Jantar Mantar

antar Mantar is very popular among tourists and the people of Delhi. The structure is another great masterpiece of Indian architecture which shows the scientific acumen of ancient India. Jantar Manter is situated at Parliament Street, very close to Connaught Place. Jantar Mantar is also called Delhi Observatory. It is maintained by the Jaipur government because it was built by Maharaja Sawai Jai Singh II of Jaipur in 1710 A.D.

It is a remarkable structure which consists of fourteen geometric devices used for measuring time, forecasting weather changes, predicting behaviour of planets and finding extraterrestrial altitude. All these devices are fixed structures and point to a specific direction. The largest device or instrument is the Samrat Jantar which is 90 feet high and its shadow is plotted in such a manner so that is shows the exact time of the day. Any weather change or the onset of monsoons can be ascertained by the Hindu Chhatri, which is a small domed structure. 


The whole structure is made of stone and marble with each of then having an engraved astronomical scale. Jantar Mantar finally got the status of a national monument in 1948. It has always attracted architects, historians and scientists from all over the world. 

Maharaja Jai Singh was a fanatical astronomer himself who studied various works from Hindu, Muslim and European astronomy. He had the perception that the tables used by the pundits were deceptive and the actual planetary changes and predictions of eclipses would not have been possible through these measuring parameters. So he thought that he would find an improved and efficient means through which exact prediction could be made. It was his own inspiration and foresightedness that gave shape to such an instrument. He built other observatories at Jaipur, Ujjain, Benares and Mathura to have an exact calculation. It took almost seven years before the whole structure was fully operational because he wanted to be fully satisfied with the accuracy of the instruments at Jantar Mantar.

Some of the major instruments at Jantar Mantar are:

• The Samrat Yantra 'Prince of Dials' (the largest device)
• The Ram Yantra - two circular buildings
• The Jai Prakash
• The Misra Yantra (north-west to the Samrat Yantra)
• Pillars on the southwest of Mishra Yantra used to measure the shortest and longest days of the year.

The Samrat Yantra measured the accurate time of the day. It also measured the declination of the sun which can be seen by the shadow moving around the structure.

The Jai Prakash shows the sun's position at the time of equinox. There is a hole near the bottom of the structure which witnesses sunshine only once in a year that is on 21 march, called vernal eqinox. 

 
Another important structure called the Ram Yantra, consists of two large buildings with open top. Both these two buildings form a complete device. The device is used to measure the altitude of stars which is equivalent to the latitude and the longitude on the earth. 


To the north-west of the Prakash Yantra, there is a structure or instrument called Mishra Yantra. It consists of five instruments. Pillars on the southwest of Mishra Yantra are used to measure the shortest day (21 December) and the longest day (21 June) of the year.

It is no denying the fact that the structure does represent the scientific heritage of India, though not being used in the modern scientific research. Having said that, we must give accreditation to the Jantar Mantar for its scientific acumen which could have reaped more fruits had there been appropriate motivation and resource given for research and development.

Fatehpur Sikri

The City At A Glance
Sikri was a decrepit little village till the Mughal Emperor Akbar came visiting in 1568. Despite marrying the Amber princess Jodhabai in 1562, and having over 300 concubines at his beck and call, the monarch was childless.
Desperate for an heir, Akbar visited the saint, Shaikh Salim who was encamping here and who predicted that Akbar would have a son within 3 years. As fate had willed it, Jodhabai bore him a son the next year. The emperor named him after the mystic.
Not only that, he decided to move lock stock and barrel to the place and named it Fatehpur, or the ‘City of Victory’. His military conquest of Gujarat might also have persuaded him to shift base as must have the local abundance of red sandstone. In fact, apart from the marble-white mausoleum of Salim, nestling in one corner of the Jami Masjid – the city is entirely built out of red sandstone.

 The Main Attractions

Diwani-i-Am
The Diwani-i-Am (Hall of Public Audience) is where the monarch sat and lent a patient ear to all the petitions he received. A paved courtyard called the Pachisi was where the monarch played chaubar, a game that closely resembles chess– using slave girls as pieces.

Diwani-i-Khas
TheDiwani-i-Khas nearby housed theIbadat Khana or the ‘House of Worship’ where the emperor debated various systems with noted theologians.
Although semi-literate, Akbar was the most liberal of the Mughal emperors, and in 1579, he was declared the highest authority in matters of religion by the famous ‘infallibility decree’. Three years later, the emperor founded Din-a-Ilahi or the ‘Religion of God’ which was an amalgam of all the major religions of the world. Decried by religious zealots from his own community as an apostate, Din-a-Ilahi disappeared as a faith after Akbar’s death in 1605.

