Welcome to India

MumbaDevi Temple - Mumbai

2019-02-01T01:23:00.000-08:00

MumbaDevi temple is one of the oldest city temples and is said to be the goddess who protects Mumbai city from all natural calamities. The current name of the city Mumbai is the original name; and is an eponym derived from "Mumba", the name of the local Hindu goddess Mumbadevi, and "Aai", meaning "mother" in Marathi.

History

This temple was built in honour of the Goddess Amba. The Mumbadevi temple is six centuries old. The first Mumbadevi temple was situated at Bori Bunder and is believed to have been destroyed between 1739 and 1770. After the destruction, a new temple was erected at the same place at Bhuleshwar.

The Goddess personifies Mother Earth and is still worshipped by the Hindu population of the northern Indo-Gangetic plain and southern India alike. The original temple built at the site where the Victoria Terminus station earlier was by Koli fishermen was demolished around 1737 and a new temple was erected in its place at Phansi Talao. The modern shrine contains an image of the Goddess Mumbadevi dressed in a robe with a silver crown, a nose stud and a golden necklace. To the left is a stone figure of Annapurna seated on a peacock. In front of the shrine is a tiger, the carrier of the Goddess.
The present name of the city is derived from the Goddess Mumbadevi. The temple itself is not impressive but is an important landmark as it is dedicated to MumbaDevi, the city's patron deity.

Highlight For Tourist

Address: 9, Mumba Devi Marg Mumbadevi Area, Bhuleshwar Mumbai
Transportation

How to reach By Air: Chhatrapati Shivaji International Airport is just 20 KM from Mumbadevi temple.
How to reach By Rail: One can reach Mumba Devi Temple easily by boarding local trains from the city. Chhatrapati Shivaji Terminus which is 1 km away from Mumbadevi Temple.
How to reach By Bus or Road: One can hire auto-rickshaws or taxis from any area of the city.

Open Days: Close on Every Monday of week
Visit Duration: 30 Minutes
Photography: Allowed
Timing: 5:00 AM to 9:00 PM
Aarti Timing: In Morning 7:00 AM and In Evening 7:00 PM
Best time to visit: any time of the year but special on Navratri
Entry Fee: Free to all
Not Allowed: Footwear inside Temple

Location

Taj Mahal A Symbol of Love

2017-09-20T05:54:00.000-07:00

The Taj Mahal in Agra is a massive sepulcher of white marble, worked in the vicinity of 1632 and 1653 by request of the Mughal sovereign Shah Jahan in memory of his most loved spouse. Called "a tear on the cheek of time everlasting" it is one of the magnum opuses of Mughal engineering, and one of the colossal vacation spots in India. Other than the white domed marble catacomb the Taj Mahal incorporates a few other wonderful structures, reflecting pools, and broad decorative patio nurseries with blooming trees and hedges.

Appointed in 1632 by the Mughal head Shah Jahan to house the remaining parts of his loved spouse, the Taj Mahal remains on the southern bank of the Yamuna River in Agra, India. The well-known sepulcher mind-boggling, worked over 20 years, is a standout amongst the most exceptional cases of Mughal design, which joined Indian, Persian and Islamic impacts. At its inside is simply the Taj Mahal, worked of shining white marble that appears to change shading contingent upon the daylight or moonlight hitting its surface. Assigned an UNESCO World Heritage site in 1983, it stays one of the world's most commended structures and a staggering image of India's rich history.

It's the city of Agra that has gotten the respect of having one of Seven Wonders of the World, the Taj Mahal: a dwelling place everlasting Love, in its yard. Situated in the northern province of Uttar Pradesh, India, Agra has been one effective city since the medieval circumstances.

Direction: Google Map

Via Air
The speediest method for achieving Taj Mahal, Agra is via air. The city of Taj, Agra, has its own particular airplane terminal that is around 7 km from the downtown area. Indian Airlines works flights to Agra every day.

By Rail
There is a decent system of trains interfacing Agra with whatever is left of the nation. Aside from the fundamental railroad station of Agra Cantonment, there are other two stations likewise, that of Raja-ki-Mandi and Agra Fort. The primary trains interfacing Agra with Delhi are Palace on Wheels, Shatabdi, Rajdhani, and Taj Express.

By Road
There are consistent transport administrations from Agra to various essential urban communities. The primary transport remain of Idgah has various transports running for Delhi, Jaipur, Mathura, Fatehpur-Sikri, and so on.

