha. Minor quakes were registered as far as Kochi in the southern state of Kerala. The intensity in Patna was V (Moderate). The intensity was IV (Light) in Dhaka, Bangladesh. The earthquake was also experienced across southwestern China, ranging from the Tibet Autonomous Region to Chengdu, which is 1,900 km away from the epicenter. Tremors were felt in Pakistan and Bhutan.

 

AFTERSHOCKS

A series of aftershocks began immediately after the mainshock, at intervals of 15–30 minutes, with one aftershock reaching 6.6Mw within 34 minutes of the initial quake. A major aftershock of magnitude 6.9 Mw occurred on 26 April 2015 in the same region at 12:54 NST (07:08 UTC), with an epicenter located about 17 km (11 mi) south of Kodari, Nepal. The aftershock caused fresh avalanches on Mount Everest and was felt in many places in northern India including Kolkata, Siliguri, Jalpaiguri and Assam. The aftershock caused a landslide on the Koshi Highway which blocked the section of the road between Bhedetar and Mulghat.

 

A model of GeoGateway, based on a United States Geological Survey mechanism of a near-horizontal fault as well as location of aftershocks showed that the fault had an 11° dip towards the north, striking at 295°, 50 km wide, 150 km long, and had a dip slip of 3 m. The USGS says the aftershock registered at a shallow depth of 10 km.

 

Assuming that 25 April earthquake was the largest event in this seismic episode, Nepal could expect more than 30 aftershocks greater than magnitude 5 over the following month. As of 23 September 2015, 395 aftershocks had occurred with different epicenters and magnitudes equal to or above 4 Mw (out of which 51 aftershocks are equal to or above 5 Mw and 5 aftershocks above 6 Mw) and more than 20,000 aftershocks less than 4 Mw.

 

12th MAY 2015 EARTHQUAKE

A second major earthquake occurred on 12 May 2015 at 12:51 NST with a moment magnitude (Mw) of 7.3Mw 18 km southeast of Kodari. The epicenter was near the Chinese border between the capital of Kathmandu and Mt. Everest. It struck at the depth of 18.5 km. This earthquake occurred along the same fault as the original magnitude 7.8 earthquake of 25 April but further to the east. As such, it is considered to be an aftershock of the 25 April quake. Tremors were also felt in northern parts of India including Bihar, Uttar Pradesh, West Bengal and other North-Indian States.

 

At least 153 died in Nepal as a result of the aftershock and about 2,500 were injured. 62 others died in India, two in Bangladesh, and one in China.

 

AFTERMATH

Disastrous events in very poor and politically paralyzed nations such as Nepal often become a long drawn out chain of events, in that one disaster feeds into another for years or even decades upon end. The after effects from the earthquake have knock-on effects on a myriad seemingly unrelated aspects: human trafficking, labour cost and availability, rental and property cost burdens, urbanization, private and public debt burdens, mental health, politics, tourism, as well as disease and healthcare system damages, disasters that come with the monsoon season. The first monsoon related effects: a landslip on 11 June claimed 53 lives meanwhile a glacial lake had burst in particularly hard hit Solukhumbhu district;[56] whether or not the quake had contributed to such events is often unknown and unresearched, but certainly possible.

 

CASUALTIES

NEPAL

The earthquake killed more than 8,800 in Nepal and injured more than twice as many. The rural death toll may have been lower than it would have been as the villagers were outdoors, working when the quake hit. As of 15 May, 6,271 people, including 1,700 from the 12 May aftershock, were still receiving treatment for their injuries. More than 450,000 people were displaced.

 

The Himalayan Times reported that as many as 20,000 foreign nationals may have been visiting Nepal at the time of the earthquake, although reports of foreign deaths were relatively low.

 

INDIA

A total of 130 deaths were reported in India - including 58 in Bihar, 16 in Uttar Pradesh, 3 in West Bengal and 1 in Rajasthan. China27 dead and 4 missing, all from the Tibet Autonomous Region.Bangladesh4 dead.

 

AVALANCHES ON MOUNT EVEREST

This earthquake caused avalanches on Mount Everest. At least 19 died, including Google executive Dan Fredinburg, with at least 120 others injured or missing.

 

LANDSLIDES IN THE LANGTANG VALLEY

In the Langtang valley located in Langtang National Park, 329 people were reported missing after an avalanche hit the village of Ghodatabela and the village of Langtang. The avalanche was estimated to have been two to three kilometres wide. Ghodatabela was an area popular on the Langtang trekking route. The village of Langtang has been destroyed by the avalanche. Smaller settlements on the outskirts of Langtang were buried during the earthquake, such as Chyamki, Thangsyap, and Mundu. Twelve locals and two foreigners were believed to have survived. Smaller landslides occurred in the Trishuli River Valley with reports of significant damage at Mailung, Simle, and Archale. On 4 May it was announced that 52 bodies had been found in the Langtang area, of which seven were of foreigners.

 

DAMAGE

Thousands of houses were destroyed across many districts of the country, with entire villages flattened, especially those near the epicenter. The Tribhuvan International Airport serving Kathmandu was closed immediately after the quake, but was re-opened later in the day for relief operations and, later, for some commercial flights. It subsequently shut down operations sporadically due to aftershocks, and on 3 May was closed temporarily to the largest planes for fear of runway damage. Many workers were not at their posts, either from becoming earthquake casualties or because they were dealing with its after effects. Flights resumed from Pokhara, to the west of the epicentre, on 27 April.

 

Several of the churches in the Kathmandu valley were destroyed. As Saturday is the principal day of Christian worship in Nepal, 500 people were reported to have died in the collapses.

 

Several pagodas on Kathmandu Durbar Square, a UNESCO World Heritage Site, collapsed, as did the Dharahara tower, built in 1832; the collapse of the latter structure killed at least 180 people, Manakamana Temple in Gorkha, previously damaged in an earlier quake, tilted several inches further. The northern side of Janaki Mandir in Janakpur was reported to have been damaged. Several temples, including Kasthamandap, Panchtale temple, the top levels of the nine-story Basantapur Durbar, the Dasa Avtar temple and two dewals located behind the Shiva Parvati temple were demolished by the quake. Some other monuments including the Taleju Bhawani Temple partially collapsed.

 

The top of the Jaya Bageshwari Temple in Gaushala and some parts of the Pashupatinath Temple, Swyambhunath, Boudhanath Stupa, Ratna Mandir, inside Rani Pokhari, and Durbar High School have been destroyed.In Patan, the Char Narayan Mandir, the statue of Yog Narendra Malla, a pati inside Patan Durbar Square, the Taleju Temple, the Hari Shankar, Uma Maheshwar Temple and the Machhindranath Temple in Bungamati were destroyed. In Tripureshwar, the Kal Mochan Ghat, a temple inspired by Mughal architecture, was completely destroyed and the nearby Tripura Sundari also suffered significant damage. In Bhaktapur, several monuments, including the Fasi Deva temple, the Chardham temple and the 17th century Vatsala Durga Temple, were fully or partially destroyed.Outside the Valley, the Manakamana Temple in Gorkha, the Gorkha Durbar, the Palanchok Bhagwati, in Kabhrepalanchok District, the Rani Mahal in Palpa District, the Churiyamai in Makwanpur District, the Dolakha Bhimsensthan in Dolakha District, and the Nuwakot Durbar suffered varying degrees of damage. Historian Prushottam Lochan Shrestha stated, "We have lost most of the monuments that had been designated as World Heritage Sites in Kathmandu, Bhaktapur and Lalitpur District, Nepal. They cannot be restored to their original states." The northeastern parts of India also received major damage. Heavy shocks were felt in the states Uttrakhand, Uttar Pradesh, West Bengal and others. Huge damage was caused to the property and the lives of the people.

 

ECONOMIC LOSS

Concern was expressed that harvests could be reduced or lost this season as people affected by the earthquake would have only a short time to plant crops before the onset of the Monsoon rains.

 

Nepal, with a total Gross Domestic Product of USD$19.921 billion (according to a 2012 estimate), is one of Asia's poorest countries, and has little ability to fund a major reconstruction effort on its own. Even before the quake, the Asian Development Bank estimated that it would need to spend about four times more than it currently does annually on infrastructure through to 2020 to attract investment. The U.S. Geological Survey initially estimated economic losses from the temblor at 9 percent to 50 percent of gross domestic product, with a best guess of 35 percent. "It’s too hard for now to tell the extent of the damage and the effect on Nepal’s GDP", according to Hun Kim, an Asian Development Bank (ADB) official. The ADB said on the 28th that it would provide a USD$3 million grant to Nepal for immediate relief efforts, and up to USD$200 million for the first phase of rehabilitation.

 

Rajiv Biswas, an economist at a Colorado-based consultancy, said that rebuilding the economy will need international effort over the next few years as it could "easily exceed" USD$5 billion, or about 20 percent of Nepal's gross domestic product.

 

SOCIAL EFFECTS

It was reported that the survivors were preyed upon by human traffickers involved in supply of girls and women to the brothels of South Asia. The most affected were the poor communities who lost their homes.

 

MINORITIES/RACIAL ELEMENT

In the bitter fight for supplies, single women have had very little access to post-quakes relief as dropped or handed out supplies are hoarded by males, where rapes and fear of rapes block material aid and healthcare services from reaching them, according to a report by the Inter-party Women’s Alliance (IPWA). Additionally, the earthquake has hit certain minorities, Tibeto-Burman (Oriental) races were hardest hit as they tend to inhabit the higher slopes of mountains as opposed to the central valleys, and thus are harder to access, less educated and connected, and are considered lower caste within Nepali society. Malnutrition in children, where 41 percent of children under five were stunted, 29 percent were underweight and 11 percent were emaciated according to UNICEF before the quake, has worsened considerably some 3 months after the quake according to a survey, with the most undernourished being Tamang and Chepang peoples.

 

MEDIA COVERAGE

On 3 May, the hashtag #GoHomeIndianMedia was trending worldwide on Twitter condemning news covered by the Indian media as insensitive and inhumane to victims of the tragedy. People of Nepal acknowledged the aid and effort put by the Indian armed forces, yet, at the same time, accused Indian news networks of carrying out "a public relations exercise" on behalf of the Indian government, for patronising aid given as exclusive, and for hogging space on relief planes where aid material or rescue or medical personnel could have been sent instead. Indian users responded with the hashtags #SorryNepal and #DontComeBackIndianMedia.

 

RESCUE AND RELIEF

About 90 percent of soldiers from the Nepalese Army were sent to the stricken areas in the aftermath of the earthquake under Operation Sankat Mochan, with volunteers mobilized from other parts of the country. Rainfall and aftershocks were factors complicating the rescue efforts, with potential secondary effects like additional landslides and further building collapses being concerns. Impassable roads and damaged communications infrastructure posed substantial challenges to rescue efforts. Survivors were found up to a week after the earthquake.

 

As of 1 May 2015, international aid agencies like Médecins Sans Frontières (Doctors Without Borders) and the Red Cross were able to start medically evacuating the critically wounded by helicopter from outlying areas, initially cut-off from the capital city, Kathmandu, and treating others in mobile and makeshift facilities. There was concern about epidemics due to the shortage of clean water, the makeshift nature of living conditions and the lack of toilets.

 

Emergency workers were able to identify four men who had been trapped in rubble, and rescue them, using advanced heartbeat detection. The four men were trapped in up to ten feet of rubble in the village of Chautara, north of Kathmandu. An international team of rescuers from several countries using FINDER devices found two sets of men under two different collapsed buildings.

 

Volunteers used crisis mapping to help plan emergency aid work. Public volunteers from around the world added details into online maps. Information was mapped from data input from social media, satellite pictures and drones of passable roads, collapsed houses, stranded, shelterless and starving people, who needed help, and from messages and contact details of people willing to help. On-site volunteers verified these mapping details wherever they could to reduce errors. First responders, from Nepalese citizens to the Red Cross, the Nepal army and the United Nations used this data. The Nepal earthquake crisis mapping utilized experience gained and lessons learned about planning emergency aid work from earthquakes in Haiti and Indonesia.

 

Reports are also coming in of sub-standard relief materials and inedible food being sent to Nepal by many of the foreign aid agencies.

 

A United States Marine helicopter crashed on 12 May while involved in delivering relief supplies. The crash occurred at Charikot, roughly 72 kilometers east of Kathmandu. Two Nepalese soldiers and 6 American soldiers died in the crash.

 

REPAIR AND RECONSTRUCTION

MONUMENTS

UNESCO and the Ministry of Culture began strengthening damaged monuments in danger of collapsing before the monsoon season. Subsequent restoration of collapsed structures, including historic houses is planned. Architectural drawings exist that provide plans for reconstruction. According to UNESCO, more than 30 monuments in the Kathmandu Valley collapsed in the quakes, and another 120 incurred partial damage. Repair estimates are $160 million to restore 1,000 damaged and destroyed monasteries, temples, historic houses, and shrines across the country. The destruction is concentrated in the Kathmandu Valley.

