Temples of Bharat Archives — NIMBLE FOUNDATION BLOG

KAILASA TEMPLE

KAILASA TEMPLE

The Kailasha (IAST: Kailāśa) or Kailashanatha (IAST: Kailāśanātha) temple is the largest of the rock-cut Hindu temples at the Ellora Caves near Aurangabad district, Maharashtra of Maharashtra, India. A megalith carved from a cliff face, it is considered one of the most remarkable cave temples in the world because of its size, architecture, and sculptural treatment. It has been called “the climax of the rock-cut phase of Indian architecture”.The top of the structure over the sanctuary is 32.6 metres (107 ft) above the level of the court below, and although the rock face slopes downwards from the rear of the temple to the front, archaeologists believe it was sculpted from a single rock.

The Kailasa temple (Cave 16) is the largest of the 34 Hindu, Buddhist, and Jain cave temples and monasteries known collectively as the Ellora Caves, ranging for over two kilometres (1.2 mi) along the sloping basalt cliff at the site. Most of the excavation of the temple is generally attributed to the eighth century Rashtrakuta king Krishna I (r. c. 756 – 773), with some elements completed later. The temple architecture shows traces of Pallava and Chalukya styles. The temple contains a number of relief and free-standing sculptures on a grand scale equal to the architecture, though only traces remain of the paintings which originally decorated it.

Kailasa (Kaliash) temple lacks a dedicatory inscription, but there is no doubt that it was commissioned by a Rashtrakuta ruler. Its construction is generally attributed to the Rashtrakuta king Krishna I (r. 756-773 CE), based on two epigraphs that link the temple to “Krishnaraja” (IAST Kṛṣṇarāja):

The Vadodara copper-plate inscription (c. 812-813 CE) of Karkaraja II (a ruler of a Rashtrakuta branch of Gujarat) records the grant of a village in present-day Gujarat. It mentions Krishnaraja as the patron of Kailasanatha, and also mentions a Shiva temple at Elapura (Ellora). It states that the king constructed a temple so wondrous that even the gods and the architect were astonished. Most scholars believe that this is a reference to the Kailasanatha Shiva temple at Ellora.
The Kadaba grant of Govinda Prabhutavarsha similarly appears to credit Krishnaraja with the construction of the temple.

However, the attribution of the temple to Krishna I is not completely certain because these epigraphs are not physically connected to the caves, and do not date Krishnaraja’s reign. Moreover, the land grants issued by Krishna’s successors do not contain any references to the Kailasa temple . The Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings. Some of the temple reliefs feature the same style as the one used in the Dashavatara cave (Cave 15), which is located next to the temple. The Dashavatara cave contains an inscription of Krishna’s predecessor and nephew Dantidurga (c. 735–756 CE). Based on this, art historian Hermann Goetz (1952) theorized that the construction of the Kailasa temple began during the reign of Dantidurga. Krishna consecrated its first complete version, which was much smaller than the present-day temple. According to Goetz, Dantidurga’s role in the temple construction must have been deliberately suppressed, as Krishna sidelined Dantidurga’s sons to claim the throne after his death. Based on analysis of the different styles, Goetz further hypothesized that the later Rashtrakuta rulers also extended the temple. These rulers include Dhruva Dharavarsha, Govinda III, Amoghavarsha, and Krishna III. According to Goetz, the 11th century Paramara ruler Bhoja commissioned the elephant-lion frieze on the lower plinth during his invasion of Deccan, and added a new layer of paintings. Finally, Ahilyabai Holkar commissioned the last layer of paintings in the temple.

Thanks for reading.

KASHI VISHWANATH TEMPLE

KASHI VISHWANATH TEMPLE

Kashi Vishwanath Temple is a Hindu temple dedicated to Shiva. It is located in Vishwanath Gali, in Varanasi, Uttar Pradesh, India. The temple is a Hindu pilgrimage site and is one of the twelve Jyotirlinga shrines. The presiding deity is known by the names Vishwanath and Vishweshwara literally meaning Lord of the Universe.