Nearby Transportation
In the wake of achieving the city likewise, you require some kind of neighborhood transport to achieve Taj Mahal. You can undoubtedly get taxi, beat, auto-rickshaw and cycle rickshaw in the city that will take you to your goal. Prepaid cabs are likewise accessible in the event that you need to visit the different places close to the city. For the audacious kind, there are bikes that can be procured on hourly premise from various parts of the city. Since diesel and petroleum vehicle are not allowed in the region of Taj Mahal zone, you can discover battery-worked transports, horse-driven tongas, rickshaws and other contamination free vehicles there.

Hotels near Taj Mahal

The Oberoi Amarvilas
Hotel Sheela
Hotel Sidhartha
Hotel Kamal
Saniya Palace Inn
Shanti Lodge

Orissa Temples History

2011-05-03T02:16:00.000-07:00

The temples of Orissa exhibit a majestic grandeur. An Orissan temple (deul) usually consists of a sanctum, one or several front porches (jagamohana) usually with pyramidal roofs, a dancing hall (nata mandir) and a hall of offerings (bhog mandir).

The Lingaraj temple at Bhubaneswar boasts of a 150 foot high deul while the Jagannath Temple at Puri is about 200 feet high and it dominates the skyline of the town. Only a portion of the Sun Temple at Konark, the largest of the temples of the Golden triangle exists today, and it is still staggering in size. It stands out as a masterpiece in Orissan architecture.

The landscape of Orissa is dotted with a large number of temples. The temples of Orissa conform to the Indo Aryan Nagara style of architecture, with distinctive features specific to this region. The best known of these are the Lingaraja temple at Bhubaneshwar, Jagannath Temple at Puri and the Sun Temple at Konark.

There are two famous temples in Orissa

1.Lingaraja Temple at Bhubaneshwar

Lingaraj Temple is a temple of the Hindu god Harihara and is one of the oldest temples of the Temple City Bhubaneswar, a revered pilgrimage center and the capital of the state of Orissa.

The temple of Lingaraja, the biggest of all at Bhubaneswar is located within a spacious compound wall of latterite measuring 520 feet by 465 feet. The wall is 7 feet 6 inches thick and surmounted by a plain slant coping.

2.Jagannath Temple at Puri

The celebrated Temple of Lord Jagannath now existent at Puri was constructed by Raja Ananta Varman Chodaganga Dev in 12th century A.D. The wooden images of Jagannath Balabhadra and Subhadra were installed in that temple. The management of the temple continued under the Hindu rulers till 1558, when the State of Orissa was conquered by the Afghan Nawab of Bengal and the temple was attacked by the Afgan General ‘Kalapahad’. Then, an independent Khurda kingdom was established by Ramachandra Deb, who assumed the management of the temple. He consecrated the temple and reinstalled the deities. Raja Mansingh, a General of the Mughal King Akbar, defeated the Afghans and annexed Orissa in to the Mughal dominion. It remained under the Mughals till 1751 A.D. Till 1760, the temple continued under the Khurda Raja, who was paying tribute to Mughals and Marhattas. Marhattas took up direct management of the temple till 1803. The Britishers annexed Orissa into British empire in 1803 and allowed Puri Raja to manage the temple. The position continued till 1947.

Autographs of Some Indian Legends

2011-02-10T02:52:00.000-08:00

A P J AbdulKalam

Abul Kalam Azad Maulana

Amartya Sen, Dr.

Dr .B. R. Ambedkar

Amithab Bachchan

Asha Bhosle

Baba Amte

Bala Gangadhar Tilak

Bipin Chandra Pal

Bismillah Khan Ustad

C.K. Nayudu

Chandu Borde

Chiranjeevi

Chittaranjan Das

Dev Anand

Gopal Krishna Gokhle

Har Gobind Khorana

Hariprasad Chaurasia Pandit

J.R.D. Tata

Jagjivan Ram

Jawaharlal Nehru

Jayprakash Narayan

Kapil Dev

Khan Abdul Gafar Khan

Koneru Humpy

Lal Bahadur Shastri

Lala Amarnath

Lata Mangeshkar

M.F. Husain

Mahatma Gandhi

Mangalampalli Balamuralikrishna

Dr. Manmohan Singh

Maulana Abul Kalam Azad

Morarji Desai

Mother Teresa

P. Susheela

Sarvepalli Radhakrishna

Rahul Bajaj

Raj Kapoor

Rajendra Prasad, Dr.

Rajiv Gandhi

Raman C.V.

Ratan Tata

Ravi Shankar Pandit

Ravindranath Tagore

S.P. Balasubrahmanyam

Sachin Tendulkar

Sarath chandra bose

Sardar vallabhai patel

Sarojini naidu

Satyajit Ray

Subbulakshmi M.S.

vSubhash Chandra Bos

Sunil Gavaskar

Sunita Williams

Tanguturi Prakasam panthulu

Vajpayee Atal Bihari

Vikram Sarabhai, Dr. (Gujarat)

Vinoba Bhave

Viswanathan Anand

Vivekananda

Zakir Husain, Dr.