 

UNESCO designated seven groups of multi-ethnic monuments clustered in the valley as a single World Heritage Site, including Swayambhu, the Durbar squares of Kathmandu, Patan, and Bhaktapur, and the Hindu temples of Pashupati and Changu Narayan. Damaged in the quakes were the structures in the three Durbar squares, the temple of Changu Narayan, and the 1655 temple in Sankhu. Drones fly above cultural heritage sites to provide 3D images of the damage to use for planning repairs.

 

INTERNATIONAL AID

UNICEF appealed for donations, as close to 1.7 million children had been driven out into the open, and were in desperate need of drinking water, psychological counsel, temporary shelters, sanitation and protection from disease outbreak. It distributed water, tents, hygiene kits, water purification tablets and buckets. Numerous other organizations provided similar support.

 

India was the first to respond within hours, being Nepal's immediate neighbour, with Operation Maitri which provided rescue and relief by its armed forces. It also evacuated its own and other countries' stranded nationals. The United Kingdom has been the largest bilateral aid donor to Nepal following the earthquake. The United States, China and other nations have provided helicopters as requested by the Nepalese government.

 

On 26 April 2015, international aid agencies and governments mobilized rescue workers and aid for the earthquake. They faced challenges in both getting assistance to Nepal and ferrying people to remote areas as the country had few helicopters. Relief efforts were also hampered by Nepalese government insistence on routing aid through the Prime Minister's Disaster Relief Fund and its National Emergency Operation Center. After concerns were raised, it was clarified that "Non-profits" or NGOs already in the country could continue receiving aid directly and bypass the official fund. Aid mismatch and supply of "leftovers" by donors, aid diversion in Nepal, mistrust over control of the distribution of funds and supplies, congestion and customs delays at Kathmandu's airport and border check posts were also reported. On 3 May 2015, restrictions were placed on heavy aircraft flying in aid supplies after new cracks were noticed on the runway at the Tribhuvan airport (KTM), Nepal's only wide-body jet airport.

 

WIKIPEDIA

 

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Nvidia DSR, No HUD

 

You can find and support me on:

Patreon, YouTube, Twitter, Reddit, Facebook

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

 

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

NARAYAN SAROVAR HD

Narayan Sarovar is one of the most sacred pilgrimage sites for Hindus. It is located in Lakhpat taluka of Kutch District of Gujarat in India at a distance of about 135 km from Bhuj and ancient Koteshwar temple lies only 4 km away from here. It is one of the five holy ponds in India mentioned in Shrimad Bhagvat Narayan Sarovar means the Lake of Narayan, a name for Vishnu. As per legends, one of the holy rivers of India, Sarasvati River had an out let in to sea near present day Narayan Sarovar and waters of lake were filled with holy waters of River Saraswati, that is why this place was and is still considered as one of the five holy lakes by Hindus.

In this place there are Vaishav temples of Shri Trikamraiji, Laxminarayan, Govardhannathji, Dwarkanath, Adinarayan, Ranchodraiji and Laxmiji. Queen of Rao Deshalji II of Kutch had built these temples. Devotee from all over India come to worship the lords here. The architecture is ancient and awe-inspiring. The temples of Lakshminarayan and Trikamray are built in same style as Dwarkatemple. The other five temples were built by Vagheli Mahakunwar, queen of Rao Deshalji in decades of 1780-90 and more lately built temple of Kalyanray. Accommodation facilities are available for pilgrims

According to Hindu theology, there are five sacred lakes collectively called Panch-Sarovar ('Sarovar' means "lake"). Namely, Mansarovar, Bindu Sarovar, Narayan Sarovar, Pampa Sarovar and Pushkar Sarovar. A fair is held here on the 11th to 15th days of month Kartik of the Hindu calendar (November/December)

Mahaprabhu Vallabhacharya during his lifetime is said to have visited Narayan Sarovar and spent time here as such the site is sacred also for follower ofPushtimarg

Here, you can see red antelopes or chinkaras and in year 1981 the area around was notified and named after Narayan Sarovar as Narayan Sarovar Sanctuary By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

 

Changu Narayan est un magnifique sanctuaire dédié à Vishnu dont les souverains successifs du Népal sont considérés comme des incarnations.

Le temple a été reconstruit en 1702. Mais la cour renferme quantité de statues et bas-reliefs chefs-d'oeuvre de l'art Newar (datant d'une époque comprise entre les 4e et 9e siècles).

Le Temple de Changu Narayan est inscrit au Patrimoine mondial de l'UNESCO.

4K with Nvidia DSR, Freecamera by FransBouma, Timestop, No HUD.

 

You can find and support me on:

Patreon, YouTube, Twitter, Reddit, Facebook

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob. Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

a small family busy with religious rituals at narayan sarovar, one of the 5 holiest lakes of hindu people. the other 4 are, kailash mansarovar, pumpa sarovar, pushkar lake and bindu sarovar. lots of religious rituals are performed on it small ghat, by local priests.

 

see other images of religious rituals @ fiveprime.org/flickr_hvmnd.cgi?search_type=Tags&photo...

  

Shri Swaminarayan Temple, Ahmedabad (Gujarati: શ્રી સ્વામિનારાયણ મંદિર, અમદાવાદ, Devnagari: श्री स्वामिरायण मन्दिर, अहमदाबाद) is the first temple of the Swaminarayan Sampraday, a Hindu sect. It is located in Kalupur area of Ahmedabad, the largest city in Gujarat, India. It was built on the instructions of Swaminarayan, the founder of the sect.

 

As per the will of Swaminarayan, the administration of the Swaminarayan Sampraday is divided into two Gadis (seats) - Nar Narayan Dev Gadi and Laxmi Narayan Dev Gadi. This temple is the headquarters of the Nar Narayan Dev Gadi. Green and yellow sculptures of Hindu gods and goddesses, their bodies fitted in opulent dress, cover the structure of this nineteenth-century temple.

 

With its architecture based on Burma teak wood, every coloured arch and bracket is a bright different shade, something that stands out in most Swaminarayan temples. According to Anjali Desai, author of India Guide Gujarat, the temple resembles a fairytale with all its colours and opulent carvings that profusely embellish every wooden bracket, column and arch. The temple attracts a million people on the day after Diwali. The temple has a multi-story guesthouse that is air conditioned and has a fully equipped medical clinic within its compound.

 

HISTORY

The land for construction of this first shrine of Swaminarayan Sampraday, was given by the British Imperial Government in India to Swaminarayan. The task of constructing this temple was entrusted personally by Swaminarayan to Ananandanand Swami (a paramhansa of the sect). The installation ceremony of the murti (images) in the temple was celebrated in the presence about 50,000 of pilgrims representing many parts of India.

 

RELATIONS WITH THE BRITISH GOVERNMENT

A British officer, Sir Dunlop was so impressed with activities of Swaminarayan and his followers, that on behalf of the government he gave 20 km² of land in Kalupur area of Ahmedabad to build this temple. When the temple was completed, the officer was so impressed by the temple that he commanded a 101 gun salute to the temple.

 

When the British government wanted to build a railway station in Kalupur, the temple returned part of the land, where Kalupur Railway Station stands today. The government compensated the temple by granting it 4 km² of land in the Narayannagar village. Although the temple had very good relations with the British government, part of the wooden carvings in the temple depict the 1857 uprising, which is often referred to as India's first war of Independence.

 

DEITIES

The primary deities of the temple are Nar Narayan Dev.

 

ARCHITECTURE

CENTRAL GATEWAY

The central gateway of the temple is artistic. It blends local, regional and British styles of architecture and sculpture. Marathi and Rajasthani folk cultures and costumes are evident on the gateway sculptors. The columns are engraved with vertical lining in Corinthian order. The top of the projected pavilions are ruminants of Mughal architecture. Statues of the women wearing frilled blouses and petticoats, carrying their kids on their waist depict the Gujarati women.

 

NAR NARAYAN TEMPLE

This is the heart of the temple complex. The temple was constructed as per scriptural norms with intricate carving in pure Burma-teak and constructed with sculptural art by depicting deities' episodes, auspicious symbols and religious icons representing axiomatic religion and Indian culture. The temple is believed to be a valuable cultural heritage in the socio-religious history of Gujarat and India. The images in this temple are of Narnarayan Dev in the centre, Radhakrishna Dev on the right, Dharmadev, BhaktiMata and Harikrishna on the left of the central hall. The images were made in Dungarpur and stone came from quarries in Himmatnagar and Dhrangadhra.[6] The temple is also known for the attractive dresses that drape the deities. Dresses for the central Narnarayan as well as RadhaKrishna images are changed seven times a day and are never repeated.

 

AKSHAR BHAVAN

Besides the gods in the main temple, an idol in the form of a child, Ghanshyam Maharaj in white marble has been installed on the ground floor. Personal items of Swaminarayan have been displayed for viewing by the visitors on the ground as well as first floor. The southern side of this building is known as Shree Tejendra Bhuvan and houses visiting pilgrims.

 

RANG MAHOL

An idol of Ghanshyam Maharaj has been installed in a place called the Rang Mahol in the temple where Swaminarayan stayed during his visits to Ahmedabad. A wood carved life-size idol of Swaminarayan in standing sambhang position, was installed here fifty years after the construction of the temple. It is one of the finest specimens of wooden art sculpting in Gujarat.

 

TEMPLE FOR WOMEN (WEST)

The Haveli (Mansion) to the west of the temple used to be the official residence of Acharya of the Narnarayan Dev Gadi. Now, the ground floor of the front side, houses the offices and the inner portion accommodates the residency of the Samkhya Yogi women (ladies who have taken celibacy vows and devoted their life to the temple). In the inner temple, the Gadiwalla (the Acharya Maharajshri's wife & spiritual leader of the women in the Swaminarayan Sampraday) holds religious assemblies solely for the benefit of the women. An idol of Ghanshyam Maharaj has been installed in this temple and is served by the Sankhya Yogi women devotees.

 

This mansion is decorated with chandeliers, suspended lamps and large mirrors as it was supposed to be the residence of the Acharya. The brackets of the pillars in the portico as well as arches have been adorned with carvings in geometrical designs and a variety of flower and creeper motifs.

 

HAVELI (NORTH)

This three-storey mansion was constructed by Acharya Maharjshree Keshavprasadji Maharaj in 1871.

 

The mansion itself rests on octagonal and square wooden pillars on which Ardh-murt relief sculpture of flowers and creepers is engraved. Angles of wooden pillars, carved in free hand design and the shapely Bharnai, which balconies rest on. The Sabha mandap, an extensive Central Hall, has been constructed on sixty pillars. There are giant size madal-shilp sculptures on twelve high pillars in the front row on which rest the portico of the first floor, capture our attention with its great artistic appeal. These sculptors include a flying Hanuman lifting the Devgiri mountain in his palm; a pot bellied Ghanesha wearing a scarlet turban in the South Indian style, miniature sculptures of several soldiers armed and dressed in Marathi turbans and costumes and herds of monkeys have been created on the religious tradition in the wooden sculptors. Interestingly, some sculptors depict the 1857 uprising, with the Rani of Jhansi and other heroes narrated in carvings of these pillars. There are a total of 12 such pillars, which depict scenes such as a Maratha warrior fighting under the Rani of Jhansi in guise of Durga the Hindu goddess, Indian leader Tatya Tope in the guise of Narsimha, the lion headed form of Vishnu and that of parrots which tell the mood of the times.

 

Sculptures of lions and elephants, birds like peacocks and parrots and perfectly engraved leaves and flowers decorate the panels. The beams, ceilings, and lower sections are adorned with engravings, artistic sculptures and free-hand designs. In this mansion, Acharya sits on the wooden seat once used by Swaminarayan in the Congregation Hall. A new residence of the saints, Vrajendraprasad Mahal and a dining hall for the devotees are also situated in this mansion.

 

HAVELI (EAST)

This mansion is two storeyed. Sculptures of animal heads, flowers and creepers are carved on the wooden pillars of the portico on the ground floor. Items relating to NarNarayan Dev on the ground floor. The first and second floors house a Sanskrit and music school as well as residence for saints. The backyard hosts the residence for brahmchari (celibate) students. A well where Swaminarayan used to bathe under a dome is also part of the backyard.

 

SECULAR AREA & HERITAGE WALK

Kalupur area in Ahmedabad where the temple is located in a Muslim dominated area. Communal harmony was shown during the 2001 Gujarat earthquake when the Muslim neighbours cooked food and gave it to the temple authorities, who accepted it as they needed it to distribute to earthquake victims.