According to several historical accounts, the Mughal Emperor Aurangzeb ordered the demolition of the Kashi Vishwanath Temple in 1669. Subsequently, the Gyanvapi Mosque was built on its site in 1678, but Hindu pilgrims continued to visit the remnants of the temple. The current structure was constructed on an adjacent site by the Maratha ruler Ahilyabai Holkar of Indore in 1780. In 2021, a major redevelopment of the temple complex was completed, and the Kashi Vishwanath Dham Corridor connecting the Ganga river with the temple was inaugurated by Prime Minister Modi, leading to a many-fold increase in visitors. It has become one of the most visited Hindu temples in India, with an average footfall of 45,000 per day in 2023. The total assets of the temple, were estimated to be more than ₹6 crores in 2024.

It is believed that Varanasi is the first Jyotirlinga to manifest itself. According to the legend, it was at this place that Shiva (the Hindu god of destruction) manifested as an infinite column of light (Jyotirlinga) in front of Brahma (the Hindu god of creation) and Vishnu (the Hindu god of preservation) when they had an argument about their supremacy.
In order to discover the origin of the luminous column, Vishnu took the form of a boar (Varaha) and tracked the column beneath the ground, while Brahma, who assumed the shape of a swan, scoured the heavens in an attempt to locate the apex of the column. However, both of them were unsuccessful in identifying the source of the luminous column. Yet, Brahma deceitfully asserted that he had discovered the summit of the column, while Vishnu humbly admitted his inability to find the starting point of the radiant column. Due to Brahma’s deceit over the discovery of the origin of the luminous column, Shiva penalised him by cutting his fifth head and placing a curse upon him. This curse entailed that Brahma would no longer receive reverence, whereas Vishnu, being truthful, would be equally venerated alongside Shiva and have dedicated temples for eternity.

Hindu scriptures describe Vishweshara as the sacred deity of Varanasi, holding the position of king over all the other deities as well as over all the inhabitants of the city and the extended circuit of the Panchkosi, an area (the sacred boundary of Varanasi) spreading over 50 miles.
The Jyothirlinga is an ancient axis mundi symbol representing the supremely formless (nirguna) reality at the core of creation, out of which the form (saguna) of Shiva appears. The Jyothirlinga shrines are thus places where Shiva appeared as a fiery column of light. There are twelve ‘self manifested’ Jyotirlinga sites that take the name of the presiding deity; each is considered a different manifestation of Shiva. At all these sites, the primary image is a lingam representing the beginningless and endless Stambha pillar, symbolising the infinite nature of Shiva.

Thanks for reading.

SASBAHU TEMPLE

SASBAHU TEMPLE

Sasbahu Temple, also called the Sas-Bahu Mandir, Sas-Bahu Temples, Sahasrabahu Temple or Harisadanam temple, is an 11th-century twin temple in Gwalior, Madhya Pradesh, India. Near the Gwalior Fort and dedicated to Vishnu in his Padmanabha form, like most Hindu and Jain temples in this region, it is mostly in ruins and was badly damaged from numerous invasions and Hindu-Muslim wars in the region. It was built in 1093 by King Mahipala of the Kachchhapaghata dynasty, according to an inscription found in the larger of the twin temple. The twin temples are situated in the Gwalior Fort.

The temple’s tower and sanctum has been destroyed, but its architecture and damaged carvings can still be appreciated from the ruins. The jagati platform is 100 feet (30 m) long and 63 feet (19 m) wide, on a square plan. The temple was three-storeyed, which was one of its distinguishing features and sophistication. It followed a central cluster concept, states Adam Hardy. The surviving elements of the temple are the entrance porch and the mandapa. According to James Harle, though the prasada (tower, spire) no longer exists, the triple storey plan with a cruciform foundation and balconies suggests that it had a North Indian Bhumija style architecture. This style, states Harle, is marked by a well proportioned superstructure, its “regularly arranged little subordinate sikharas strung out like gigantic beaded garlands”.

