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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.

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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.

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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.

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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.

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INCREDIBLE INDIA !! [BLOG#29]

POLALI RAJARAJESHWARI TEMPLE

Polali Rajarajeshwari Temple is a temple located in Polali, Dakshina Kannada district in Karnataka. The primary deity of the temple is Shri Rajarajeshwari. The temple was constructed in the 8th century AD by King Suratha and has been developed by many dynasties which ruled over the region. The idol of Sri Rajarajeshwari, another name/form of the divine Goddess Sri Lalita Tripurasundari, is completely moulded from clay with special medicinal properties. The temple portrays Hindu architecture with roofs adorned with wooden carvings of gods and copper plates. Daily and special poojas are conducted in the temple under the auspices of the head priest madhava bhat. Annual festivals are held in the temple with much fanfare. Polali Chendu festival is an important festive event where football is played to represent the fight of good over evil. The Chendu festival is followed by the annual festival in March, which lasts for a month and is attended by people from all over the world.

The temple is located in Polali on the banks of the river Phalguni in Kariyangala village of Bantwal taluk, Dakshina Kannada, Karnataka. The temple is surrounded by lush paddy fields. The Phalguni river flows on the northern side of the temple. The nearest city from the temple is Mangalore at 19 km away.
The place where the temple was located was known as Pural in ancient times. The word Pural means Flute in Tulu language. The origin of the word Pural is the Mugera language. The word Pural or Purel also has the meaning of changing sides, which may also apply in this case as the river takes an abrupt turn near the temple. In Sanskrit, it was referred to as Paliapura, which later came to be known as Polali in Kannada. In several ancient epigraphs and records, the main deity of the temple was referred to as Porala Devi.

The temple has been referred to in many ancient inscriptions, including the Markandeya Purana, Ashoka inscriptions and travel accounts of ancient travellers. According to an inscription discovered in the vicinity of the temple, the temple around the clay idol was built in 8th century AD. It is a widely held belief that the temple was built by King Suratha, and that the king offered his own crown, studded with precious jewels, to be placed on the head of the deity. The king, having lost most of his kingdom in a war and being betrayed by his own ministers, is believed to have taken refuge under a sage named Sumedha in forests located around what is the location of the temple now. The clay idol of the main deity in the temple is historically believed to be up to 5000 years old. The king is reported to have carved the clay idol of Shri Rajarajeshwari himself and offered penance to the deity in return for his kingdom. Many ancient inscriptions alluding to the temple were reported around the temple, but were lost over time primarily due to the neglect of their keepers. The remaining inscriptions, which are available today were obtained in kariyangala village, Ammunje and in the temple itself and is now under custody of the Karnataka Government.

The region surrounding the temple were ruled by many dynasties including Kadamba, Chalukya, Alupa, Rashtrakoota, Hoisala, Vijayanagara, Ikkeri, Mysore etc. Most of these dynasties spent a lot of resources on this temple and donated agricultural lands for the benefit of the temple. Kings from the Alupa dynasty, which ruled the region around 710 AD to 720 AD were particularly noted to have contributed to the development of the temple and to have encouraged the worship of Shri Rajarajeshwari in the region. In later years, Queen Chennammaji of Keladi is reported to have visited the temple and gifted the temple with a grand chariot.

Records written by Abdul Razzak in 1448 suggest that the temple was initially built from molten brass. He recorded that the temple had four platforms. An image of the deity, 5 to 6 feet in height, with red rubies for eyes were present on the highest of the platforms. Today, the idol of the main deity, Shri Rajarajeshwari is a stucco image of the deity with a height of 10 feet. The clay used for making the idol was specially prepared with herbal mixtures for added strength. The temple also has smaller idols for other deities including Subramanya, Bhadhrakali, Mahaganapathi and Saraswathi. During a religious event named Lepashta Gandha, the idols are coated with a special soil mixture with eight medicinal properties once every 12 years. The soil used for coating was prepared hundreds of years ago and not prepared freshly on each occasion. The roof of Mukhamantapa, a section of the temple has many Gods and Goddesses exquisitely carved in wood. The roofs of other sections of the temple like the Dhwajastambha, the Garbagriha and the Pillar of lights are covered in copper plates.

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