 

A Heritage Walk of Ahmedabad city was started on 19 November 1997 by the local municipal corporation in association with the Foundation for Conservation and Research of Urban Traditional Architecture (CRUTA). The walk starts from this temple in the Kalupur area of the city and ends at the Jama Masjid, after touring 18 sites. The one and a half kilometer long walk takes three hours to complete. In 1999, the temple held an exhibition of photographs relating to the culture and architecture of the city as part of the Heritage Week celebrations. In 2003, Chief Minister of Gujarat, Narendra Modi, chose to lead this walk along with his cabinet colleagues to spread the message of peace.

 

Shri Swaminarayan Temple, Ahmedabad (Gujarati: શ્રી સ્વામિનારાયણ મંદિર, અમદાવાદ, Devnagari: श्री स्वामिरायण मन्दिर, अहमदाबाद) is the first temple of the Swaminarayan Sampraday, a Hindu sect. It is located in Kalupur area of Ahmedabad, the largest city in Gujarat, India. It was built on the instructions of Swaminarayan, the founder of the sect.

 

As per the will of Swaminarayan, the administration of the Swaminarayan Sampraday is divided into two Gadis (seats) - Nar Narayan Dev Gadi and Laxmi Narayan Dev Gadi. This temple is the headquarters of the Nar Narayan Dev Gadi. Green and yellow sculptures of Hindu gods and goddesses, their bodies fitted in opulent dress, cover the structure of this nineteenth-century temple.

 

With its architecture based on Burma teak wood, every coloured arch and bracket is a bright different shade, something that stands out in most Swaminarayan temples. According to Anjali Desai, author of India Guide Gujarat, the temple resembles a fairytale with all its colours and opulent carvings that profusely embellish every wooden bracket, column and arch. The temple attracts a million people on the day after Diwali. The temple has a multi-story guesthouse that is air conditioned and has a fully equipped medical clinic within its compound.

 

HISTORY

The land for construction of this first shrine of Swaminarayan Sampraday, was given by the British Imperial Government in India to Swaminarayan. The task of constructing this temple was entrusted personally by Swaminarayan to Ananandanand Swami (a paramhansa of the sect). The installation ceremony of the murti (images) in the temple was celebrated in the presence about 50,000 of pilgrims representing many parts of India.

 

RELATIONS WITH THE BRITISH GOVERNMENT

A British officer, Sir Dunlop was so impressed with activities of Swaminarayan and his followers, that on behalf of the government he gave 20 km² of land in Kalupur area of Ahmedabad to build this temple. When the temple was completed, the officer was so impressed by the temple that he commanded a 101 gun salute to the temple.

 

When the British government wanted to build a railway station in Kalupur, the temple returned part of the land, where Kalupur Railway Station stands today. The government compensated the temple by granting it 4 km² of land in the Narayannagar village. Although the temple had very good relations with the British government, part of the wooden carvings in the temple depict the 1857 uprising, which is often referred to as India's first war of Independence.

 

DEITIES

The primary deities of the temple are Nar Narayan Dev.

 

ARCHITECTURE

CENTRAL GATEWAY

The central gateway of the temple is artistic. It blends local, regional and British styles of architecture and sculpture. Marathi and Rajasthani folk cultures and costumes are evident on the gateway sculptors. The columns are engraved with vertical lining in Corinthian order. The top of the projected pavilions are ruminants of Mughal architecture. Statues of the women wearing frilled blouses and petticoats, carrying their kids on their waist depict the Gujarati women.

 

NAR NARAYAN TEMPLE

This is the heart of the temple complex. The temple was constructed as per scriptural norms with intricate carving in pure Burma-teak and constructed with sculptural art by depicting deities' episodes, auspicious symbols and religious icons representing axiomatic religion and Indian culture. The temple is believed to be a valuable cultural heritage in the socio-religious history of Gujarat and India. The images in this temple are of Narnarayan Dev in the centre, Radhakrishna Dev on the right, Dharmadev, BhaktiMata and Harikrishna on the left of the central hall. The images were made in Dungarpur and stone came from quarries in Himmatnagar and Dhrangadhra.[6] The temple is also known for the attractive dresses that drape the deities. Dresses for the central Narnarayan as well as RadhaKrishna images are changed seven times a day and are never repeated.

 

AKSHAR BHAVAN

Besides the gods in the main temple, an idol in the form of a child, Ghanshyam Maharaj in white marble has been installed on the ground floor. Personal items of Swaminarayan have been displayed for viewing by the visitors on the ground as well as first floor. The southern side of this building is known as Shree Tejendra Bhuvan and houses visiting pilgrims.

 

RANG MAHOL

An idol of Ghanshyam Maharaj has been installed in a place called the Rang Mahol in the temple where Swaminarayan stayed during his visits to Ahmedabad. A wood carved life-size idol of Swaminarayan in standing sambhang position, was installed here fifty years after the construction of the temple. It is one of the finest specimens of wooden art sculpting in Gujarat.

 

TEMPLE FOR WOMEN (WEST)

The Haveli (Mansion) to the west of the temple used to be the official residence of Acharya of the Narnarayan Dev Gadi. Now, the ground floor of the front side, houses the offices and the inner portion accommodates the residency of the Samkhya Yogi women (ladies who have taken celibacy vows and devoted their life to the temple). In the inner temple, the Gadiwalla (the Acharya Maharajshri's wife & spiritual leader of the women in the Swaminarayan Sampraday) holds religious assemblies solely for the benefit of the women. An idol of Ghanshyam Maharaj has been installed in this temple and is served by the Sankhya Yogi women devotees.

 

This mansion is decorated with chandeliers, suspended lamps and large mirrors as it was supposed to be the residence of the Acharya. The brackets of the pillars in the portico as well as arches have been adorned with carvings in geometrical designs and a variety of flower and creeper motifs.

 

HAVELI (NORTH)

This three-storey mansion was constructed by Acharya Maharjshree Keshavprasadji Maharaj in 1871.

 

The mansion itself rests on octagonal and square wooden pillars on which Ardh-murt relief sculpture of flowers and creepers is engraved. Angles of wooden pillars, carved in free hand design and the shapely Bharnai, which balconies rest on. The Sabha mandap, an extensive Central Hall, has been constructed on sixty pillars. There are giant size madal-shilp sculptures on twelve high pillars in the front row on which rest the portico of the first floor, capture our attention with its great artistic appeal. These sculptors include a flying Hanuman lifting the Devgiri mountain in his palm; a pot bellied Ghanesha wearing a scarlet turban in the South Indian style, miniature sculptures of several soldiers armed and dressed in Marathi turbans and costumes and herds of monkeys have been created on the religious tradition in the wooden sculptors. Interestingly, some sculptors depict the 1857 uprising, with the Rani of Jhansi and other heroes narrated in carvings of these pillars. There are a total of 12 such pillars, which depict scenes such as a Maratha warrior fighting under the Rani of Jhansi in guise of Durga the Hindu goddess, Indian leader Tatya Tope in the guise of Narsimha, the lion headed form of Vishnu and that of parrots which tell the mood of the times.

 

Sculptures of lions and elephants, birds like peacocks and parrots and perfectly engraved leaves and flowers decorate the panels. The beams, ceilings, and lower sections are adorned with engravings, artistic sculptures and free-hand designs. In this mansion, Acharya sits on the wooden seat once used by Swaminarayan in the Congregation Hall. A new residence of the saints, Vrajendraprasad Mahal and a dining hall for the devotees are also situated in this mansion.

 

HAVELI (EAST)

This mansion is two storeyed. Sculptures of animal heads, flowers and creepers are carved on the wooden pillars of the portico on the ground floor. Items relating to NarNarayan Dev on the ground floor. The first and second floors house a Sanskrit and music school as well as residence for saints. The backyard hosts the residence for brahmchari (celibate) students. A well where Swaminarayan used to bathe under a dome is also part of the backyard.

 

SECULAR AREA & HERITAGE WALK

Kalupur area in Ahmedabad where the temple is located in a Muslim dominated area. Communal harmony was shown during the 2001 Gujarat earthquake when the Muslim neighbours cooked food and gave it to the temple authorities, who accepted it as they needed it to distribute to earthquake victims.

 

A Heritage Walk of Ahmedabad city was started on 19 November 1997 by the local municipal corporation in association with the Foundation for Conservation and Research of Urban Traditional Architecture (CRUTA). The walk starts from this temple in the Kalupur area of the city and ends at the Jama Masjid, after touring 18 sites. The one and a half kilometer long walk takes three hours to complete. In 1999, the temple held an exhibition of photographs relating to the culture and architecture of the city as part of the Heritage Week celebrations. In 2003, Chief Minister of Gujarat, Narendra Modi, chose to lead this walk along with his cabinet colleagues to spread the message of peace.

 

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

 

check out my Durga Maa videos at:

www.youtube.com/durgadevotee

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Gaya (/ɡʌjɑː/) is a city of ancient historical and mythological significance. It is one of the major tourist attractions of Bihar. Gaya is the 2nd largest city of Bihar, with a population of 470,839, and is also the headquarters of Gaya district and Magadh division.

 

Gaya is 100 kilometres south of Patna, the capital city of Bihar. Situated on the banks of the Phalgu River (or Niranjana, as mentioned in Ramayana), it is a place sanctified by the Jain, Hindu, and Buddhist religions. It is surrounded by small rocky hills (Mangla-Gauri, Shringa-Sthan, Ram-Shila and Brahmayoni) by three sides and the river flowing on the fourth (eastern) side. The city has a mix of natural surroundings, age old buildings, green areas and narrow bylanes.

 

Gaya finds mention in the great epics, Ramayana and Mahabharata. Rama, along with Sita and Lakshmana, visited Gaya to offer pind-daan to their father Dasharath. In the Mahabharata, the place is referred to as Gayapuri. About the origin of the name ‘Gaya' as referred to in Vayu Purana is that Gaya was the name of a demon (Asura) whose body was pious after he performed rigid penance and secured blessings from Vishnu. It was said that the Gayasura's body would continue to be known as Gaya Kshetra.

 

ORIGIN OF NAME

Gaya derives its name from the mythological demon Gayasur (which literally means Gaya the demon). According to Vayu Purana, Gaya was the name of a demon (Asura) whose body was pious after he performed rigid penance and secured blessings from Vishnu. It was said that the body of Gayasura was transformed into the series of rocky hills that make up the landscape of Gaya.

 

HISTORY

ANCIENT HISTORY

Gaya is an ancient city. Documented history of Gaya dates back to the enlightenment of Gautama Buddha. About 11 km from Gaya town is Bodh Gaya, the place where Gautam Buddha attained enlightenment. Gautam Buddha was a sage on whose teachings, the religion Buddhism was founded. Since then Gaya has been a place of pilgrimage for people all over the world. Gaya further flourished under the rule of dynasties like the Mauryans who ruled from Pataliputra (modern Patna) and covered the area beyond the boundaries of the Indian subcontinent. During this period, Gaya was a part of the Magadh region.

 

Gaya experienced the rise and fall of many dynasties in the Magadh Region. From the 6th century BC to the 18th century AD, about 2300–2400 years, Gaya has been occupying an important place in the cultural history of the region. It opened up with the Sisunaga dynasty founded by Sisunaga, who exercised power over Patna and Gaya around 600 BC. Bimbisara, fifth in line, who lived and ruled around 519 BC, had projected Gaya to the outer world. Having attained an important place in the history of civilisation, the area experienced the bliss of Gautam Buddha and Bhagwan Mahavir during the reign of Bimbisara. After a short spell of Nanda dynasty, Gaya and the entire Magadha region came under the Mauryan rule with Ashoka (272 BC – 232 BC) embracing Buddhism. He visited Gaya and built the first temple at Bodh Gaya to commemorate Prince Gautama's attainment of supreme enlightenment.

 

The period of Hindu revivalism commenced with the coming of the Guptas during the 4th and 5th century A.D. Samudragupta of Magadh helped to bring Gaya in limelight. It was the headquarters of Bihar district during the Gupta empire.

 

Gaya then passed on to the Pala Empire with Gopala as the ruler. It is believed that the present temple of Bodh Gaya was built during the reign of Dharmapala, son of Gopala.

 

Gaya, in the 12th century, was invaded by Muhammad Bakhtiyar Khilji. It remained a part of the mughal empire till the place finally passed on to the Britishers after the battle of Buxar in 1764. Gaya, along with other parts of the country, won freedom in 1947.