This temple mainly has three entrances from three different directions. In the fourth direction, there is a room which is currently closed. The entire temple is covered with carvings, notably 4 idols of Brahma, Vishnu and Saraswati above its entrance door. The pillar carvings show Vaishnavism, Shaivism and Shaktism related carvings. The larger temple ornamentation covers all the exterior walls and all surviving interior surfaces. The twin temple, like elsewhere in India, has locally been called Sasbahu temple. The word Sasbahu means “mother-in-law, bride” or “a mother with her daughter-in-law”, an association that implies their being together and interdependent. The Sas temple is typically the larger older temple of the twin. The Gwalior Sasbahu temple follows this style, but both temples are dedicated to Vishnu. Only the Sas temple has survived in some form, the Bahu temple is a shell structure of the original one storey with a highly ornate door frame and its defaced wall reliefs surviving. The remnants of the Bahu temple at Gwalior suggest that it may have been a smaller version of the Saas temple.

The Sas temple has a square sanctum attached to a rectangular two storey antarala and a closed three storey mandapa with three entrances. The temple main entrance porch has four carved Ruchaka ghatapallava-style pillars that are load-bearing. The walls and lintels are intricately carved, though much defaced. On the lintel of the entrances, friezes of Krishna-leela scenes are carved inside, while the outer side narrate legends from other Hindu texts. Above the lintel is Garuda, the vahana of Vishnu. The Bahu temple also has a square sanctum with 9.33 feet (2.84 m) side, with four central pillars. Its maha-mandapa is also a square with 23.33 feet (7.11 m) side, with twelve pillars. The temple, like most Malwa and Rajputana historic temples, provides multiple entrances to the devotee. The roof consists of two rotated squares that intersect to form an octagon capped by successive overlapping circles. The pillars have octagonal bases as well, with girls carved but these have been defaced and mutilated. The sanctum has an image of damaged Vishnu, next to whom stands Brahma holding the Vedas on one side and Shiva holding the trident on the other side.

Thanks for reading.

BAITALA DEULA TEMPLE

BAITALA DEULA TEMPLE

Baitāḷa deuḷa or Vaitāḷa deuḷa is an 8th-century Hindu temple of the typical Khakara style of the Kalinga architecture dedicated to Goddess Chamunda located in Bhubaneswar, the capital city of Odisha, India. It is also locally known as Tini-mundia deula due to the three spires on top of it, a very distinct and unusual feature. The three spires are believed to represent the three powers of the goddess Chamunda – Mahasaraswati, Mahalakshmi and Mahakali.

Baitaḷa Deuḷa Temple’s striking feature is the shape of its sanctuary tower. The semi-cylindrical shape of its roof is a leading example of Khakhara order of temples— which bears an affinity to the Dravidian Gopuram of the South Indian temples. Its gabled towers with a row of Shikharas reveals unmistakable signs of southern intrusion. The plan of the deuḷa is oblong and the jagamohana is a rectangular structure, but embedded in each angle is a small subsidiary shrine. Baitala deuḷa boasts of some figures, although executed in relief, are however characterized by delicacy of features and perfect equipoise.

The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati, hunting processions, capturing of wild elephants and the occasional erotic couples.The facade of the deuḷa above the left of the jagamohana is dominated by two chaitya windows—the lower one having a carved figure of the sun god, Surya noted for its facial expression, with Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front, driving a chariot of seven horses.

The medallion in the upper Chaitya window houses a 10-armed Nataraja, the dancing form of Shiva. In front of the flat roofed Jagamohana is a stone post relieved with two Buddha like figures seated in Dharma-Chakra-Pravartana mudra.
Another striking feature is temple’s Tantric associations, marked by eerie carvings in the sanctum. The image enshrined in the central niche, eight armed Chamunda, locally known as Kapaḷini, is the terrifying form of goddess. Thus, Baitāḷa Deuḷa is a Shakti shrine.

The presiding deity, Chamunda or Charchika sits on a corpse flanked by a jackal and an owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya window containing seated figures of Shiva and Parvati. Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the right of the door, is a skeleton form of Bhairava, the counterpart of Chamunda.

Thanks for reading.