Story of Lord Vithal at Pandarpur

2010-12-03T02:26:00.000-08:00

Story of Lord Vithal at Pandarpur

Pandharpur is known as the southern Kashi of India. This is a very famous and very holy place. It is visited by lakhs of devotees from all over the country. People from all religions and caste visit this shrine and the best part is all are allowed to enter the sanctum and touch the holy feet of the deity. Pandharpur is the only place in the country, where the devotee can touch the idol directly.

It is said that the devotee Pundalik founded Pandharpur. His father Janudeva and mother Satyavati lived in a thick forest called Dandirvan.
Pundalik was a devoted son but soon after his marriage he began to ill-treat his parents. To escape from their misery, the parents decided to go on a pilgrimage to Kashi.

When Pundalik's wife learnt about this, she also decided to go. She and her husband joined the same group of pilgrims on horseback. While the son and his wife rode on horseback, the old couple walked. Every evening when the party camped for the night, the son forced his parents to groom the horses and do other jobs. The poor parents cursed the day they decided to go on a pilgrimage.
Soon the party reached the ashrama of the great sage Kukkutswami. There they decided to spend a couple of nights. They were all tired and soon fell asleep-except Pundalik who could not sleep. Just before daybreak he saw a group of beautiful, young women, dressed in dirty clothes, enter the ashrama, clean the floor, fetch water and wash the swami's clothes. Then they entered the inner room of the ashrama, and came out in beautifully clean clothes and passing near Pundalik, vanished.
Next night he saw the same sight again. Pundalik threw himself at their feet and begged them to tell who they were. They said they were Ganga, Yamuna and other holy rivers of India in which the Pilgrims bathed and washed their sins. Their clothes were dirtied by the sins of the bathing pilgrims.
"And because of your ill-treatment of your parents," they said, "You are the greatest sinner."
This brought about a complete change in him and he became the most devoted of sons. Now the parents' rode the horses while the son and his wife walked by their side. By their love and affection, the son and his wife urged the parents to give up the pilgrimage and return to Dandirvan.
One day it so happened that Lord Krishna, the King of Dwarka, while feeling lonely, was reminded of his early days in Mathura. He particularly remembered his sports with the milkmaids, the cowherd boys, and his love, Radha. Though she was dead, he longed to see her again. By his divine powers he brought her back to life and seated her by his side. Just then his queen, Rukmini, entered the room. When Radha did not rise to pay her respect, Rukmini left Dwarka in anger and hid herself in Dandirvan forest.
After some days, Lord Krishna set off in search of Rukmini. He first went to Mathura, then to Gokul. He played with cows, the milkmaids and cowherd boys. They too joined in the search. They went to Mount Govardhan also in her search.
At last they reached the banks of the river Bhima in the Deccan. Krishna left his companions at Goplapura, and he himself entered Dandirvan forest alone in search of her. At last he found her and managed to calm her.
Krishna and Rukmini came to Pundalik's ashrama. But at that time Pundalik was busy attending to his parents. Though he knew Lord Krishna had come to see him, he refused to pay his respect to the god before his duty towards his parents was done. He, however, threw a brick outside for lord Krishna to stand upon.
Impressed by Pundalik's devotion to his parents, Lord Krishna did not mind the delay. Standing on the brick he waited for Pundalik.
When Pundalik came out and begged God's pardon, Lord Krishna replied that far from being displeased, he was pleased with his love for his parents.
Lord Krishna then ordered His worship on Vithoba, or God who stood upon a brick. An imposing temple was built at the place where Krishna and Pundalik had met. Inside the temple stands Krishna's image on a brick. By his side stands the image of Rukmini.

Location of Pandarpur

Lodge in Pandharpur

1.Sri Datta Lodge

Address
Near Sarvarkar Statue
Opp: S.T.Stand,Pandharpur
Dist. Solapur
Maharashtra
India

Tariff: Rs. 200 - 400/-
Includes: Double Room Only

2. Lakshminarayan Lodge,

Address Station Road

Damodar Market

Pandharpur

Maharashtra
India
Tariff: Rs. 500 - 700/--

Country With FLAG (alphabet A-Z) (II)

2010-11-04T02:28:00.000-07:00

FLAG (alphabet E TO L)

Ecuador

Finland

France

Germany

Greece

Guatemala

India

Indonesia

Ireland

Israel

Italy

Jamaica

Japan

Kenya

Luxembourg

FLAG (alphabet L-Z)

m-Indicator Mobile Tourist Guide for Mumbai

2010-11-04T02:06:00.000-07:00

TRAIN BEST AUTO TAXI PNR MEGA BLOCKS

All in one on your mobile without GPRS.