Ankh Michauli
As you enter the Ankh Michauli (Closed Eyes) pavilion, you realise that Akbar could be as flippant as he was profound. Here the Mughal played ‘blind man’s buff’ and indulged in frivolous pranks in the company of his harem.

Jodhabai’s Palace
Jodhabai’s Palace is befittingly the grandest of all palaces in Fatehpur Sikri – as she was his most favoured wife and the mother of the crown prince. Other notable palaces at Fatehpur Sikri are the five-storeyed Panch Mahal and the Hawa Mahal.

Friday Mosque
Begun in 1571 and completed four years later, the Friday Mosque was the largest of its kind in India at the time, measuring 168 metres by 144, with a huge inner courtyard.
The Buland Darwaza or ‘Sublime Gateway’ was added later to commemorate Akbar’s military conquest of Gujarat.
The gateway, which rises to a height of 45 metres, presents an awesome spectacle of isolation, and has exquisite Persian calligraphy inscribed on it. 
It says, “ The world is a bridge. Pass over it but build no house upon it, for whoever hopes for one hour, hopes for all eternity. The world is one hour. Spend it in prayer, for the rest is unseen”. No more eloquent epitaph to the Mughal Empire – or any other empire can be written.

Salim Chisti’s Mausoleum
and a trip to Fatehpur Sikri would be incomplete without visiting Salim Chisti’s Mausoleum – the sage who played an important role in Akbar’s life. Issueless parents visit his shrine in droves to pray for sons as Akbar did over four centuries ago. They tie little cords and paper wishes to the screens and any other object they can find.

The Everlasting Glory of Fatehpur Sikri
By 1585, Akbar wearied of the dry, hot climate of the city and moved to the cooler climes of Lahore. Within a few years, the pomp and pageantry of the city vanished – but the sandstone monuments endure to this day. Such were the construction methods employed, that there is not a single derelict monument in the city. The Mughal Empire has long since vanished from the firmament but the greatest of the Mughal emperors, Akbar etched his name forever in the sands of time by building the Fatehpur Sikri.

Qutub Minar in Delhi

Constructed As A Holy Minar 

The world famous towering Qutub Minar, started in 1192 by Qutub-ud-din Aibak (1192-98), breathes down the neck of the Quwwat-ul-Islam mosque. There is a slight difference of opinion as to its purpose: it probably was a tower of victory, but then again it could have been built to be a minar (tower), attached to the Quwwat-ul-Islam mosque, for the muezzin (priest) to climb up top for a prayer.  

Other Belief of Its Construction
Among Delhites there are lots of other theories about the origin of the tower. Some say it was the observatory of the great scientist Aryabhatta of ancient India, other claim that it was built by Prithvi Chauhan for his daughter to see the Yamuna. In fact everything short of an extraterrestrial origin has been attributed to it. The presence of the ancient non-rusting Iron Pillar within the complex further appears to add credence to the first theory. However the tower, its entire design and architecture are undisputedly Islamic and all the other theories are just matters of wild surmise.

Considering how shortchanged he was for time, it is doubtful that Qutub-ud-din got much further than a couple of levels of the minar, in fact many suggest that lived to see only the first storey complete. Altamash, his successor, completed the remaining tower. 

 Measures Taken To Keep The Minar In Perfect Shape
It is clear that the tower was very close to the sultanate's heart, since repeated efforts were made to keep it in perfect shape. In its long career, the tower got hit by lightening twice – something that, of course, with its height it was literally asking for. Once during the reign of Muhammad-bin-Tughlaq, who very decently repaired the ensuing damage. The next time was in the indefatigable builder Feroze Shah Tughlaq's time, when the topmost storey got damaged. Feroze Shah, who of course couldn't well leave things alone, not only repaired the floor, but also sneaked in another level. 