Veerabhadra Temple

Veerabhadra Temple

Veerabhadra temple is a Hindu temple located in the Lepakshi, in the state of Andhra Pradesh, India. The temple is dedicated to the Virabhadra, a fierce form of the god Shiva.Built in the 16th century, the architectural features of the temple are in the Vijayanagara style with profusion of carvings and paintings at almost every exposed surface of the temple. It is one of the centrally protected monuments of national importance and is considered one of the most spectacular Vijayanagara temples. The fresco paintings are particularly detailed in very bright dresses and colours with scenes of Rama and Krishna from the epic stories of the Ramayana, the Mahabharata and the Puranas and they are well preserved.

There is a very large Nandi (bull), mount of Shiva, about 200 metres (660 ft) away from the temple which is carved from a single block of stone, which is said to be one of the largest of its type in the world. The temple is home to many Kannada inscriptions as its located close to Karnataka border.
The temple has been built on the southern side of Lepakshi town, on a low altitude hillock of a large exposure of granite rock, which is in the shape of a tortoise, and hence known as Kurma Saila. It is 140 kilometres (87 mi) away from Bangalore. The approach from the National Highway NH7 to Hyderabad that takes a branch road at the Karnataka-Andhra Pradesh border leading to Lepakshi, 12 kilometres (7.5 mi) away. Another route to reach the temple is taking a route from Hindupur. It is situated 35 kilometres (22 mi) from Penukonda, located in Anantapur district of Andhra Pradesh.

The temple was built in 1530 AD (1540 AD is also mentioned) by Virupanna Nayaka and Viranna , both brothers who were Governors under the Vijayanagar Empire during the reign of King Achyuta Deva Raya, at Penukonda who were native to Karnataka. The temple consists of only Kannada inscriptions. The cost of building the temple was defrayed by the government. According to Skanda Purana, the temple is one of the divyakshetras, an important pilgrimage site of Lord Shiva.

The temple is of the Vijayanagara architectural style. The main temple is laid out in three parts, these are: The assembly hall known as the Mukha mantapa or Natya mantapa or Ranga mantapa; arda mantapa or antarala (ante chamber); and the garbhagriha or the sanctum sanctorum. The temple, as an edifice, is encircled by two enclosures. The outermost walled enclosure has three gates, the northern gate is used regularly. The inner east gate is the entry to the assembly hall, which is a large sized open hall designed with a large space in its central part.

It is at the entrance to the sanctum sanctorum and has a profusion of sculptures and paintings over every inch of space on the columns and ceiling. The images on the pillars and walls are of divine beings, saints, guardians, musicians, dancers and 14 avatars of Shiva. Figurines of the goddesses Ganga and Yamuna flank the entrance to the sanctum. The exterior columns of this hall are built over a decorated plinth; the decorations are in the form of blocks of carved images of horses and soldiers. The columns are slim and have features of colonnettes carved with eaves, overhanging in a curved shape. The open space in the middle part of the hall is defined by large columns or piers which have carvings of triple figures.

Thanks for reading.

CHATTARPUR TEMPLE

CHATTARPUR TEMPLE

Chhatarpur Temple (Officially: Shri Aadya Katyayani Shakti Peetham) is a temple dedicated to the goddess Katyayani. The entire complex of the temple is spread over a wide area of 28 hectares (70 acres). It is located in Chhatarpur, on the southwestern outskirts of the New Delhi The temple was established in 1974, by Baba Sant Nagpal ji, who died in 1998. His samadhi shrine lies in the premises of the Shiv-Gauri Nageshwar Mandir within the temple complex.

It is the 2nd largest temple in Delhi, after the Akshardham Temple. This temple is constructed from marble and on all of the facets there is jaali (perforated stone or latticed screen) work. It can be classified a vesara style of architecture.
Surroundings are an important biodiversity area within the Northern Aravalli leopard wildlife corridor stretching from Sariska Tiger Reserve to Delhi. Historical place around sanctuary are Badkhal Lake (6km northeast), 10th century ancient Surajkund reservoir and Anangpur Dam, Damdama Lake, Tughlaqabad Fort and Adilabad ruins (both in Delhi). It is contiguous to the seasonal waterfalls in Pali-Dhuaj-Kot villages of Faridabad, the saсred Mangar Bani and the Asola Bhatti Wildlife Sanctuary. There are several dozen lakes formed in the abandoned open pit mines in the forested hilly area of Delhi Ridge.