It's FREE! No GPRS (Internet) requires for timetable!

Features

Mumbai Local train timetable
BEST route finder
Indian Railways PNR status finder
Mumbai Auto & Taxi fare list
Sunday Mega Block Information of local trains.

Official website:mobond.org

~~~~~~~~~Download links~~~~~~

Nokia, Sony and others
Samsung, LG
BlackBerry
Android

Country With FLAG (alphabet A-Z)

2010-10-31T00:51:00.000-07:00

FLAG (alphabet A TO D)
Argentina

Australia

Austria

Bangladesh

Belgium

Brazil

Canada

Chile

China

Colombia

Costa Rica

Croatia

Cyprus

Czech Republic

Denmark

Dominican Republic

FLAG (alphabet D-Z)

Haji Ali Dargah, Mumbai (Bombay)

2010-08-02T11:02:00.000-07:00

The Haji Ali Dargah (Urdu: حاجی علی درگاہ , Marathi: हाजी अली दर्गा, हाजी अली दरगाह, Gujarati: હાજી અલી દરગાહ) is a mosque and dargah (tomb) located on an islet off the coast of Worli in Southern part of Mumbai. Lying as it does in the heart of the city, the dargah is one of the most recognizable landmarks of Mumbai.
This mosque houses the tomb of Hazarath Haji Ali, a Muslim Sufi saint. There are a number of stories related to the life of Hazarath Haji Ali and about how this tomb came to be built. One version claims that Haji Ali was a rich local merchant who gave up his worldly possessions after a visit to Mecca and took to meditating. Another story is that Haji Ali was an Afghan mystic who lived and meditated, on the island on which the shrine now stands. It is said that he left instructions that after death, his body should be put in a casket and should be cast off into the sea off the shore of what is today Pakistan. Legend has it that the casket with his body in it emerged in perfect condition in the place where the tomb is today. According to another story Haji Ali was on a pilgrimage to Mecca and he died on the way. His body was put into a casket and disposed off at sea. It is said that this casket floated back to Mumbai; though some believe that Haji Ali drowned at the spot where the dargah is today.

The dargah was built in 1431. The tomb is on a small islet just off the coast of Worli in Mumbai. It is about 500 yards from the coast, in the middle in the sea. There is a walkway that connects the shrine to the shore. This walkway is accessible only in low tide. During high tide and in the monsoons the shrine is completely cut off from the shore. The structure of the dargah is like other Muslim mausoleums in India. The structure is white with domes and minarets like the Mughal architecture. The dargah is a renowned pilgrimage site among the Muslims. Non-Muslims are also allowed to visit the dargah. Inside the dargah the tomb is covered with a red and green brocade chaddar(sheet) and an exquisite silver frame supports it. The tomb has a courtyard that normally has a festive atmosphere. The main hall has pillars on which the ninety-nine names of Allah are written. The whitewashed structure attracts visitors in large numbers on Thursdays and Fridays. This shrine is thronged by Hindu and Muslim devotees alike.

Haji Ali is a venerated tomb (dargah) of the Muslims. Not only from Mumbai, people from all parts of India come to pay homage to this mosque. Located on an island off the shoreline of Worli, Haji Ali Mosque looks stunning amidst the blue waters of the sea. It also makes the most popular landmark of Bombay. In 1431, the mosque was built by Haji Ali – a rich Muslim merchant, who gave up all worldly charms before going to the pilgrimage of Mecca.
As per the legends, Haji Ali left this world during his journey to Mecca and a coffer carrying his body hovered back to Mumbai. Other stories state that the great saint drowned at the place, where the mosque stands at present. On Thursdays and Fridays, the shrine is visited by at least 40,000 pilgrims. Irrespective of faith and religion, people visit the ‘dargah’ to get the blessings of the legendary saint.
The edifice is a brilliant specimen of the Indo-Islamic style of architecture. Built on a small island, the mosque is sited about 500 yards from the shoreline, in the middle of Worli Bay. This island is connected to the Mahalakshmi area by a narrow walkway, which is not even constrained by railings and is prone to sea waters during high-tide. Consequently, you can reach the mosque only during low-tides.
The walkway, offering 500-yard-walk, is the highlight of this expedition, where the touch of cool waters and pleasing breeze altogether will make this a divine experience. Sprawling in an area of 4,500 meters, Haji Ali Dargah has a tomb that is always covered with a brocaded red and green sheet, supported by a delicate silver frame. The marble pillars inside the main hall are decorated with multihued mirrors and embrace the ninety-nine names of Allah.

Music Instruments in india

2010-06-18T23:05:00.000-07:00

Veena

Veena, also known as Saraswati Veena is a musical instrument of South India. This classical instrument is basically a plucked stringed instrument that is used to accompany Carnatic music. It is essentially a member of the lute family. The Veena has been modified and refined over centuries and has been used since ancient times. The Saraswati Veena was created in the south of India during the 17th century. Given below is more information about the classical instrument Veena.