The result of this combined effort is an interesting mix in styles that is clearly discernable all over the tower. Each of the original three storeys has different designs. The base storey has alternate angular and circular flutings while those of the second one are round and the third one has only angular flutings. Their alignment is mercifully similar, so giving the tower a rhythmic harmony. The pretty projecting balconies have a very interesting pattern, with icicle-shaped pendentive (an intricate design in which triangular pieces of vaulting spring from the corners of a rectangular area and support a rounded or polygonal dome) type of brackets. The attractiveness of the balconies is heightened by the bands of sonorous inscriptions. The diameter (at base) of the Qutub Minar is 14.32m and about 2.75m at the top. 

 The Attraction of Crownig Cupola
The tower had a crowning cupola on the top at one time, however this was struck down sometime in the early 19^th century, an earthquake felled it. This was replced by a well meaning English engineer Major Smith. However it must have looked quite an eyesore for when Lord Hardinge was Governor-general of British India, he had it removed. You can see it now on the spruce lawns of the Qutub complex. Come to think of it, it must have been eyesore – it's called Smith’s folly.

India Gate

Situated at the banks of Yamuna river, Delhi, the capital of India, is a vibrant modern city with an ancient and eventful history. The city with its multi-faceted culture can aptly said to be a microcosm of the whole nation. Visit to the city offers a unique two-in-one experience as New Delhi with its wide roads and high rise buildings gives a feel of being in a contemporary city whereas a stroll down the streets of Old Delhi can easily take one to a bygone era with its narrow lanes and old 'havelis'. Delhi has thousands of historical monuments and places of religious importance.

India Gate, an important monument of the city, is a memorial built in commemoration of more than 80,000 Indian soldiers who were killed during World War I. The monument is an imposing 42 meters high arch and was designed by the famous architect Edwin Lutyens. India gate was earlier named All India War Memorial. The design of India gate is almost similar to its French counterpart war memorial, the Arc-de-Triomphe.

The building is made of red stone that rises in stages into a huge moulding . On top of the arch, INDIA is written on both sides. Names of over 70,000 Indian soldiers are inscribed on the walls of the monument in whose memory it is built. There is a shallow domed bowl at the top, which was intended to be filled with burning oil at special occasions.

At the base of the India gate there is another memorial, the Amar Jawan Jyoti that was added after independence. This eternal flame was lighted in commemoration of the unknown soldiers who laid their lives to serve this nation.

The lush green lawns, Children Park and the famous boat club around the place make it a perfect picnic spot. Cool evening breeze near the fountains of India gate attract hundreds of visitors daily. In the evenings, India gate is illuminated with number of lights around it that gives it a magnificent appeal. Standing near the base of the monument one can have a good view of the Rashtrapati Bhawan. The beautifully lit up monument provides a memorable background against the darkening sky. Even in daylight, the stretch between India Gate and the Rashtrapati Bhavan offers a splendid view.

Every year on 26^th January India gate stands witness to the Republic Day parade where latest advancements of defence technology is displayed. The parade is also a good platform to have a glimpse at the colourful and diverse cultural heritage of India as artists from all over the country perform on the occasion.

Konark Temple

The temple takes the form of the chariot of Surya (Arka), the sun god, and is heavily decorated with stone carving. The entire complex was designed in the form of a huge chariot drawn by six spirited horses on twelve pairs of exquisitely decorated wheels.

The entrance is guarded by two giant lions, which are each shown crushing a war elephant. Each elephant in turn lies on top of a human body. The temple symbolises the majestic stride of the Sun god. At the entrance of the temple is a Nata Mandir. This is where the temple dancers used to perform dances in homage to the Sun god. All around the temple, there are various floral and geometric patterns.The temple is now partly in ruins, and a collection of its sculptures is housed in the Sun Temple Museum, which is run by the Archaeological Survey of India. The poet Rabindranath Tagore wrote of Konark: "here the language of stone surpasses the language of man."

The Sun Temple, built in the thirteenth century, was conceived as a gigantic chariot of Sun God, with twelve pairs of exquisitely ornamented wheels pulled by seven pairs of horses. Majestic in conception, this temple is one of the most sublime monuments of India, famous as much for its imposing dimensions and faultless proportions as for the harmonious integration of architectural grandeur with plastic allegiance. Every inch of the temple is covered with sculpture of an unsurpassed beauty and grace, in tableaux and freestanding pieces ranging from the monumental to the miniature. The subject matter is fascinating. Thousands of images include deities, celestial and human musicians, dancers, lovers, and myriad scenes of courtly life, ranging from hunts and military battles to the pleasures of courtly relaxation. These are interspersed with birds, animals (close to two thousand charming and lively elephants march around the base of the main temple alone), mythological creatures, and a wealth of intricate botanical and geometrical decorative designs. The famous jewel-like quality of Orissan art is evident throughout, as is a very human perspective which makes the sculpture extremely accessible.