The entire temple complex spread over 24 ha (60 acres), has over 20 small and large temples divided in three different complexes. The main deity in the temple is Goddess Katyayani, who is part of Navadurga, the nine forms of Hindu goddess Durga or Shakti, worshipped during the Navratri celebrations.

A side shrine within the main temple houses a shrine of Goddess Katyayani (Durga), which opens only during the bi-annual Navratri season, when thousands of people throng the premises for darshan. One nearby room has been made as living room with tables and chairs made in silver, and another regarded as the Shayan Kaksha (bedroom), where a bed, dressing table and table are carved in silver. This shrine opens to a large satsang or prayer hall, where religious discourses and bhajans, (religious songs) are held. At the entrance to the main temple stands an old tree, where devotees tie holy threads for wish fulfillment. Another shrine of Durga is open to devotees morning to evening, it lies above the shrines dedicated to Radha Krishna, and Ganesh.

Thanks for reading.

ANJANEYA TEMPLE

The Anjaneya Temple at Nanganallur, Chennai is a Hindu temple dedicated to the god Hanuman. The principal idol of Hanuman is 32-feet tall and sculpted from a single piece of granite, which the second tallest Hanuman after Panchavatee near Puducherry.

The idol of Hanuman was installed in 1989 and consecrated in 1995. Sri Maruthi Bhaktha Samajam Trust, consisting of people with high spiritual beliefs, wished for this temple. Sri Chandrashekarendra Saraswati mahaswamiji of Kanchi Mutt entrenched the 32-foot idol of Anjaneyar in 1989 and consummated the Kumbabishekam in 1995. The distinguished factor of the 32-feet idol is that it was molded out of a single rock.

The main shrine houses Anjaneya inside a Temple Tower 90 feet tall. Anjaneya is facing west, and thus the main entrance is on the west. There is an auxiliary entrance on the southern side used during temple festivals. The main temple building has path-ways all around the sanctum sanctorum and also a large covered space (mandapa) for devotees to assemble in front of the deity for offering worship.
On the northwest corner is a full-fledged Sannidhi for Lord Rama, Sita, Lakshmana and Hanuman in attendance. The gods are facing east. Rama’s role as the protector and ruler is signified here as Rama is seen carrying his bow, hence the name “Kodanda Rama.” Southwest, is a Sannidhi for Lord Krishna with Rukmini and Satyabhama, all facing east. Even though a Sannidhi for Lord Rama is normally built in Anjaneya temples, rarely a Sannidhi for Lord Krishna is built. In this temple, Krishna Sannidhi is built to remind the devotees that among the gods it was only Hanuman who was present in both the Indian epics—in Ramayana as a direct disciple of Rama, and in Mahabaratha on the flag of Arjuna’s chariot to save it from destruction by the opponents. In the northeast part of the temple, on a small platform, “Vinayaka” is housed facing east and to his left on another platform ‘Naga’ has been installed. Saint Raghavendra has taken his abode facing Lord Krishna.

The temple was run by a private trust – Sri maruthi bhaktha samajam trust – since consecration on 1995. However, widespread allegations of financial irregularities in the administration of the temple and the trust resulted in several complaints and petitions to the Government of Tamil Nadu. This prompted a review and enquiry by the government and upon unsatisfactory response and evidence from the trust, the Hindu Religious and Charity Endowment Department declined exemption and took over the administration of the temple since July 2013. Predictably, this action was severely criticized by Sri Maruthi Bhaktha Samajam Trust, the former management, which was accused of the financial irregularities.

Thanks for reading.

INCREDIBLE INDIA !! [BLOG#32]

JALAKANDESWARAR TEMPLE

Jalakandeswarar Temple is a temple dedicated to Lord Shiva which is located in the Vellore Fort, in heart of the Vellore city, in the state of Tamil Nadu, India.