The Veena is an instrument and is shown being played by Goddess Saraswati. That is how it derives the name "Saraswati Veena". Popular variations of the Veena are Rudra Veena, Mahanataka Veena, Vichitra Veena and Gottuvadhyam Veena. The Veena has been a very popular instrument with most singers and there are many famous Veena players who have played some great compositions. Some famous Veena players are listed below.

Famous Veena Players
Doraiswamy Iyengar
Jayanthi Kumaresh
Kalpakam Swaminathan
N. Muralikrishnan
N. Ravikiran
S. Balachander
S.V. Venkateshiah
Veena Dhanammal
Veena Venkatagiriappa
Veene Sheshanna

SITAR

The sitar (Hindi: सितार, Bengali: সেতার, Urdu: ستار, Persian: سه تار ) is a plucked stringed instrument predominantly used in Hindustani classical music Hindustani Sangeet, where it has been ubiquitous since the Middle Ages. It derives its resonance from sympathetic strings, a long hollow neck and a gourd resonating chamber.

Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous

Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury.

SAROD

The sarod is a stringed musical instrument, used mainly in Indian classical music. Along with the sitar, it is the most popular and prominent instrument in Hindustani (northern Indian) classical music. The sarod is known for a deep, weighty, introspective sound (contrast with the sweet, overtone-rich texture of the sitar) with sympathetic strings that give it a resonant, reverberant quality. It is a fretless instrument able to produce the continuous slides between notes known as meend (glissandi), which are very important to Indian music.

Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan.

The sarode family or granas or household as we know them today all have their roots in the Afghan rubab with a considerable Seni influence. About 300 years ago, three or four equestrians from Afghanistan migrated to India. One of them was Ghulam Bandegi Khan of Bangash, a soldier and rubab player. He trained his grandson, Ghulam Ali in the art of rubab playing. Ghulam Ali, who became court musician at Gwalior, also received musical training from seni rubab players who were direct descendants of Tansen the Afghan traveler. Ghulam Ali had 3 sons, Hussain Ali, Murad Ali and Nanhe Khan, all of whom were rubab players. Two of the prevalent Family today, from Nanhe Khan and Murad Ali Khan can be attributed directly to Ghulam Ali.

The Afghan rubab players were inducted into Tansen's musical training particularly through their discipleships with important Seni ustads, who were beenkars and dhrupadiyas. The Afghans naturally wanted to translate dhrupad into their instrument. Their rubab used to have catgut strings and the fingerboard was made of wood. The inherent lack of resonance did not facilitate the long glides that emulate the slow movements of vocal music. This led to the evolution of the sarode, which developed, on a host of vocabulary of plucking of different kinds (a la the Afghan rubab) for the right hand as well as the long glides for the left hand. But the finishing touches to the sarode were given by somebody belonging to a totally different family of music, as recently as 60 years ago - Ustad Allauddin Khan.

From Ghulam Ali's youngest son, Nanhe Khan descended Hafiz Ali. Hafiz Ali Khan's musical education took place under the tutelage of Ustad Wazir Khan of Rampur who was the leading representative of the Seni Beenkar family of music in the last century. Hafiz Ali's son Amjad Ali Khan is one of the most accomplished Sarode players of the present day and the family represents one of the oldest surviving sarode family. The Gwalior family of music is also referred to as Seni-Bangash today.

SARANGI

Standard Tuning - The most common approach to tuning the sarangi is shown below:

There are a number of different sets of strings. There are three playing strings, one dronerag.string and two sets of sympathetic strings. The tuning of Sa, lower Pa, and low Sa, would be the most basic for the main playing strings. The drone string will usually be tuned to Sa, but even Ma or Pa is frequently found. The tunings of the sympathetic strings are so numerous that it is impractical to even attempt to describe them all. However, one normal approach is to tune one bank of the side sympathetics chromatically, the other bank of side strings to the rag, while the upper sympathetics may also be tuned to the notes of the rag.

Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.

Flute

Flute is a simple cylindrical tube of uniform bore and associated with Indian music since time immemorial. Flutes vary in size. Flute is held horizontally and is inclined downwards when it is played. To produce sound or melody one has to cover the finger holes with the fingers of the left and right hand. Variations in pitch are produced by altering the effective length of the air column. Notable flute exponents are Pt Pannalal Ghosh and Pt Hari Prashad Chaurasia.