Konark Sun Temple at Night

The temple is famous for its erotic sculptures, which can be found primarily on the second level of the porch structure. It will become immediately apparent upon viewing them that the frank nature of their content is combined with an overwhelming tenderness and lyrical movement. This same kindly and indulgent view of life extends to almost all the other sculptures at Konark, where the thousands of human, animal, and divine personages are shown engaged in the full range of the 'carnival of life' with an overwhelming sense of appealing realism. It is admittedly the best in Orissa. Its fine traceries and scrollwork, as well as the beautiful and natural cut of animal and human figures, give it a superiority over other temples.

The Sun temple belongs to the Kalinga School of Indian Temples with characteristic curvilinear towers mounted by cupolas. In shape, the temple did not make any major departure from other sikhara temples of Orissa. The main sanctum which (229 ft. high) was constructed along with the audience hall (128 ft. high) having elaborate external projections. The main sanctum which enshrined the presiding deity has fallen off. The Audience Hall survives in its entirely, but only small portions of the Dancing Hall (nata Mandir) and the Dining Hall (Bhoga-Mandap) have survived the vagaries of time. The Temple compound measures 857 ft (261 m) by 540 ft (160 m)

The alignment of the Sun Temple is on the east-west direction. The Temple is located in natural surroundings, abounding with casuarina plantations and other types of trees such as mahogany, rosewood, eel which grow on sandy soil.

Kalapahad

The most popular theory about the root of the fall of Konark temple rests with the Kalapahad, the general of Bengal Sultan Sulaiman Karann. According to some accounts Kalapahad was formerly a Hindu Kayasth officer, however he had converted to Islam. According to Afsanah-i-Shahan of Shaikh Kabir Batini , he was a Batini Afghan. According to the history of Orissa, Kalapahad invaded Orissa in 1508. He destroyed Konark temple, as well as a number of Hindu temples in Orissa. The Madala Panji of Puri Jagannath temple describes how Kalapahad attacked Orissa in 1568. Including Konark temple,
he broke most of the images in most of the Hindu temples in Orissa. Though the stone walls are of 20 to 25 feet (7.6 m) thick, he somehow managed to displace the Dadhinauti (Arch stone) and thus caused the tower to collapse. He also damaged most of the images and other side temples of Konark. Due to displacement of the Dadhinauti, the tower gradually collapsed and the roof of the Mukasala was also damaged, due to the stones falling down from the temple top.

Orissa came under Muslim control in 1568. There were constant attempts to destroy the Hindu temples. The Pandas (priests) of Puri, to save the sanctity of the Puri temple, took away the Lord Jagannath from the Srimandir and kept the image in a secret place. Similarly, it is said that the Pandas of Konark took away the presiding deity of the Sun temple and buried it under the sand for years. Latter on the image was said to have been removed to Puri and kept in the temple of Indra, in the compound of the Puri Jagannath temple. According to others, the Puja image of the Konark temple is yet to be discovered. But others hold the view that the Sun image now kept in the National Museum of Delhi was the presiding deity of the Konark Sun temple.

The Sun worship in the Konark temple ended upon the removal of the sacred image from the temple. This resulted in the end of pilgrimages to Konark. The port at Konark was also closed, due to pirate attacks. Konark was as glorious a city for Sun worship as it was for commercial activities, but after the cessation of these activities, Konark became deserted and was left to develop as a dense forest for years.

In 1626 the then king of Khurda, Raja Narasimha Dev, son of Purusottam Dev, took away the Sun image to Puri along with two other moving deities - Sun and Moon. Now they are found in a temple in the compound of Puri Jagannath temple.

As described earlier there was a big block of stone called Navagraha Paata placed in front of the Mukhasala. The then king of Khurda removed the block. The king had taken away many sculptured stones from Konark and constructed some portions of Puri temple with them. During Marahatta's time the outer compound wall of the Puri temple was constructed of stones from Konark temple.

It is reported that among all the temples the Naata Mandir or the Dancing hall of Konark was in its original form for the longest period, and that it was broken intentionally since it was considered an unnecessary structure during the Marahata administration.