The temple of the Vijaynagar period stands inside the Vellore Fort, which is under the control of the Archaeological Survey of India, along with the St. John’s Church, Tippu Mahal, Hyder Mahal, Candy Mahal, Badhusha Mahal and the Begum Mahal.
According to legend, there used to a giant ant-hill which had grown over a swayambhu Shiva Lingam at the location where the sanctum sanctorum of temple now stands. This ant-hill was surrounded by stagnant water, as a result of collection of rain water. Chinna Bommi Nayaka, a Vijayanagar chieftain, who was controlling the fort had a dream where the Lord Shiva asked him to build a temple at that location. Nayaka, proceeded to demolish the anthill, found the lingam and build the temple in 1550 CE, and since the Lingam was surrounded by water (called Jalam in Tamil) the deity was called as Jalakandeswarar (translated as “Lord Siva residing in the water”). The temple was built during the reign of the Vijayanagaram king Sadasivadeva Maharaya (1540–1572 CE). The temple also has the statue of Sri Akhilandeshwari Amma, the consort of Jalakandeswarar.

The Jalakanteshwara Temple is a fine example of Vijayanagaram Architecture. The temple has exquisite carvings on its gopuram (tower), richly carved stone pillars, large wooden gates and stunning monoliths and sculptures. These Vijayanagara sculptures are similar to the ones present in Soundararajaperumal Temple, Thadikombu, Krishnapuram Venkatachalapathy temple, Srivilliputhur Divya Desam and Alagar Koyil. The Gopuram of the tower is over 100 ft. in height. The temple also has a Mandapam, with the hall supported by carved stone pillars of dragons, horses and yalis (lion like creature).
The temple itself is built in the middle of a water tank (called Agazhi in Tamil), and there is water surrounding the temple like a garland. The circumference of the water tank is 8000 ft. The wedding hall (Kalyana Mantapam) inside the temple has a two-faced sculpture, that of a bull and an elephant. The water used for bathing the deity (abishekam) is drawn from an ancient well called the Ganga Gouri Thertam, within the temple.

Behind the Nandi statue, there is an earthen lamp, which is said to revolve when some people place their hands on it. The revolving is said to indicate that their wishes have been granted. Some devotees of the temple worship the golden and silver lizard sculptures and the snake sculptures in order to get relief from ‘sarpa dosham’.
The temple was mutilated during the Muslim invasion and capture of Vellore Fort. Following the desecration of the temple during Muslim invasion and rule, worship in the temple was stopped. An Islamic structure was also built to serve as a makeshift mosque, after destroying an Amman (Nagalamman) Temple, which stood on that site. The temple was being used as an arsenal for nearly 400 years. On the fears of desecration, the main deity was moved away to the Jalakanda Vinayakar Temple in Sathuvacheri for safe keeping. The temple was vacant for nearly 400 years. In 1921, the Vellore Fort was handed over to the Archaeological Survey of India for maintenance. At that time, the temple was not used for worship, and the ASI was keen to maintain this status quo. However, in 1981, the deity was brought inside the fort by Mailai Sundaram Guruji of Thangal Ashram and re-installed inside the temple, and worship re-instated.

Several attempts had been made in the 20th century, to re-instate the main deity inside the Jalakandeswarar Temple. However, the Archaeological Survey of India wanted to maintain the status quo, and did want the temple to be used for worship. However, on 16 March 1981, the deity was removed from the Jalakanda Vinayakar Temple in Sathuvacheri and secretly brought inside the fort, hiding it inside a closed truck, and stealthily installed in the early morning hours. The temple was open to religious practices from 1982.

Thanks for reading.

INCREDIBLE INDIA !! [BLOG#31]

MAA DEWRI TEMPLE

Dewri Mandir is a mandir situated in Diuri village, Tamar near Ranchi in Jharkhand in India. It is located near the Tata-Ranchi Highway (NH33). The main attraction of this ancient mandir is, 700 year old murti of the Goddess Durga, Kali. The murti have 16 hands (Normally Goddess Durga has 10 Hands). It is an ancient Mandir and It was renovated few years back. The ancient mandir was constructed by interlocking stones without using chalk or binding material. This temple is also known as, Mata Dewri Diri in tribal Bhumij Munda languages.