Shehnai

Shehnai is a traditional musical instrument, associated with auspicious occasions like marriages and temple processions. Shehnai is a double reed instrument with a tapering bore which progressively increases towards the lower side. The Shehnai has finger-holes to produce semi, quarter and micro-tones. Ustad Bismillah Khan is the unrivalled maestro of the Shehnai.

Tabla

The most popular musical instrument used in North India is the Tabla. The Tabla consists of a pair of drums- the Tabla and the Bayan. The Tabla is made of wood and whereas its head is made of stretched animal skin. Finer tuning of Tabla is done by striking the rim of the Tabla with a small hammer. The Bayan is the bass drum and is usually made of metal with a stretched skin head. Both drums have a black spot in the center made of manganese or iron dust.

Pakhawaj

It is believed that the Tabla was derived from Pakhawaj. Pakhawaj usually accompanies Dhrupad style of singing. Pakhawaj is a barrel-shaped drum with two heads which are made of layers of skin. The heads of Pakhawaj are expanded by leather straps which run along the sides of the body over small cylindrical wooden blocks that are used for tuning.

Harmonium

The harmonium is a traditional and popular musical instrument of India. The harmonium has a keyboard of over two and one-half octaves and works on a system of bellows. The keyboard is played with the right hand while the left hand is used to operate the bellows. Harmonium is more popular in North India than in the South.

Jaltarangam

Jaltarangam consists of a set of eighteen porcelain cups of varying sizes. The cups are arranged in a semi-circle before the performer, in decreasing order of size. The largest cup is to the left of the performer whereas the smallest to his right. Water is poured into the cups and the pitch is changed by adjusting the amount of water in the cup. The cups are struck with two thin bamboo sticks.

Mridangam

The mridangam is one of the most popular classical instruments of South India. Mridangam accompanies vocal, instrumental and dance performances. The present day mridangam is made of a single block of wood. It is a barrel-shaped double-headed drum, the right head being smaller than the left. The two heads are made of layers of skin. The mridangam is played with hands, palms and fingers.

Ghatam

The Ghatam is one oldest percussion instruments of South India. The Ghatam is a mud pan with a narrow mouth. From its mouth, it slopes outwards to form a ridge. Ghatam is made mainly of clay baked with brass or copper filings with a small amount of iron filings. The Ghatam produces fast rhythmic patterns. Ghatam is generally a secondary percussion instrument accompanying mridangam.

Maharashtra Traditional Costume

2010-06-18T22:54:00.000-07:00

It can be said that costumes of Maharashtra truly reflect the identity of a typical Maharashtrian culture. A nine yard sari is a traditional costume of its women, and dhoti and shirt is the traditional costume of its men folk. Maharashtra has a vast textile history, which has contributed to its rich variety of costumes. Pune, Paithan and Kolhapur are some of the ideal places to shop for typical Maharashtrian clothing.

Costumes of women

However, nowadays with the advent of modern and cosmopolitan fashion trends, the nine yard sari is mostly worn by the old ladies of previous generations. They call the sari as sadi or lugade. It covers about half the length of the back. Its width varies between 42 to 45 inches and it has two length wise borders, called as 'kanth' or 'kinar'. It has also two borders breadth wise at both the ends, which is called as 'padar'. One side is more decorated than the other. The Maratha Brahmin ladies and ladies of other classes too wear this lugade with the hind pleats, which are tucked into the waist at the center of backside. The decorated end is thrown over the left shoulder. The traditional Maharashtrian accompaniment with nine yard saree is the choli.

The Maratha ladies allow it to cover their breast and back over the head. The sarees are made from cotton or silk. There are different types of sarees such as paithani, narayanpethi, irakali, ichalkaranji, banarasi, chanderi, kanjivaram, etc. depending upon the material used and types of kanth and padar.

The sarees of five and six yards have become popular among the fashionable young ladies of Maharashtra in the urban areas. These types of sarees are worn over the parkar or ghagara, popularly known as petticoat. The old fashioned choli are now replaced by the blouses and polkas. The cholis are modified into the blouses, with close-fitting sleeves up to the elbow and low cut necks.

Costumes of men

The dhoti and shirt is a very popular costume of men. The typical Maratha dhoti is made from cotton cloth, and generally varies from 2.5 to 3 meters in length. It is with or without borders on both the sides. The headdress is freshly folded turban known as pheta, or a folded cap of silk, cotton or woolen fabric. The pre-formed turban known as pagadi is rarely seen in the present days. Sometimes, a jacket is worn over the shirt. It is known as bandi.