 

MODERN HISTORY

The town of Gaya, in about 1810 AD, consisted of two parts : one the residence of the priests, which properly was called Gaya; and the other the residence of lawyers and tradesmen, which was originally called Elahabad, but later on, as developed by a renowned collector "Saheb" - Mr. Thomas Law, it was called Sahebgunj. It is the birthplace of eminent nationalist Bihar Vibhuti Dr Anugrah Narain Sinha; Bihar's first deputy Chief Minister cum Finance Minister. The last great ruler of Magadha was Maharaja of Tekari. The leader of Kisan Andolan, Swami Sahajanand Saraswati established an ashram at Neyamatpur, Gaya (Bihar) which later became the centre of freedom struggle in Bihar. Many prominent leaders of Indian National Congress visited there frequently to meet Yadunandan (Jadunandan) Sharma, the leader of Kisan Andolan who resided in the ashram set up by Swamiji. Yadunandan Sharma became the undisputed leader of peasants in the Gaya district and second in command to the legendary freedom fighter and peasant leader Swami Sahajanand Saraswati. Gaya has also immensely contributed in the Indian Independence Movement. During the independence movement, the All India session of the Congress was held under the presidency of Deshbandhu Chittaranjan Das in 1922, which was attended by great illumanaries and prominent leaders of the Indian Independence Movement, such as Mohandas K. Gandhi, Dr. Rajendra Prasad, Dr Anugrah Narayan Sinha, Sardar Patel, Maulana Azad, Jawaharlal Nehru and Sri Krishna Sinha. The former Bihar Chief Minister Late Satyendra Narain Sinha also hailed from Gaya. Shri Ishwar Chaudhary was a member of Fifth, Sixth and Ninth Lok Sabha during 1971-79 and 1989-91 representing Gaya constituency of Bihar.

 

ESTABLISHMENT OF THE GAYA DISTRICT

Gaya was established in the year 1865. Earlier Gaya was a part of the district of erstwhile Behar of Ramgarh (now in Jharkhand state) till 1864. It was given the status of independent district on 3 October 1865. Subsequently, in May 1981, Magadh division was created by the Bihar state government with the districts of Gaya, Nawada, Aurangabad and Jehanabad. All these district were at the level of sub-division, when the Gaya district was created. Gaya has seen three district partitioned off from its territory, Aurangabad and Nawada in 1976; and Jehanabad in 1988. Gaya district occupies an area of 4,976 km2 comparatively equivalent to the island of Trinidad.

 

CLIMATE

As Gaya is surrounded by hills from three sides and one side by rivers so the climate of Gaya is seasonable (means in winter it is too cold and in summer it is too hot). Climate is characterised by relatively high temperatures and evenly distributed precipitation throughout the year. The Köppen Climate Classification sub-type for this climate is "Cfa" (Humid Subtropical Climate).

 

ECONOMY

Gaya is the second biggest economy contributor after Patna for Bihar. It has a large number of household industries like production of agarbattis, production of tilkut and lai, stone crafting, power looms, Small Scale manufacturing industries, packing industries, plastic products industries, Scrap Industries and hand looms. Gaya functions as a service centre for the surrounding towns and villages. Commercial activities are located along the important roads of the town. The main vegetable market in the city is the Kedarnath Market. In additional the city has a large number of informal shops. On account of Gaya being an important centre for religious tourism, the city has a large number of costly and affordable Hotels and accommodations. Gaya has the highest number of hotels in Bihar & Jharkhand. One Five Star hotel is also proposed in Bodh gaya. Maha Bodhi Hotel, Resort, Convention Centre is the largest and most beautiful hotel in bodhgaya. On the other hand Sambodhi Retreat the best resort of Bihar and Jharkhand is also in the city.

 

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

 

DEMOGRAPHICS

As per 2011 census, Gaya Urban Agglomeration had a population of 474,093. Gaya Urban Agglomeration includes Gaya (Municipal Corporation), Kaler (Out Growth) and Paharpur (Census Town). Gaya Municipal Corporation had a total population of 468,614 out of which 247,572 were males and 221,042 were females. The population below 5 years was 59,669. The sex ratio was 986. The literacy rate for the 7+ population was 85.74 per cent.

 

TRANSPORT

Gaya is well connected to the rest of India by roads, rail and airways. The Grand Chord section of the Indian Railways passes through Gaya.

 

LOCAL TRANSPORT

Many city buses, taxis are providing services across city and Bodhgaya. tongas, auto rickshaw, cycle rickshaws also ply across the city and for Bodhgaya. The main bus stands are Govt. Bus Stand, Sikaria More Bus Stand, Gaurkashni Bus Stand (Manpur), Delha Bus Stand etc. The local transport facility is very good. Nearly, many auto rickshaws are available to various destinations in the city. Many more facilities are being added day by day. Gaya Patna railway lines plays a major role in access people from the town to its state capital.

 

ROADWAYS

Regular direct bus services run from Gaya to Patna, Bhagalpur, Munger, Nalanda, Rajgir, Varanasi, Ranchi, Jamshedpur, Hazaribagh, Durgapur, Asansol, Kolkata and Dhanbad. In 2011, A/C Mercedes-Benz Luxury services have been introduced by Bihar State Road Transport Corporation for Muzaffarpur, Patna, Munger, Bhagalpur, Motihari, Hazaribagh, Koderma, and Ramgarh.

The National Highway 2 Grand Trunk Road from Kolkata to Delhi passes about 30 km from Gaya. This connects Gaya to Patna, Ranchi, Jamshedpur, Bokaro, Rourkela, Durgapur, Kolkata (495 km), Varanasi (252 km), Allahabad, Kanpur, Delhi, Amritsar, and to the Pakistani cities of Lahore and Peshawar. Gaya is connected to Patna (105 km) by NH 83, Nawada, Rajgir (78 km) and Bihar Sharif by NH 82. Plans have been made to construct a four lane road from Patna to Dobhi via Gaya and Gaya to Bihar Sharif. The proposed Mahabodhi Expressway passes through the city.

 

RAILWAYS

Gaya Junction railway station is a junction station serving the city. Gaya junction was also proposed in the list of 66 Station to be built of International standard by Mamta Banerji in UPA II gov.Gaya junction was the only station in Bihar and Jharkhand qualify in the list of 66. Gaya falls under the jurisdiction of Mughalsarai railway division of the East Central Railway zone. Grand Chord rail-line that connects Howrah and New Delhi passes through Gaya. It lies between Mughalsarai Junction on the Delhi side and Dhanbad Junction on the Howrah side. It is located at 24°48′13″N 84°59′57″E. It has an elevation of 117 metres There is also a metro system proposed between Gaya Junction and Bodhgaya.

 

AIRPORT

Situated between Gaya (7 km) and Bodh Gaya (11 km), Gaya Airport is the largest (by area) and only operating international airport in Bihar and Jharkhand. It is connected to Jeddah, Saudi Arabia for carrying Hajis every year for annual pilgrimage to holy city Makkah, Saudi Arabia; Colombo, Sri Lanka; Bangkok, Thailand; Singapore and Paro, Bhutan. It is said to be being developed as a stand-by to the Kolkata airport. Gaya Airport is proposed to expand its area and runway.

 

EDUCATION

Gaya has a bright educational history with institutions like Magadh University, Gaya College, Mirza Galibh College, Gaya Engineering College and many more. A new National Importance Management College IIM Bodhgaya Is also established. Currently this is running in the Campus of Magadh University. Central university of south Bihar is also located in Gaya.

 

WIKIPEDIA

Vue d'ensemble du temple hindou de Changu Narayan, situé à 6 Km au nord de Bhaktapur

Le sanctuaire, gardé par des animaux mythiques en pierre, est entouré de sculptures votives, de petits temples et de bâtiments pour les pèlerins.

 

Ce temple, considéré comme le plus vieux du Népal, possède un toit en forme de pagode à 2 étages. Il a été reconstruit probablement au XVIIème siècle mais avec des éléments architecturaux et décoratifs beaucoup plus anciens.

 

Il faut rappeler que le toit-pagode aurait été inventé au moyen-âge par les artisans newar de la vallée de Katmandou puis diffusé dans toute l'Asie et en particulier en Chine.

 

Ce temple dédié à Narayan est au sommet d'une montagne considérée comme sacrée depuis 464 après notre ère comme en atteste une référence écrite concernant ce site qui date du règne du roi Licchavi Mandeva mais le site était probablement sacré depuis le 3ème siècle.

 

Dans la cosmologie hindoue, Vishnou lorsqu'il repose sur le serpent Ananta (Shesha) est appelé Nârâyana (Narayan) c'est à dire "Reposant sur les eaux" ou "Demeure-de-l'Homme" ou encore "Demeure-du-savoir".

 

Nârâyana, qui signifie aussi "Refuge universel", est une des 24 images de Vishnou d'après le Rupa Mandana.

 

Article de Wikipedia sur Narayana (Narayan au Népal)

fr.wikipedia.org/wiki/Narayana

 

Article de Wikipedia sur Changu Narayan

en.wikipedia.org/wiki/Changu_Narayan

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

  

4K with Nvidia DSR, Freecamera by FransBouma, Timestop, No HUD.

 

You can find and support me on:

Patreon, YouTube, Twitter, Reddit, Facebook

L1008657

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

 

Shri Swaminarayan Temple, Ahmedabad (Gujarati: શ્રી સ્વામિનારાયણ મંદિર, અમદાવાદ, Devnagari: श्री स्वामिरायण मन्दिर, अहमदाबाद) is the first temple of the Swaminarayan Sampraday, a Hindu sect. It is located in Kalupur area of Ahmedabad, the largest city in Gujarat, India. It was built on the instructions of Swaminarayan, the founder of the sect.

 

As per the will of Swaminarayan, the administration of the Swaminarayan Sampraday is divided into two Gadis (seats) - Nar Narayan Dev Gadi and Laxmi Narayan Dev Gadi. This temple is the headquarters of the Nar Narayan Dev Gadi. Green and yellow sculptures of Hindu gods and goddesses, their bodies fitted in opulent dress, cover the structure of this nineteenth-century temple.

 

With its architecture based on Burma teak wood, every coloured arch and bracket is a bright different shade, something that stands out in most Swaminarayan temples. According to Anjali Desai, author of India Guide Gujarat, the temple resembles a fairytale with all its colours and opulent carvings that profusely embellish every wooden bracket, column and arch. The temple attracts a million people on the day after Diwali. The temple has a multi-story guesthouse that is air conditioned and has a fully equipped medical clinic within its compound.

 

HISTORY

The land for construction of this first shrine of Swaminarayan Sampraday, was given by the British Imperial Government in India to Swaminarayan. The task of constructing this temple was entrusted personally by Swaminarayan to Ananandanand Swami (a paramhansa of the sect). The installation ceremony of the murti (images) in the temple was celebrated in the presence about 50,000 of pilgrims representing many parts of India.

 

RELATIONS WITH THE BRITISH GOVERNMENT

A British officer, Sir Dunlop was so impressed with activities of Swaminarayan and his followers, that on behalf of the government he gave 20 km² of land in Kalupur area of Ahmedabad to build this temple. When the temple was completed, the officer was so impressed by the temple that he commanded a 101 gun salute to the temple.

 

When the British government wanted to build a railway station in Kalupur, the temple returned part of the land, where Kalupur Railway Station stands today. The government compensated the temple by granting it 4 km² of land in the Narayannagar village. Although the temple had very good relations with the British government, part of the wooden carvings in the temple depict the 1857 uprising, which is often referred to as India's first war of Independence.

 

DEITIES

The primary deities of the temple are Nar Narayan Dev.

 

ARCHITECTURE

CENTRAL GATEWAY

The central gateway of the temple is artistic. It blends local, regional and British styles of architecture and sculpture. Marathi and Rajasthani folk cultures and costumes are evident on the gateway sculptors. The columns are engraved with vertical lining in Corinthian order. The top of the projected pavilions are ruminants of Mughal architecture. Statues of the women wearing frilled blouses and petticoats, carrying their kids on their waist depict the Gujarati women.

 

NAR NARAYAN TEMPLE

This is the heart of the temple complex. The temple was constructed as per scriptural norms with intricate carving in pure Burma-teak and constructed with sculptural art by depicting deities' episodes, auspicious symbols and religious icons representing axiomatic religion and Indian culture. The temple is believed to be a valuable cultural heritage in the socio-religious history of Gujarat and India. The images in this temple are of Narnarayan Dev in the centre, Radhakrishna Dev on the right, Dharmadev, BhaktiMata and Harikrishna on the left of the central hall. The images were made in Dungarpur and stone came from quarries in Himmatnagar and Dhrangadhra.[6] The temple is also known for the attractive dresses that drape the deities. Dresses for the central Narnarayan as well as RadhaKrishna images are changed seven times a day and are never repeated.

 

AKSHAR BHAVAN

Besides the gods in the main temple, an idol in the form of a child, Ghanshyam Maharaj in white marble has been installed on the ground floor. Personal items of Swaminarayan have been displayed for viewing by the visitors on the ground as well as first floor. The southern side of this building is known as Shree Tejendra Bhuvan and houses visiting pilgrims.