In the year 1779, a Marhatta Sadhu had taken away the Arun Pillar from Konark and put it in front of the Lion's Gate of Puri Jagannath temple. Thus by the end of 18th century Konark lost all its glories and had been turned to a dense forest. In course of time, the temple area thus became devoid of people, covered with dense forest, full of sand, filled with wild animals and became the abode of pirates. It is said that even the locals feared to go to Konark in broad daylight

Elephanta Caves

The Great Cave at Elephanta is one of the great monuments near Bombay. It is one in a complex of Hindu caves on Gharapuri (Elephanta is the name given to the island by the Portuguese), dating to the sixth century AD.

The cave is designed to accommodate Hindu ritual of circumambulating the cave, and encountering a number of images related to Shiva, in a great mandala.

One of the major attractions of Maharashtra, the Elephanta Caves are situated near the metropolitan city of Mumbai. The Elephanta island is located 10 km away from the Gateway of India. There are various rock cut temples present in these caves, which are as old as 5th century.
The Elephanta island was named by the Portuguese, after the statue of an elephant near the landing area of the island.

The Mystical Images
The magnificent image of Sadasiva, a manifestation of Shiva, is carved in relief at the end of the north south axis. The stupendous 20 feet high image of the three headed Shiva, known as Trimurthy is a magnificent one. It is regarded as a masterpiece of Indian art. This huge image represents Panchamukha Shiva, whose only three faces are carved into the wall. It attracts your attention just as you enter the temple through the northern entrance.

Along with this image there are grand sculptured images of Kalyanasundara, Gangadhara, Ardhanariswara and Uma Maheswara on the southern wall. Other sculptured images of Nataraja and andhakaasuravadamoorthy are to the west of the northern entrance and the images of Yogiswara and Ravanaanugrahamurthy are to its east.

There are three entrances to the main temple in the complex- from the north, east and west. The main gallery is divided by columns into equal rows and aisles. To the west, and outside this area, is a square sanctuary containing a monolithic Linga.

The huge, high-relief works in the main cave, on both sides of the three entrances and on the south wall, are characteristic of the cult of Siva and considered to be among the most perfect expressions of Indian art of their time. The most well-known is the six metre high Trimurti, showing Siva in the three roles of creator, preserver and destroyer. This sculpture is supposed to be one of the centerpieces of the Indian sculptural tradition. Other panels include representations of Siva as Ardhanarisvara (part female), Kalyana-sundara and Nataraja.

Known as Gharapuri since the time of the Konkani Mauryas, the island's present name is due to a sculpture of an elephant found here. This piece was moved to the Bhau Daji Ladd museum near the Jijamata Udyan in Bycullah, where it can still be seen.

How to Reach
Mumbai is easily accessible from all parts of India by a good network of air, rail and roads. The Elephanta caves can also be reached by ferry from the gateway of India.
Air - The nearest airport is Mumbai International Airport
Rail - Nearest railheads are Church gate, Chhatrapati Shivaji Terminus.
Road - One can reach Mumbai by road from the neighboring states as regular bus services are available. One has to take a ferry from Appollo Bunder near the Gateway of India to reach the cave temples.

Chhatrapati Shivaji Terminus

Chhatrapati Shivaji Terminus (CST), a railway station, is a brilliant specimen of the Victorian Gothic style of architecture in India. Once called Victoria Terminus, the station is positioned on the suburban railway tracks of Mumbai. CST also serves as the headquarters of the Central Railways of India. Attributable to its wonderful structural design, CST was acknowledged as a 'World Heritage Site' by UNESCO in 2004.
Chhatrapati Shivaji Terminus is one of the busiest railway stations in the country. The edifice, designed by F.W. Stevens, turned out to be the icon of Bombay as the 'Gothic City'. It also became the major mercantile port of India. It took around ten years to construct the terminus as per the classic structures of the late 19th century. The westernmost terminus of the Central Railway, CST is a railway architectural marvel because of its sophisticated structural and technical solutions.

Built in 1888, Victoria Terminus boasts of spectacular stone dome, turrets, pointed arches and unusual ground plan, unlike the traditional Indian architecture. Its fine interiors, like wood carving, tiles, ornamental iron, brass railings, etc, reflect the efforts of students at the Bombay School of Art. Chhatrapati Shivaji Terminus represents an excellent fusion of two cultures. During its construction, British architects worked with the Indian craftsmen, exchanging notes to give a new look and style to Bombay.