There is no specific dress for the festivals. Anybody can wear the clothes that he or she can afford. For the ceremonies and festivals, the men prefer the Indian style clothes such as Ackan, Chudidar Pyjama or Survar. Some women like to wear the nine yards sari with nath or nose ring, and various necklaces like the Kolhapuri Saaj, bangdya, patlya and tode.

However, the western culture has made its presence felt throughout the country, and Maharashtra is not an exception to that. We can find the shifts in fashion in Maharashtra. Traditional costumes of Maharashtra are replaced by the stylish western clothes. Maharashtra's capital, Mumbai, is a cosmopolitan city since the turn of the last century. Hence, gradually the trend of wearing nine yard sari is becoming outdated. Most of the college girls are seen in the western clothes such as jeans-shirts and skirt-top. The Punjabi dress of salwar kameez is also popular among the young girls as well as married ladies. The sari is worn only on the occasion of festivals and the college sari-day. The boys are also seen in the modern western clothes.

Tirupati - Heaven of Tranquility

2010-05-01T00:37:00.000-07:00

Tirupati

 Heaven of Tranquility

 

Tranquillity (also spelled tranquility) is the quality of calm experienced in places with mainly natural features and activities, free from disturbance from man-made areas.

References to Tiruvenkatam abound in early Tamil literature(Tolkappiam and Silappadikaram)

Tirupati/Tirumala is a pilgrimage center of great significance and is visited by hundreds of thousands of pilgrims throughout the year.Tirupati balaji is also known as Venkateswara, or Srinivasa or Vishnu for many year's and it was located on a range of the Eastern Ghats, called the Seven Hills.It is an ancient temple and its glory has been sung by the saints of the yesteryears.

The richest temple in India, this temple is a vibrant cultural and philanthropic institution with a grand history spanning several centuries.

The best time to vist tirupati in October to March

How to reach Tirupati Temple:

BY AIR:- Tirupati is 15 kms from the city centre and the Indian Airlines office is situated at the Hotel Vishnupriya, opposite the central bus terminal. East - West Airlines has four flights a week to Hyderabad (Saturday, Sunday, Tuesday and Thursday) and other flights to and from Chennai.

BY TRAIN:-There are two trains that connect Tirupati with Chennai - the Saptagiri Express and the Tirupati - Madras Mail.

BY BUS:- The government bus stand, APSRTC Central bus station is about 2 kms away from the railway station. Express buses are available to and from Chennai to Tirupati. From Tirupati you can take direct buses to Hyderabad, Tiruchirappalli, Madurai, Vellore and Vijayawada and Bangalore.

Bhakt Darshan

For tourist purpose only the government had provided ahe Dharamshalas, located near the temple complex at cheap rate

The famous hotels and lodges of the town are New Bhimas House, Bhimas Paradise, The Bhimas Hotel, Indira Rest House, Vasantha Vihar Lodge, Gopi Krishna Deluxe Hotel, Hotel Vishnu Priya, Hotel Mayura, Oorvasi International Hotel, Raghunadha etc.

Life Story of Shirdi Sai Baba

2010-04-23T08:35:00.000-07:00

Shirdi is located in Ahmednagar district of Maharashtra in Western India. Shirdi extends latitude 19°45 N and longitude 74°25 E..

Shirdi is quite close to the holy city of Nashik with just 90kms away. It takes about 6hrs to reach Saibaba of Shirdi from Mumbai. Pune is about 206kms from Shirdi.

Here is brief distance chart of Shirdi from some important cities of Maharashtra:
Mumbai 266 kms
Nasik 90 kms
Hyderabad 610 kms
Surat 373 kms
Nagpur 618 kms
Jalgaon 233 kms
Ahmednagar 83 kms
Aurangabad 144 kms
Delhi 1166 kms
Pune 207 kms
Sholapur 312 kms

Sai Baba of Shirdi (Unknown – October 15, 1918), also known as Shirdi Sai Baba (Marathi: शिरडीचे साईबाबा, Hindi: शिरडीके साईबाबा, Telugu: షిర్డీ సాయి బాబా), was an Indian guru, yogi and fakir who is regarded by his Hindu and Muslim followers as a saint. Some of his Hindu devotees believe that he was an incarnation of ShivaDattatreya. Many devotees believe that he was a Sadguru. There are many stories and eyewitness accounts of miracles he performed. He is a well-known figure in many parts of the world, but especially in India, where he is much revered.

Life Story of Shirdi Sai Baba

On September 29, 1990

In the former Nizam's [Maharaj] dominion, there was a remote village called Pathri. In that village there were a couple named Gangabhavadya and Devagiriamma. They were grieving over the lack of children. In answer to their prayers, a son was born on September 28, 1835. Today is the anniversary of that day. This child was Sai Baba. As Gangabhavadya had developed a feeling of total detachment and renunciation, he decided to retire to a forest regardless of the child. Devagiriamma, who looked upon her husband as God, decided to follow the husband leaving the child.