 

RANG MAHOL

An idol of Ghanshyam Maharaj has been installed in a place called the Rang Mahol in the temple where Swaminarayan stayed during his visits to Ahmedabad. A wood carved life-size idol of Swaminarayan in standing sambhang position, was installed here fifty years after the construction of the temple. It is one of the finest specimens of wooden art sculpting in Gujarat.

 

TEMPLE FOR WOMEN (WEST)

The Haveli (Mansion) to the west of the temple used to be the official residence of Acharya of the Narnarayan Dev Gadi. Now, the ground floor of the front side, houses the offices and the inner portion accommodates the residency of the Samkhya Yogi women (ladies who have taken celibacy vows and devoted their life to the temple). In the inner temple, the Gadiwalla (the Acharya Maharajshri's wife & spiritual leader of the women in the Swaminarayan Sampraday) holds religious assemblies solely for the benefit of the women. An idol of Ghanshyam Maharaj has been installed in this temple and is served by the Sankhya Yogi women devotees.

 

This mansion is decorated with chandeliers, suspended lamps and large mirrors as it was supposed to be the residence of the Acharya. The brackets of the pillars in the portico as well as arches have been adorned with carvings in geometrical designs and a variety of flower and creeper motifs.

 

HAVELI (NORTH)

This three-storey mansion was constructed by Acharya Maharjshree Keshavprasadji Maharaj in 1871.

 

The mansion itself rests on octagonal and square wooden pillars on which Ardh-murt relief sculpture of flowers and creepers is engraved. Angles of wooden pillars, carved in free hand design and the shapely Bharnai, which balconies rest on. The Sabha mandap, an extensive Central Hall, has been constructed on sixty pillars. There are giant size madal-shilp sculptures on twelve high pillars in the front row on which rest the portico of the first floor, capture our attention with its great artistic appeal. These sculptors include a flying Hanuman lifting the Devgiri mountain in his palm; a pot bellied Ghanesha wearing a scarlet turban in the South Indian style, miniature sculptures of several soldiers armed and dressed in Marathi turbans and costumes and herds of monkeys have been created on the religious tradition in the wooden sculptors. Interestingly, some sculptors depict the 1857 uprising, with the Rani of Jhansi and other heroes narrated in carvings of these pillars. There are a total of 12 such pillars, which depict scenes such as a Maratha warrior fighting under the Rani of Jhansi in guise of Durga the Hindu goddess, Indian leader Tatya Tope in the guise of Narsimha, the lion headed form of Vishnu and that of parrots which tell the mood of the times.

 

Sculptures of lions and elephants, birds like peacocks and parrots and perfectly engraved leaves and flowers decorate the panels. The beams, ceilings, and lower sections are adorned with engravings, artistic sculptures and free-hand designs. In this mansion, Acharya sits on the wooden seat once used by Swaminarayan in the Congregation Hall. A new residence of the saints, Vrajendraprasad Mahal and a dining hall for the devotees are also situated in this mansion.

 

HAVELI (EAST)

This mansion is two storeyed. Sculptures of animal heads, flowers and creepers are carved on the wooden pillars of the portico on the ground floor. Items relating to NarNarayan Dev on the ground floor. The first and second floors house a Sanskrit and music school as well as residence for saints. The backyard hosts the residence for brahmchari (celibate) students. A well where Swaminarayan used to bathe under a dome is also part of the backyard.

 

SECULAR AREA & HERITAGE WALK

Kalupur area in Ahmedabad where the temple is located in a Muslim dominated area. Communal harmony was shown during the 2001 Gujarat earthquake when the Muslim neighbours cooked food and gave it to the temple authorities, who accepted it as they needed it to distribute to earthquake victims.

 

A Heritage Walk of Ahmedabad city was started on 19 November 1997 by the local municipal corporation in association with the Foundation for Conservation and Research of Urban Traditional Architecture (CRUTA). The walk starts from this temple in the Kalupur area of the city and ends at the Jama Masjid, after touring 18 sites. The one and a half kilometer long walk takes three hours to complete. In 1999, the temple held an exhibition of photographs relating to the culture and architecture of the city as part of the Heritage Week celebrations. In 2003, Chief Minister of Gujarat, Narendra Modi, chose to lead this walk along with his cabinet colleagues to spread the message of peace.

 

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob. Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

 

Kathmandu Durbar Square (Nepali: वसन्तपुर दरवार क्षेत्र, Basantapur Darbar Kshetra) in front of the old royal palace of the former Kathmandu Kingdom is one of three Durbar (royal palace) Squares in the Kathmandu Valley in Nepal, all of which are UNESCO World Heritage Sites.

 

Several buildings in the Square collapsed due to a major earthquake on 25 April 2015. Durbar Square was surrounded with spectacular architecture and vividly showcases the skills of the Newar artists and craftsmen over several centuries. The Royal Palace was originally at Dattaraya square and was later moved to the Durbar square.

 

The Kathmandu Durbar Square held the palaces of the Malla and Shah kings who ruled over the city. Along with these palaces, the square surrounds quadrangles, revealing courtyards and temples. It is known as Hanuman Dhoka Durbar Square, a name derived from a statue of Hanuman, the monkey devotee of Lord Ram, at the entrance of the palace.

 

CONTENTS

HISTORY AND CONSTRUCTION

The preference for the construction of royal palaces at this site dates back to as early as the Licchavi period in the third century. Even though the present palaces and temples have undergone repeated and extensive renovations and nothing physical remains from that period. Names like Gunapo and Gupo, which are the names referred to the palaces in the square in early scriptures, imply that the palaces were built by Gunakamadev, a King ruling late in the tenth-century. When Kathmandu City became independent under the rule of King Ratna Malla (1484–1520), the palaces in the square became the Royal Palaces for its Malla Kings. When Prithvi Narayan Shah invaded the Kathmandu Valley in 1769, he favored the Kathmandu Durbar Square for his palace. Other subsequent Shah kings continued to rule from the square until 1896 when they moved to the Narayan Hiti Palace.

 

The square is still the center of important royal events like the coronation of King Birendra Bir Bikram Shah in 1975 and King Gyanendra Bir Bikram Shah in 2001.

 

Though there are no written archives stating the history of Kathmandu Durbar Square, construction of the palace in the square is credited to Sankharadev (1069–1083). As the first king of the independent Kathmandu City, Ratna Malla is said to have built the Taleju temple in the Northern side of the palace in 1501. For this to be true then the temple would have had to have been built in the vihara style as part of the palace premise surrounding the Mul Chok courtyard for no evidence of a separate structure that would match this temple can be found within the square.

 

Construction of the Karnel Chok is not clearly stated in any historical inscriptions; although, it is probably the oldest among all the courtyards in the square. The Bhagavati Temple, originally known as a Narayan Temple, rises above the mansions surrounding it and was added during the time of Jagajaya Malla in the early eighteenth century. The Narayan idol within the temple was stolen so Prithvi Narayan Shah replaced it with an image of Bhagavati, completely transforming the name of the temple.

 

The oldest temples in the square are those built by Mahendra Malla (1560–1574). They are the temples of Jagannath, Kotilingeswara Mahadev, Mahendreswara, and the Taleju Temple. This three-roofed Taleju Temple was established in 1564, in a typical Newari architectural style and is elevated on platforms that form a pyramid-like structure. It is said that Mahendra Malla, when he was residing in Bhaktapur, was highly devoted to the Taleju Temple there; the Goddess being pleased with his devotion gave him a vision asking him to build a temple for her in the Kathmandu Durbar Square. With a help of a hermit, he designed the temple to give it its present form and the Goddess entered the temple in the form of a bee.

 

His successors Sadasiva (1575–1581), his son, Shiva Simha (1578–1619), and his grandson, Laksmi Narsingha (1619–1641), do not seem to have made any major additions to the square. During this period of three generations the only constructions to have occurred were the establishment of Degutale Temple dedicated to Goddess Mother Taleju by Shiva Simha and some enhancement in the royal palace by Laksminar Simha.

 

UNDER PRATAP MALLA

In the time of Pratap Malla, son of Laksminar Simha, the square was extensively developed. He was an intellectual, a pious devotee, and especially interested in arts. He called himself a Kavindra, king of poets, and boasted that he was learned in fifteen different languages. A passionate builder, following his coronation as a king, he immediately began enlargements to his royal palace, and rebuilt some old temples and constructed new temples, shrines and stupas around his kingdom.During the construction of his palace, he added a small entrance in the traditional, low and narrow Newari style. The door was elaborately decorated with carvings and paintings of deities and auspicious sings and was later transferred to the entrance of Mohan Chok. In front of the entrance he placed the statue of Hanuman thinking that Hanuman would strengthen his army and protect his home. The entrance leads to Nasal Chok, the courtyard where most royal events such as coronation, performances, and yagyas, holy fire rituals, take place. It was named after Nasadya, the God of Dance, and during the time of Pratap Malla the sacred mask dance dramas performed in Nasal Chok were widely famed. In one of these dramas, it is said that Pratap Malla himself played the role of Lord Vishnu and that the spirit of the Lord remained in the king's body even after the play. After consulting his Tantric leaders, he ordered a stone image of Lord Vishnu in his incarnation as Nara Simha, the half-lion and half-human form, and then transferred the spirit into the stone. This fine image of Nara Simha made in 1673 still stands in the Nasal Chok. In 1650, he commissioned for the construction of Mohan Chok in the palace. This chok remained the royal residential courtyard for many years and is believed to store a great amount of treasure under its surface. Pratap Malla also built Sundari Chok about this time. He placed a slab engraved with lines in fifteen languages and proclaimed that he who can understand the inscription would produce the flow of milk instead of water from Tutedhara, a fountain set in the outer walls of Mohan Chok. However elaborate his constructions may have been, they were not simply intended to emphasize his luxuries but also his and the importance of others' devotion towards deities. He made extensive donations to temples and had the older ones renovated. Next to the palace, he built a Krishna temple, the Vamsagopala, in an octagonal shape in 1649. He dedicated this temple to his two Indian wives, Rupamati and Rajamati, as both had died during the year it was built. In Mohan Chok, he erected a three roofed Agamachem temple and a unique temple with five superimposing roofs. After completely restoring the Mul Chok, he donated to the adjoining Taleju Temple. To the main temple of Taleju, he donated metal doors in 1670. He rebuilt the Degutale Temple built by his grandfather, Siva Simha, and the Taleju Temple in the palace square. As a substitute to the Indreswara Mahadeva Temple in the distant village of Panauti he built a Shiva temple, Indrapura, near his palace in the square. He carved hymns on the walls of the Jagannath Temple as prayers to Taleju in the form of Kali.

 

At the southern end of the square, near Kasthamandap at Maru, which was the main city crossroads for early traders, he built another pavilion named Kavindrapura, the mansion of the king of poets. In this mansion he set an idol of dancing Shiva, Nasadyo, which today is highly worshipped by dancers in the Valley.

 

In the process of beautifying his palace, he added fountains, ponds, and baths. In Sundari Chok, he established a low bath with a golden fountain. He built a small pond, the Naga Pokhari, in the palace adorned with Nagakastha, a wooden serpent, which is said he had ordered stolen from the royal pond in the Bhaktapur Durbar Square. He restored the Licchavi stone sculptures such as the Jalasayana Narayana, the Kaliyadamana, and the Kala Bhairav. An idol of Jalasayana Narayana was placed in a newly created pond in the Bhandarkhal garden in the eastern wing of the palace. As a substitute to the idol of Jalasayana Narayana in Buddhanilkantha, he channeled water from Buddhanilkantha to the pond in Bhandarkhal due bestow authenticity. The Kalyadana, a manifestation of Lord Krishna destroying Kaliya, a water serpent, is placed in Kalindi Chok, which is adjacent to the Mohan Chok. The approximately ten-feet-high image of terrifyingly portrayed Kal Bhairav is placed near the Jagannath Temple. This image is the focus of worship in the chok especially during Durga Puja.

 

With the death of Pratap Malla in 1674, the overall emphasis on the importance of the square came to a halt. His successors retained relatively insignificant power and the prevailing ministers took control of most of the royal rule. The ministers encountered little influence under these kings and, increasingly, interest of the arts and additions to the square was lost on them. They focused less on culture than Pratap Malla during the three decades that followed his death, steering the city and country more towards the arenas of politics and power, with only a few minor constructions made in the square. These projects included Parthivendra Malla building a temple referred to as Trailokya Mohan or Dasavatara, dedicated to Lord Vishnu in 1679. A large statue of Garuda, the mount of Lord Vishnu, was added in front of it a decade later. Parthivendra Malla added a pillar with image of his family in front of the Taleju Temple.