At the temple devotees tie yellow and red sacred threads on bamboo for the fulfilment of their wishes. Upon the fulfillment of their wishes, they again come to the temple and untie the thread. Dedicated to Solha Bhuji Goddess, an avatar of Goddess Durga, Dewri Mandir temple is located a little outside the main city of Ranchi. Spread over nearly two acres, this old temple in Ranchi also houses an idol of Lord Shiva here. As per the Legends, whoever has tried to alter the structure of this temple, has had to face the wrath of the gods and suffer consequences. Dewri Temple is also believed to be the only temple where six tribal priests, known as Pahans, perform rituals and offer prayers alongside the Brahmin priests, who are mainly known as Pandas. Located about 60 km from Ranchi, this temple is on the right side of the Ranchi-Tata road, toward the town of Tamar.

It is said that this Mandir was built during 16th to 20th century. The doors of this Mandir is made up of stone. This Mandir’s deity’s Murti have sixteen hands. According to the media reports this Mandir’s murti’s architecture style is similar to the murti’s found in temples of Odisha state.
This mandir is of Maa (mother) Deudi Devi. Devadi Maa is Maa Kali. The Murti of the deity has 16 arms and it is 3 foot tall. Deity is holding bow, shield, flower and param in her arms. Deori Maa’s Murti have different types of Gold jewelry. This deity’s name also reported as Dewri devi.

According to a legend associated with this Mandir this Mandir was built by Adivasi king Kera. It is believed that this Mandir is 700 years old. It is said that this temple was established in year 1300 by King Kera, a Munda king of Singhbhum. Legends says that the king established, built this Mandir, when he was returning from a war after defeating. He established this temple at this very place and by the blessings of goddess Ma (Mother) Kali he got his state back.

According to anathor legend, Chamru pandas (Brahmin) use to come to visit two times in a year to the king of this region. The king asked them to live in this place to do puja, and they started to live at this place. One day these Brahmins was doing tapasya in this wild, when goddess gave darshan (visit) to them and said she wants to meet them. The Brahmins told this incident to the king. King cleared this temple’s area, during this work they found a black stone. The labours returned their respective homes after being tired, they came next day to do work when they saw a mandir formed at this place. Some peoples believes that this mandir was built by Emperor Ashok, when he was on the war campaign of Kalinga (Now knows as Odisha). The Mandir have impact of tribal culture (specially Bhumij tribes). Here tribal peoples do the work of everyday puja. The temple is situated near Ranchi of Jharkhand. Tribal pahans (prist) do the puja for six days of week and only one day a Brhamin do the work of puja at this temple. The Garbhagriha have the murti of Maa Deudi Devi.

Thanks for reading.

INCREDIBLE INDIA !! [BLOG#30]

TULJA BHAVANI TEMPLE

Shree Tulaja Bhavani Temple (Marathi: श्री क्षेत्र तुळजा भवानि देवस्थानम्) is a Hindu temple dedicated to goddess Bhavani. It is located in Tuljapur in Dharashiv district of Maharashtra, India, and is considered as one of the 51 Shakti Pithas. It is situated 45 km from Solapur. The temple was built in 12th century CE by Maratha Mahamandaleshwara Māradadeva of the Kadamb dynasty.

Bhavani is a form of the goddess Durga who is worshipped in Maharashtra, Gujarat, Rajasthan, Telangana, Northern Karnataka, and Nepal. “Bhavani” literally translates to “giver of life”, meaning the power of nature or the source of creative energy. She is considered to be a mother who provides to her devotees and also plays the role of dispensing justice by killing Asuras. Along with temples of Renuka at Mahur, Mahalaxmi at Kolhapur, and Saptashringi at Vani, the temple of Bhavani at Tuljapur forms the four great Shaktipitha in Maharashtra. Shivaji, the founder of the Maratha kingdom, was reputed to frequently visit this temple to seek blessings. The history of the temple dates back to the days of ‘ Skanda Purana ‘ as it finds a mention in that holy script. According to the epic story, there was a sage “Kardam” and his consort “Anubhuthi’ with an infant, in this area. After his death his wife “Anubhuthi” performed a penance for goddess in the name of Bhavani on the banks of the river “Mandakini” to look after her child. There was a demon (Rakshasa) by name “Kukur” who tortured her. Then Goddess Bhavani rescued Anubhuthi and killed the demon. The goddess on the prayer of her favourite devotee settled on the hill of “Bala Ghat”. Since then the Mother Goddess came to be called as Bhavani of Tuljapur or Tulja Bhavani. The Bhavani temple is the place where Shivaji, the founder of the Maratha empire was blessed by the Goddess.