 

Around 1692, Radhilasmi, the widowed queen of Pratap Malla, erected the tall temples of Shiva known as Maju Deval near the Garuda image in the square. This temple stands on nine stepped platforms and is one of the tallest buildings in the square. Then her son, Bhupalendra Malla, took the throne and banished the widowed queen to the hills. His death came early at the age of twenty one and his widowed queen, Bhuvanalaksmi, built a temple in the square known as Kageswara Mahadev. The temple was built in the Newari style and acted as a substitute for worship of a distant temple in the hills. After the earthquake in 1934, the temple was restored with a dome roof, which was alien to the Newari architecture.

 

Jayaprakash Malla, the last Malla king to rule Kathmandu, built a temple for Kumari and Durga in her virginal state. The temple was named Kumari Bahal and was structured like a typical Newari vihara. In his house resides the Kumari, a girl who is revered as the living goddess. He also made a chariot for Kumari and in the courtyard had detailed terra cotta tiles of that time laid down.

 

UNDER THE SHAH DYNASTY

During the Shah dynasty that followed, the Kathmandu Durbar Square saw a number of changes. Two of the most unique temples in the square were built during this time. One is the Nautale, a nine-storied building known as Basantapur Durbar. It has four roofs and stands at the end of Nasal Chok at the East side of the palace. It is said that this building was set as a pleasure house. The lower three stories were made in the Newari farmhouse style. The upper floors have Newari style windows, sanjhya and tikijhya, and some of them are slightly projected from the wall. The other temple is annexed to the Vasantapur Durbar and has four-stories. This building was initially known as Vilasamandira, or Lohom Chok, but is now commonly known as Basantapur or Tejarat Chok. The lower floors of the Basantapur Chok display extensive woodcarvings and the roofs are made in popular the Mughal style. Archives state that Prthivi Narayan Shah built these two buildings in 1770.

 

Rana Bahadur Shah was enthroned at the age of two. Bahadur Shah, the second son of Prithvi Narayan Shah, ruled as a regent for his young nephew Rana Bahadur Shah for a close to a decade from 1785 to 1794 and built a temple of Shiva Parvati in the square. This one roofed temple is designed in the Newari style and is remarkably similar to previous temples built by the Mallas. It is rectangular in shape, and enshrines the Navadurga, a group of goddesses, on the ground floor. It has a wooden image of Shiva and Parvati at the window of the upper floor, looking out at the passersby in the square. Another significant donation made during the time of Rana Bahadur Shah is the metal-plated head of Swet Bhairav near the Degutale Temple. It was donated during the festival of Indra Jatra in 1795, and continues to play a major role during the festival every year. This approximately twelve feet high face of Bhairav is concealed behind a latticed wooden screen for the rest of the year. The following this donation Rana Bahadur donated a huge bronze bell as an offering to the Goddess Taleju. Together with the beating of the huge drums donated by his son Girvan Yudha, the bell was rung every day during the daily ritual worship to the goddess. Later these instruments were also used as an alarm system. However, after the death of his beloved third wife Kanimati Devi due to smallpox, Rana Bahadur Shah turned mad with grief and had many images of gods and goddesses smashed including the Taleju statue and bell, and Sitala, the goddess of smallpox.

 

In 1908, a palace, Gaddi Durbar, was built using European architectural designs. The Rana Prime Ministers who had taken over the power but not the throne of the country from the Shahs Kings from 1846 to 1951 were highly influenced by European styles. The Gaddi Durbar is covered in white plaster, has Greek columns and adjoins a large audience hall, all foreign features to Nepali architecture. The balconies of this durbar were reserved for the royal family during festivals to view the square below.

 

Some of the parts of the square like the Hatti Chok near the Kumari Bahal in the southern section of the square were removed during restoration after the devastating earthquake in 1934. While building the New Road, the southeastern part of the palace was cleared away, leaving only fragments in places as reminders of their past. Though decreased from its original size and attractiveness from its earlier seventeenth-century architecture, the Kathmandu Durbar Square still displays an ancient surrounding that spans abound five acres of land. It has palaces, temples, quadrangles, courtyards, ponds, and images that were brought together over three centuries of the Malla, the Shah, and the Rana dynasties. It was destroyed in the April 2015 Nepal earthquake.

 

VISITING

Kathmandu's Durbar Square is the site of the Hanuman Dhoka Palace Complex, which was the royal Nepalese residence until the 19th century and where important ceremonies, such as the coronation of the Nepalese monarch, took place. The palace is decorated with elaborately-carved wooden windows and panels and houses the King Tribhuwan Memorial Museum and the Mahendra Museum. It is possible to visit the state rooms inside the palace.

 

Time and again the temples and the palaces in the square have gone through reconstruction after being damaged by natural causes or neglect. Presently there are less than ten quadrangles in the square. The temples are being preserved as national heritage sites and the palace is being used as a museum. Only a few parts of the palace are open for visitors and the Taleju temples are only open for people of Hindu and Buddhist faiths.

 

At the southern end of Durbar Square is one of the most curious attractions in Nepal, the Kumari Chok. This gilded cage contains the Raj Kumari, a girl chosen through an ancient and mystical selection process to become the human incarnation of the Hindu mother goddess, Durga. She is worshiped during religious festivals and makes public appearances at other times for a fee paid to her guards.

 

WIKIPEDIA

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

  

Shri narayan sewa prewar chairman parhlad Kumar aggarwal with activists protest against the Delhi police on the law and order and pray for nithari victim’s situation at the PHQ in New Delhi on Monday

And concerned

photographs and press release may be obtained from our blogs for

publication purposes.

 

FOR protest PHOTO and Hindi release

www.flickr.com/photos/7368539@N02/

 

aggarson.eyefetch.com/

Protest for NITHARI victims - 29-12-2008

 

for protest photo plese wait or call +919911099737

Jh ukjk;.k lsok ifjokj ¼jft-½

iathd`r dk;kZy; % ch&58@149] xq:ukudiqjk y{ehuxj] fnYyh

lEidZ lq= % 9911099737

 

lsok esa]

laiknd egksn;

izsl foKfIr izdk"ku gsrq d`i;k Øwfrnso&10 QaV es VkbZi fd;k gqvk

QksVks lfgr ns[ks

aggarson.eyefetch.com

18 ekg ls eksgEen vgen ds gR;kjs [kqysvke ?kqe jgs gS e`R;w dks izkIr

gks pqds iq= fd eV~Vh Hkh fBdkus u yxk ikus ds xe esa Mwck gS fifM+r

ifjokjA vc Hkh nksgjk;s tk jgs gS fuBkjh dkM+ iqfyl gsM DokVj ij Jh

ukjk;.k lsok ifjokj us fudkyh U;k; ;k=kA

Ekeyk bl izdkj ls gS fd ouLFkfy es i dj mls tyk;k x;k tc dh Fkkuk

futkeqn~nhu us bldh kijokgh djds o ukle>h ls irk ugha yxk;k vkSj blesa

Fkkuk dY;k.k iqjh eSa mudh esjh fjiksVZ 23-04-2007 dks fy[kh tkrh rks

;g lc dqN gksus ls cp ldrk FkkA

23-04-2007 ls ysdj vkt rd vCnqy lend dk ifjokj nj nj HkVd jgk gSA bu

lc ckrks dh tkudkjh ys jgk gSA mUgksus bl dk dksbZ Bksl tokc ugh feyk

mUgksus Fkkuk gtjr futkeqn~nh Fkkus ¼vkj-ih-,Q-½ ds varjxr iM+rh gS

ftldh dk;Zokgh djds mUgksus mldks eqnkZ ?kj Hkst fn;k fkk ftldkua0

12753 ¼;w-Vh-Mh-ch-½ fnukad 25-04-07 lkjh dk;Zokgh o iqfyl dh dk;Zokgh

esa ykijokgh ds dkj.k mlds iq= dh gR;k vkSj gR;k ds ckn mlds iq= dh

yk"k dh csdnjh dj] yk"k dks "ke"kku ?kkV Hkst dj tyk fn;k x;k eqLyhe

lekt esa NksVs cPps dh eqLyekuh ;kuh dh [kruk djkbZ tkrh gSA mlds }kjk

irk py tkrk gS dh ;g cPpk eqLyeku gS ;k ughA blesa iqfyl dh ykijokgh

FkhA

og tc vius cPpsa ds igpku okyh pht Fkkus ls ekxh rks mUgksaus mls

mlds iq= ds diM+s o tqrs fn;s tks dh bl ckr dk lcwr gs bu diM+ks ij

vkSj twrksa ij fdlh Hkh izdkj [kqu dk /kCck ;k xaUn rFkk dgh ls QVs

Hkh ugh gS ,slk izrhr gksrk gS fd ;g diM+s ,d ne lkQ gSA

mls vius iq= dk dksbZ tokc Fkkus ls vkSj fdlh vf/kdkjh ls ugha feyk

dh bldh gR;k dSls dh xbZA

tc dh mlds ckj ckj fyf[kr dk;Zokgh ds fy,s vius iq= fd gR;k djus

okyksa ds uke fy[kdj fn;s mu ls vkt rd iwNus rd dksbZ ugh vk;k vkSj u

gh mudks f[kykQ dksbZ fjiksVZ Hkh ugh fy[kh xbZ mlds iq= Lo eksgEen

vgen dks bu yM+dks dk xSax dY;k.kiqjh ls ,d Iyku cukdj ys x;k Fkk tgk

mUgksaus vkJe fczt jsyos Vªd ij ys tkdj mldh gR;kdj nh vkSj bldk lcwr

feVkus ds fy,s yk"k dks jsyos Vªd ij NksM+ fn;k lkFk gh Fkkuk

futkeqn~nhu iqfyl us bl gR;k dks jsos nq?kZVuk crkdj viuk iYk >kM+

fn;kA ouLFkyh ifCd Ldwy] e/kw fogkj dh Ldwy cSYV dk eksuksxzke Hkh

xk;c dj fn;k x;k ;s lc 10 fdyksehVj ds vUnj gqvk vkSj iqfyl dks irk

Hkh ugha pyk fiM+hr ifjokj dks jat bl ckr dk gS fd muds iq= ds e`R;w

ds ckn u gh rks vHkh rd gR;kjksa dks ltk feyh gS vkSj u gh os vius iq=

fd MsM ckWMh dk vfUre laLdkj dj ik;s gSA

Jh ukjk;.k lsok ifjokj ds v/;{k izgykn dqekj vxzoky ds usr`Ro esa ,d

U;k; ;k=k vkt iqfyl gsM DokVj ij fudky dj ekax fd xbZ fd eks0 vgen fd

gR;k djus okys yM+dks ds f[kykQ dkuwuh dk;Zokgh djds lfg ls irk yxk;k

tk;s o iqjs ?kVuk Øe fd ;fn iqfyl lfg ls [kqykLkk ugh dj ik jgh gS rks

blfd tkWp lh-ch-vkbZ ds gokys fd tk;s rkfd bl rjg "kkrhj xq.Ms fdlh

vkSj ds lkFk ,slh vugksuh okjnkr u dj ik;s vkSj fuBkjh dk.M lkeus vkus

ds ckotwn xqelqnxh dks bl rjg ls ykiokgh iwoZd fy;k tkuk cgqr "keZukd

gS bl ekSds ij Jherh vkse orh d";i] Jh "kjkQr [kkWu] Jh fj;ktqn~nhu]

Jh iou dqekj vxzoky] Jh ts-,l- lkxj] Jherh utek] Jh eks0 bLyke vkfn

lektlsoh us Hkh ?kVuk ij jks'k trk;k o lh-ch-vkbZ- tkWp fd ekx fd o

fuBkjh ds e`R;q ds izkIr cPpksa ds ?kVuk ds nqljh o'kZ xkB ij mUgs

J)kUtfy fn o js"kek ds gR;kjksa dks fxjrkj djus fd ekx fd A

Ekks0 vgen ds firk dk Qksu ua- % 9818243237

 

Protest for NITHARI victims - 29-12-2008

LET US MEET AT Delhi PHQ ON 29-12-2008 time 11:00 TO LIGHT CANDLES FOR THE VICTIMS OF NITHARI.& Delhi missing children who waiting F.I.R For justice last 17 month

 

The year 2006 ended with the shocking revelations of "NITHARI'S GRUESOME KILLINGS" – appropriately being labeled as 'India's shame' - the blot that may never be easy to erase from our history.

The Nithari murders have shocked the world and generated unparalleled anger among the citizenry. What is making us ashamed and angry is that for two years the media kept on bringing out stories of missing children of the deprived and marginalized people and we failed to raise our voice - and if we did it was not 'loud enough' to save the lives of many innocent poor children. In any case, we should have never left it to our netas, babus and police, who slept over it.

 

We must no longer watch from the sidelines silently. Along with the media the citizens of this country have a moral responsibility to launch a sustained campaign for accountability.

 

Let us all meet at PHQ on Monday, 29-12-2008 at 11:00 p.m. to launch a sustained 'campaign for accountability of the authorities' and express our solidarity with the bereaved families of DELHI We want to seek information and explanation for the callousness of the authorities who are there to protect the citizens, especially innocent children and who failed in their duty for two long years.

The time has come to fight for upholding our constitutional rights in letter and spirit.

 

Coordinated by:

 

SHRI NARAYAN SEWA PRIWAR

 

INFOFFCM@gmail.com

Prahlad kumar aggarwal - 9911099737

Abdul samad 9818243237

Riyajudin- 9350412636

 

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob. Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

The ancient Hindu temple of Changu Narayan is located on a high hilltop that is also known as Changu or Dolagiri. The temple was surrounded by forest with champak tree and a small village, known as Changu Village. The temple is located in Changunarayan VDC of Bhaktapur District, Nepal. This hill is about 8 miles east of Kathmandu and a few miles north of Bhaktapur. The Manahara River flows beside the hill. This shrine is dedicated to Lord Visnu and held in especial reverence by the Hindu people. This temple is considered as the oldest temple in Nepal.

 

HISTORY OF CHANGU NARAYAN TEMPLE

The pagoda style temple has several masterpieces of 5th and 12th century Nepalese art. According to legends Changu Narayan temple existed as early as 325 A.D. in the time of King Licchavi King Hari Datta Verma and it is one of Nepal's richest structures historically as well as artistically. In the grounds there is a stone pillar inscription of great importance recording the military exploits of King Man Deva who reigned from 496 A.D. to 524 A.D. The first epigraphic evidence of Nepalese history found in the temple premises during the reign of the Licchavi King Mandeva dating back to 464 A.D. shows that Changu had already been established as a sacred site in the 3rd century A.D. It is the earliest inscription known in Nepal. The temple was restored during the lifetime of Ganga Rani, consort of Siva Simha Malla who reigned from 1585 to 1614. There are records of the temple burning in the year of 822 Nepal Samvat (1702 A.D.), after which reconstruction was carried out. More inscriptions in gilt-copper plates were added by Bhaskara Malla in 1708 A.D.

 

LEGEND ABOUT CHANGU NARAYAN

In ancient time a Gwala, a cow herder, had brought a cow from a Brahman named Sudarshan. The cow was known for producing large quantity of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak tree. While grazing the cow it always went to the shade of a particular tree. In the evening when the Gwala took the cow home and started milking the cow he got only very few amount of milk. This continued several days. He became very sad so he called the Brahmin and told him that the cow is not giving enough milk. Brahmin after observing the fact from his own eyes then planned with the Gwala to inspect the activities of cow during the day while she was grazing in the forest. Both Brahmin and Gwala hide themselves behind the trees and spectate the activities of the cow. The cow went into the shade of a particular champak tree. To their surprise a small black boy came out from the tree and started drinking the cow milk. Both became very furious and they thought that the boy must be the devil and tree must be its home. So Brahmin cut down the champak tree. When the Brahmin was cutting down the tree a fresh human blood came out from the tree. Both Brahmin and Gwala became worried and they thought that they have committed the great crime and they started crying.From the tree lord Vishnu emerged out and he told the Brahmin that it was not their fault. Lord Vishnu told them the story that he had committed a heinous crime by killing Sudarshan’s father unknowingly while hunting in the forest. After that he was cursed for the crime. He then wandered on earth on his mouth, the ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, lord Vishnu was beheaded which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala started worshipping the place and they established a small temple in the name of Lord Vishnu. Ever since that day, the site has been held sacred. . Even today we can find the descendant of Sudarshan Brahmin as priest of the temple and the descendents of Gwala as ghutiyars (conservators).

 

PHYSICAL ASPECTS

Changu Narayan Temple is situated at the top of the hill surrounded by forest of Champ tree. On the main way to temple courtyard, we can find human settlement. People from Newar community live in and around Changu Narayan area. With the development in tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

 

THE TEMPLE ART AND ARCHITECTURE

Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of main temple. There are four entrances to the temple and these gates are guarded by life size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars has inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to courtyard.

 

Historical pillar erected by Mandeva in 464 AD

Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.

Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.

Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank

Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi and Garuda which stands on the pedestals of various motifs.

Vaikuntha Vishnu :- 16th century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu

Chhinnamasta:- Temple dedicated to Chhinnamasta devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.

Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.

Vishnu Vikrant :- 7th century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.

Narasimha :- 7th century sculpture of Narasimha , an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.

Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

 

INFORMATION CENTRE

There is a information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

 

CHANGU MUSEUM

A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

 

ETHNOGRAPHIC MUSEUM

There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

 

FESTIVALS AND FAIRS

Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati is not conducted in temple and on the occasion of family rituals, such as birthday, marriage, etc local conduct not special puja in the temple.

 

MANAGEMENT APPROACHES

Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC is formed a committee called Changu Narayan Temple management Committee which is the responsible body to work for protection, preservation and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around temple area.

 

THREATS/CHALLENGES

The Manohara stream has long seen rampant mining of sand and stones. Local administration have failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

 

There is a challenge regarding the security of the unique sculptures. Also the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.

 

WIKIPEDIA

Shri Swaminarayan Temple, Ahmedabad (Gujarati: શ્રી સ્વામિનારાયણ મંદિર, અમદાવાદ, Devnagari: श्री स्वामिरायण मन्दिर, अहमदाबाद) is the first temple of the Swaminarayan Sampraday, a Hindu sect. It is located in Kalupur area of Ahmedabad, the largest city in Gujarat, India. It was built on the instructions of Swaminarayan, the founder of the sect.

 

As per the will of Swaminarayan, the administration of the Swaminarayan Sampraday is divided into two Gadis (seats) - Nar Narayan Dev Gadi and Laxmi Narayan Dev Gadi. This temple is the headquarters of the Nar Narayan Dev Gadi. Green and yellow sculptures of Hindu gods and goddesses, their bodies fitted in opulent dress, cover the structure of this nineteenth-century temple.

 

With its architecture based on Burma teak wood, every coloured arch and bracket is a bright different shade, something that stands out in most Swaminarayan temples. According to Anjali Desai, author of India Guide Gujarat, the temple resembles a fairytale with all its colours and opulent carvings that profusely embellish every wooden bracket, column and arch. The temple attracts a million people on the day after Diwali. The temple has a multi-story guesthouse that is air conditioned and has a fully equipped medical clinic within its compound.

 

HISTORY

The land for construction of this first shrine of Swaminarayan Sampraday, was given by the British Imperial Government in India to Swaminarayan. The task of constructing this temple was entrusted personally by Swaminarayan to Ananandanand Swami (a paramhansa of the sect). The installation ceremony of the murti (images) in the temple was celebrated in the presence about 50,000 of pilgrims representing many parts of India.

 

RELATIONS WITH THE BRITISH GOVERNMENT

A British officer, Sir Dunlop was so impressed with activities of Swaminarayan and his followers, that on behalf of the government he gave 20 km² of land in Kalupur area of Ahmedabad to build this temple. When the temple was completed, the officer was so impressed by the temple that he commanded a 101 gun salute to the temple.

 

When the British government wanted to build a railway station in Kalupur, the temple returned part of the land, where Kalupur Railway Station stands today. The government compensated the temple by granting it 4 km² of land in the Narayannagar village. Although the temple had very good relations with the British government, part of the wooden carvings in the temple depict the 1857 uprising, which is often referred to as India's first war of Independence.

 

DEITIES

The primary deities of the temple are Nar Narayan Dev.

 

ARCHITECTURE

CENTRAL GATEWAY

The central gateway of the temple is artistic. It blends local, regional and British styles of architecture and sculpture. Marathi and Rajasthani folk cultures and costumes are evident on the gateway sculptors. The columns are engraved with vertical lining in Corinthian order. The top of the projected pavilions are ruminants of Mughal architecture. Statues of the women wearing frilled blouses and petticoats, carrying their kids on their waist depict the Gujarati women.

 

NAR NARAYAN TEMPLE

This is the heart of the temple complex. The temple was constructed as per scriptural norms with intricate carving in pure Burma-teak and constructed with sculptural art by depicting deities' episodes, auspicious symbols and religious icons representing axiomatic religion and Indian culture. The temple is believed to be a valuable cultural heritage in the socio-religious history of Gujarat and India. The images in this temple are of Narnarayan Dev in the centre, Radhakrishna Dev on the right, Dharmadev, BhaktiMata and Harikrishna on the left of the central hall. The images were made in Dungarpur and stone came from quarries in Himmatnagar and Dhrangadhra.[6] The temple is also known for the attractive dresses that drape the deities. Dresses for the central Narnarayan as well as RadhaKrishna images are changed seven times a day and are never repeated.

 

AKSHAR BHAVAN

Besides the gods in the main temple, an idol in the form of a child, Ghanshyam Maharaj in white marble has been installed on the ground floor. Personal items of Swaminarayan have been displayed for viewing by the visitors on the ground as well as first floor. The southern side of this building is known as Shree Tejendra Bhuvan and houses visiting pilgrims.

 

RANG MAHOL

An idol of Ghanshyam Maharaj has been installed in a place called the Rang Mahol in the temple where Swaminarayan stayed during his visits to Ahmedabad. A wood carved life-size idol of Swaminarayan in standing sambhang position, was installed here fifty years after the construction of the temple. It is one of the finest specimens of wooden art sculpting in Gujarat.

 

TEMPLE FOR WOMEN (WEST)

The Haveli (Mansion) to the west of the temple used to be the official residence of Acharya of the Narnarayan Dev Gadi. Now, the ground floor of the front side, houses the offices and the inner portion accommodates the residency of the Samkhya Yogi women (ladies who have taken celibacy vows and devoted their life to the temple). In the inner temple, the Gadiwalla (the Acharya Maharajshri's wife & spiritual leader of the women in the Swaminarayan Sampraday) holds religious assemblies solely for the benefit of the women. An idol of Ghanshyam Maharaj has been installed in this temple and is served by the Sankhya Yogi women devotees.

 

This mansion is decorated with chandeliers, suspended lamps and large mirrors as it was supposed to be the residence of the Acharya. The brackets of the pillars in the portico as well as arches have been adorned with carvings in geometrical designs and a variety of flower and creeper motifs.

 

HAVELI (NORTH)

This three-storey mansion was constructed by Acharya Maharjshree Keshavprasadji Maharaj in 1871.

 

The mansion itself rests on octagonal and square wooden pillars on which Ardh-murt relief sculpture of flowers and creepers is engraved. Angles of wooden pillars, carved in free hand design and the shapely Bharnai, which balconies rest on. The Sabha mandap, an extensive Central Hall, has been constructed on sixty pillars. There are giant size madal-shilp sculptures on twelve high pillars in the front row on which rest the portico of the first floor, capture our attention with its great artistic appeal. These sculptors include a flying Hanuman lifting the Devgiri mountain in his palm; a pot bellied Ghanesha wearing a scarlet turban in the South Indian style, miniature sculptures of several soldiers armed and dressed in Marathi turbans and costumes and herds of monkeys have been created on the religious tradition in the wooden sculptors. Interestingly, some sculptors depict the 1857 uprising, with the Rani of Jhansi and other heroes narrated in carvings of these pillars. There are a total of 12 such pillars, which depict scenes such as a Maratha warrior fighting under the Rani of Jhansi in guise of Durga the Hindu goddess, Indian leader Tatya Tope in the guise of Narsimha, the lion headed form of Vishnu and that of parrots which tell the mood of the times.

 

Sculptures of lions and elephants, birds like peacocks and parrots and perfectly engraved leaves and flowers decorate the panels. The beams, ceilings, and lower sections are adorned with engravings, artistic sculptures and free-hand designs. In this mansion, Acharya sits on the wooden seat once used by Swaminarayan in the Congregation Hall. A new residence of the saints, Vrajendraprasad Mahal and a dining hall for the devotees are also situated in this mansion.

 

HAVELI (EAST)

This mansion is two storeyed. Sculptures of animal heads, flowers and creepers are carved on the wooden pillars of the portico on the ground floor. Items relating to NarNarayan Dev on the ground floor. The first and second floors house a Sanskrit and music school as well as residence for saints. The backyard hosts the residence for brahmchari (celibate) students. A well where Swaminarayan used to bathe under a dome is also part of the backyard.

 

SECULAR AREA & HERITAGE WALK

Kalupur area in Ahmedabad where the temple is located in a Muslim dominated area. Communal harmony was shown during the 2001 Gujarat earthquake when the Muslim neighbours cooked food and gave it to the temple authorities, who accepted it as they needed it to distribute to earthquake victims.