Tulajapur is at 45 km from Solapur. Historically this temple was built in the 12th century CE. There is another Tulja Bhavani temple built in 1537-1540 in Chhattisgarh. There is a third temple of Tulja Bhavani in the village of Patnakuva Gandhinagar in Gujarat. According to the priest, this Goddess came here from Tuljapur during 14th century. The Goddess is said to be swayambhu (self emanated). The Goddess is kuldevi (clan goddess) for many Maratha clans of Maharashtra. The Goddess is either revered by or is the Family Deity for many other Marathi castes at different levels of social hierarchy.
Along with temples of Renuka at Mahur, Mahalaxmi at Kolhapur, and Saptashringi at Vani, the temple of Bhavani at Tulajapur forms the four great Shaktipitha in Maharashtra. Many legends are associated with the temple. One legend involves a demon, Madhu-Kaitabh, who was wreaking havoc upon both the gods and humans. Unable to find any solution, they turned to Lord Brahma for help, who advised them to turn to the Goddess Shakti. She took up the form of a destroyer, and powered by the other (Sapta) Mata Varaahi, Brahmi, Vaishnavi, Kaumaari Indraani, and Saambhavi, vanquished the demon and restored peace. Legend also states that Bhavani finished another demon that had taken up the disguise of a buffalo (Mahisha), and took shelter on the Yamunachala Hill which is part of Balaghat mountain range. The Tulajabhawani temple is located on this hill. Another legend mentions the story of a sage known as “Kardam” After his death his wife “Anubuti” had performed a penance at the banks of river “mandakini ” for Bhavani mata to look after her infant child. While performing the penance the demon known “Kukur” tried to disturb her penance during which the Goddess came to the aid of “Anubuti” and killed the demon “Kukur”. From that day onwards the Goddess Bhavani came to be known a Tulaja Bhavani.

The main entrance of the temple bears the name of Sardar Nimbalkar. The other two entrances are named after the parents of Chhatrapati Shivaji, Shahaji and Jijabai. As one enters the Sardar Nimbalkar entrance, there is a temple dedicated to Markandeya Rishi on the right. After descending the stairs, one sees the main Tulja Temple. There is yagna kund (Holy fire pit) in front of this temple. On the floor near two main gates (Raja Shahaji Mahadwar and Rajmata Jijau main gate), there are two libraries named, Shree Santh Dnyaneshwar Dharmik Library and Shree Tukaram Dharmik Library. After alighting from the stairs, there is `Gomukh Theerth` on the right side and `Kalakh`, also known as `Kallol Theerth` on the left side. Before entering the sanctum sanctorum of the Goddess, devotees take a dip here in these theerths (Shallow tanks of “holy” water). There are also Amruth Kund and a Datta temple on the premises. A Siddhi Vinayak temple is situated on the left side of the main gate whilst on the right, there is a temple of Aadishakti, Aadimata Matangadevi. A temple of goddess Annapurna is also present in the main complex.

The idol of Goddess Tulja Bhawani is believed by her devotees to be `swayambhu` (“self-manifested” or “that which is created by its own accord”). The high granite idol is three-foot tall, with eight arms holding weapons, and bearing the head of the slain demon Mahishasura. The Goddess is also known as Tulaja, Turaja, Tvarita and Amba.The Goddess is kuldevi (clan goddess) for Maratha clans of Maharashtra. The Goddess is either revered by or is the Family Deity for many castes including Bhope, Dhangar,Mali, Deshastha Brahmin, Bharbhunja, Burud, Kolhati, Gavli, Jogi, Johar, San Teli, Gavandi, Pangul, Sonar, Lonari, Kasar, Bhute, Kalar, Aagri and Koli.Adi maya Adi shakti temple is the temple north to the Tulajabhavani temple. First this pooja starts, and is then followed by the pooja of Tulajabhavani which then takes place.

Thanks for reading.