 

A Heritage Walk of Ahmedabad city was started on 19 November 1997 by the local municipal corporation in association with the Foundation for Conservation and Research of Urban Traditional Architecture (CRUTA). The walk starts from this temple in the Kalupur area of the city and ends at the Jama Masjid, after touring 18 sites. The one and a half kilometer long walk takes three hours to complete. In 1999, the temple held an exhibition of photographs relating to the culture and architecture of the city as part of the Heritage Week celebrations. In 2003, Chief Minister of Gujarat, Narendra Modi, chose to lead this walk along with his cabinet colleagues to spread the message of peace.

 

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob.[10] Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA

|View Large|

Photography Facebook Page

 

Changu Narayan is a pagoda-style Hindu temple dedicated to Vishnu in his incarnation as Narayan. It is one of the oldest temples in Nepal built in the early 4th century during the Licchavi dynasty.All of the stone carvings in the temple courtyard were done between the 5th and 13th century, which makes this one of the single-greatest concentrations of ancient art in Nepal.

 

The picture is a combination of 6 different shots HDR'ed and stitched.

Hope u guys ll enjoy it. :-)

 

His is BETTER

Junagarh Fort (Rajasthani: जुनाग्द क़िला) is a fort in the city of Bikaner, Rajasthan, India. The fort was originally called Chintamani and was renamed Junagarh or "Old Fort" in the early 20th century when the ruling family moved to Lalgarh Palace outside the fort limits. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort.

 

The fort complex was built under the supervision of Karan Chand, the Prime Minister of Raja Rai Singh, the sixth ruler of Bikaner, who ruled from 1571 to 1611 AD. Construction of the walls and associated moat commenced in 1589 and was completed in 1594. It was built outside the original fort of the city, about 1.5 kilometres from the city centre. Some remnants of the old fort are preserved near the Lakshmi Narayan temple.

 

Historical records reveal that despite the repeated attacks by enemies to capture the fort, it was not taken, except for a lone one-day occupation by Kamran Mirza. Kamran was the second son of the Mughal Emperor Babur who attacked Bikaner in 1534, which was then ruled by Rao Jait Singh. In the battle, the Mughals were defeated by Rathors. Kamran then returned to Lahore.

 

The 5.28 hectares large fort precinct is studded with palaces, temples and pavilions. These buildings depict a composite culture, manifest in the mix of architectural styles.

 

GEOGRAPHY

Junagarh fort is located in the arid region of the Thar desert of Rajasthan bordered on the northwest by the Aravalli range, a range of mountains in western India. Part of the desert area is in Bikaner city, which is one of the three desert triangle cities; the other two cities are Jaisalmer and Jodhpur. The name of the place where Bikaner city with its forts was established was then known as Jungladesh.

 

HISTORY

Before the present Junagarh Fort was built, an old stone fort existed in the city. This fort was built in 1478 by Rao Bika who established the city of Bikaner in 1472. Rao Bika was the second son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur city. He conquered the large arid lands to the northern region of Rajasthan to set up his domain. As the second son of Jodha he had no chance of inheriting his father’s territory of Jodhpur or to the title of Maharaja. He, therefore, reconciled and decided to build his own kingdom at Bikaner at the place then called "Jungladesh". Bikaner, though a partly of the Thar Desert, was considered an oasis on the trade route between Central Asia and the Gujarat coast since it had adequate spring water sources. Bika’s name was thus tagged to the Bikaner city as well as to the then state of Bikaner (“the settlement of Bika”) that he established. The history of Bikaner and the fort within it thus start with Bika. It was only about 100 years later that Bikaner’s fortunes flourished under Raja Rai Singhji, the sixth ruler of Bikaner, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, he accepted the suzerainty of the Mughals and held a high position of an army general in the court of Emperor Akbar and his son Emperor Jahangir. His successful war exploits by way of winning half of Mewar kingdom won him accolades and rewards from the Mughal emperors. He was gifted the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Junagarh fort on a plain land, which has an average elevation of 230 m. The formal foundation ceremony for the fort was held on 17 February 1589 and the fort was completed on 17 January 1594. Raja Rai Singhji, was an expert in arts and architecture and the knowledge that he acquired during his several sojourns to several countries are amply reflected in the numerous monuments he built in the Junagarh fort. Thus the fort, a composite structure, became an outstanding example of architecture and a unique centre of art, amidst the Thar desert.

 

Karan Singh who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh, who ruled from 1669–98, made substantial additions to the fort complex, with new palaces and the Zenana quarter (royal dwelling for females). He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal. Gaj Singh who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace). Following him, Surat Singh ruled from 1787 to 1828 and he lavishly decorated the audience hall (see picture in info box) with glass and lively paintwork. Dungar Singh who reigned from 1872 to 1887 built the Badal Mahal (the weather palace) named so in view of a painting of falling rain and clouds (a rare event in arid Bikaner). Ganga Singh who ruled from 1887 to 1943 built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob. Ganga Singh’s son Sadul Singh succeeded his father in 1943 but acceded to the Union of India in 1949. He died in 1950.

 

Bikaner came under the suzerainty of the British Raj under a treaty of paramountcy signed in 1818, where after the Maharajas of Bikaner invested heavily on refurbishing their Junagarh fort. However, during the 18th century, before this treaty was signed, there was internecine war between rulers of Bikaner and Jodhpur and also amongst other Thakur, which was put down by the British troops. It is reported that during the attack by Jodhpur army, of the two entrances to the fort (one in the east and the other in the west), the eastern entrance and the southern rampart were damaged; marks of cannonballs fired are seen on the southern façade of the fort.

 

Ganga Singh was the best-known king among the Rajasthan princes. A favourite of the British Raj, he earned the title of Knight Commander of the Star of India. He served as a member of the Imperial War Cabinet, represented the country at the Imperial First World War Conferences and the British Empire at the Versailles Peace Conference and was aware of the shift of fortunes in the World War II but died in 1943, before the war was won by the allies. His contribution to the building activity in Junagarh involved separate halls for public and private audience in the Ganga Mahal and a durbar hall for formal functions. The hall where he held his Golden Jubilee as a ruler of Bikaner is now a museum. He also got a new palace - north of Junagarh fort - designed and built by Swinton, the third of the new palaces built in Bikaner and named it Lalgarh Palace in the name of his father and shifted his residence from Junagarh fort to this palace in 1902. The royal family still lives in a special suite in the Lalbagh palace, which they have converted into a heritage hotel.

 

STRUCTURES

The structures built within the Junagarh fort are the palaces and temples, which are made of red sandstone (Dulmera) and marble. The palaces are described as picturesque with their assortment of courtyards, balconies, kiosks and windows. The fort, the temples and the palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan. The fort is called “a paradox between medieval military architecture and beautiful interior decoration”.

 

OVERVIEW

The massive fort built in the plains of Bikaner has a rectangular (quadrangular) layout with a peripheral length of 986 m. The fort walls are 4.4 m wide and 12 m in height. It encompasses an area of 5.28 ha. It was surrounded by a moat which was 6.1–7.6 m deep with a base width of 4.6 m and top width of 9.1 m. However, the moat no longer exists. The fort is well fortified with 37 bastions (‘burj’ in local language) and seven gates (two are main gates) to counter enemy attacks. The fort was built as a “new stronghold” outside of the ruins of an old fort built by Rao Bika and on the periphery of the Bikaner city walls (1.5 kilometres from the city centre); the old fort was demolished a century after it was built.

 

The fort with seven gates contains several palaces, pavilions and many temples of Hindu and Jain religions - the earliest dated to the 16th century. A major feature of the fort is the stone carving done in red and gold coloured sandstones. The interiors of the palaces are decorated and painted in traditional Rajasthani style. The Junagarh palaces have a large number of rooms, as every king built his own separate set of rooms, not wanting to live in his predecessors’ rooms. These structures were considered as “at par with those of Louis’s France or of Imperial Russia”. Several types of architectural style are discerned in the fort complex and hence it is called a true depiction of composite culture. The earliest style is of Rajput architecture, defined by Gujarati and Mughal architectural influence reflecting the association with Mughal rulers, the second type is of semi-western architecture reflecting British influence, and finally the revivalists Rajput architecture that evolved particularly during the rule of Maharaja Ganga Singh. Only the most representative of all these architectural styles are on display for visitors. Thus, the unique monuments on display in the Junagarh Fort represent sixteen successive generations of the rulers of Bikaner, starting from the end of the 16th century.

 

GATES

While the main entry gate was Karan Pol or Parole, facing east, the current gate of entry is called Suraj Pol (meaning the Sun gate), 'pol' also colloquially spelt prol, built in gold coloured or yellow sandstone, unlike the other gates and buildings built in red sandstone. It is the east facing gate permitting the rising Sun’s rays to fall on the gate, which is considered a good omen. The doors of this gate are strengthened with iron spikes and studs to prevent ramming by elephants during an attack. At the entrance to the gate, two red stone statues of elephants with mahouts stand as sentinels. The gate was also the location for announcing the arrival and departure of royalty by musicians playing the trumpet from a gallery in the gate. The other gates are Karan Pol, Daulat Pol, Chand Pol (a double gate) and Fateh Pol; these provided access to various monuments in the fort. The Karan Pol gate is also braced with iron spikes to prevent battering of the gate by elephants. To the right of this gate is Daulat Pol. Forty-one hand imprints are seen on the Daulat Pol gate wall, in red colour, of the wives of the Maharajas of Bikaner, who committed sati (self immolation) on the funeral pyres of their husbands who died in battle.

 

Between the main gate and the palace, there is a quadrangle, and then another gate called the Tripolia gate (triple gateway) before accessing the royal chambers. Next to this gate is a small temple called the Har Mandir, where the Royal family used to offer worship. In the quadrangle, which houses a large pavilion with a water pool built in Carrara Italian marble. The Karan Mahal, where public audience was held in the Diwan-i-Am by Karan Singh (1631–39) and his successors till the 20th century, can also be seen in the same quadrangle.

 

TEMPLES

Har Mandir temple was the royal chapel - private temple of the royal family. The royal family celebrated the Hindu festival of Dussera and Gangaur here, apart from celebrating other family functions such as birthdays and marriages. In the Dussera celebrations, weapons and horses were worshipped here. The main deities worshipped in this temple are the Hindu deities Lakshmi Narayan, a combined representation of god Vishnu and his consort Lakshmi.

 

The Ratan Behari temple located near the Junagarh Fort, was built in 1846 by the 18th ruler of Bikaner. It was built in Indo-Mughal architectural style using white marble. The Hindu god Krishna is deified in this temple.

 

PALACES

Karan mahal (Public Audience Hall) was built by Karan Singh in c.1680 to mark his victory over the Mughal Emperor Aurangzeb. It is considered as one of the most exquisite palaces built with gardens, which displays the aesthetic sensibilities of the royalty of Rajasthan. It has stained glass windows and intricately carved balconies built in stone and wood fluted columns. Later Rajas, Anup Singh and Surat Singh, also added lot of glitter to this palace with inlaid polychrome glass, intricate mirror patterns, and red and gold paint. In the coronation chamber, there is a shored up alcove, which was used as a throne.

 

Phool Mahal ("Flower Palace") is the oldest part of the palace and was built by king Raja Rai Singh of Bikaner, who ruled between 1571-1668.

 

Anup Mahal is a multi-storey structure, which functioned as the administrative headquarters of the kingdom. It has ornate wooden ceilings with inlaid mirrors, Italian tiles, and fine lattice windows and balconies. It has some gold leaf paintings. It is considered as one of the “grandest construction”.

 

Chandra Mahal has the most luxurious room in the palace, which houses gold plated deities and paintings inlaid with precious stones. In the royal bedroom, mirrors have been strategically placed so that the Maharaja could see from his bed, any intruder entering his room.

 

Ganga Mahal was built in the 20th century by Ganga Singh who reigned for 56 years from 1887 to 1943, has a large durbar hall known as the Ganga Singh Hall that houses the Museum. The museum has exhibits of war weaponry and also a World War I aeroplane (biplane), which is stated to be well maintained.

 

Badal Mahal (The weather palace) is part of the Anup Mahal extensions. It has paintings of Shekhawati Dundlod chiefs paying respects to the Maharaja of Bikaner in different types of turbans. Photos of people standing on nails, wood, swords and saws are also depicted here – a display of faith and endurance. The walls in this palace depict fresco paintings of the Hindu god Krishna and his consort Radha amidst the rain clouds.

 

Bikaneri Havelies located both within and outside the fort in the Bikaner city’s by lanes are also of unique architectural style in home architecture. Aldous Huxley who visited these havelis reportedly said “They are the pride of Bikaner.”

 

FORT MUSEUM

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

 

MAHARAJA RAI SINGHJI TRUST

Maharaja Rai Singhji Trust has been set up by the 'Royal family of Bikaner' with the basic objective to showcase the fort with professional inputs in various areas and to improve the experience for visitors. Another objective is to promote education and research scholarships, cultural activities, setting up of libraries and integration with other such trusts.

 

WIKIPEDIA