There was in the same village a Sufi fakir. As he was also childless, he took charge of this child and brought him up in his home. The boy stayed in the fakir's home for four years (1835 to 1839). The fakir passed away in the tide of time. The fakir's wife, who had lavished great affection on the child, was grief-stricken. To add to her worries, the boy was behaving in a troublesome manner. In those days, Hindu-Muslim differences in that area was growing alarmingly. There was considerable bitterness between members of the two communities.

What the boy use to do was to visit a Hindu temple and sing songs in praise of Allah; 'I am God' (Mein Allah ho), 'Allah is the Supreme Lord' (Allah Malik hai). He used to declaim in this manner in the temple. The Hindus used to chastise the boy in various ways for his misbehavior. Nor was that all. He would enter a mosque and declare, 'Rama is God', 'Shiva is Allah'. His behaviour in singing about Allah in a Hindu temple and about Rama and Shiva in a mosque was a puzzle to the public. Members belonging to both the communities went to the fakir's wife and complained about the boy's behaviour. Unable to deal with this situation the fakir's wife handed over the boy to a high-souled, pious scholar named Venkusa, who was living near her house. The boy stayed in Venkusa's ashram for 12 years from 1839 to 1851. Venkusa was extremely fond of the boy. In every matter, he used to give priority to the young Baba's views. Seeing this, in course of time, members of the ashram developed envy towards the boy.

One night in 1851, the boy left the ashram. He reached Shirdi, a very small village at the time. He stayed there for barely two months and then went about wandering from place to place. After strolling for many years, he reached a place called Dhoopkheda. When he was residing there, the marriage of Chandu Patel's brother's son was celebrated there. Baba joined the marriage party and reached Shirdi again. That was in the year 1858. From that day, till 1918, he did not move out of Shirdi. He remained there for 60 years.

At that time there was in the Maharashtra area, a Deputy Collector and Settlement Officer by name H.V. Sathe (Hari Vinaayaka Sathe). He was grief-stricken over the passing of his wife. Professor G.G. Narke, a friend of Sathe, came to his house and advised Sathe that there was no purpose in grieving over his loss and that it was advisable for him to have a change of place to get over his sorrow. He suggested that it was good to have the dracaena of some saint and persuaded him to come to Shirdi.

Sathe was quite an extraordinary person. On reaching Shirdi, he and Narke had Darshan of Baba. On several occasions, looking at Sathe, Baba used to laugh, sing, and make strange gestures. Doubts arouse in Sathe’s mind whether Baba was a real sage or an eccentric person. No one mentioned anything about Sathe to Baba. Sathe and Narke merely went to see Baba and sat in his presence. Baba told Sathe, "Don't worry about anything. Bodies are like water bubbles. Don’t develop any attachment to the body. Develop your attachment to the dehi (indwelling spirit). Worries are passing clouds. Have courage. Protect your child."

The last remark had a reference to the fact that Sathe's wife had died after giving birth to a child. Even Narke had not heard about the survival of this child. On hearing Baba's words Sathe realised that Baba was not a crazy person but one who was a Trikala Jnani (one who knew the past, the present, and the future). Sathe, who had intended to stay for a short while just to have dracaena of Baba, prolonged his stay by two more days.

Making frequent visits to Shirdi, Sathe was the first to realise that there were no proper amenities at Shirdi for those coming to Baba. The place where he provided residential accommodation for visitor's [in Shirdi] is Sathe Wada. Sathe was the first to set up apartments at Shirdi.

While serving in this manner, Sathe went again to Shirdi after he began to feel whether there was any purpose in his continuing to earn income and accumulate wealth. On seeing Sathe, Baba smilingly said, "You appear to be losing interest in your job. You are wondering how to dispose of the wealth you have acquired. Why give it to anyone? Use it for a good cause. Build a Koti in Shirdi." Sathe told Baba, "Swami! I am not a millionaire. How can I build a mansion here?" Baba replied, "Go on doing as much as you can. Why fear when I am here?" Baba encouraged Sathe in this manner.

In due course Sathe's maternal uncle Kelkar settled down in Shirdi. Sathe used to send funds from Poona and his uncle used to carry on the construction in Shirdi.

In this way, Baba used Sathe as his instrument. He regarded Sathe as his right hand in regard to all matters. Because Baba was keeping Sathe close to him and relying on him for everything, the residents of Shirdi grew jealous towards him.

"Many are content to do nothing themselves, but they cannot bear seeing others do things and will carry tales against them." (A Telugu verse)

Several persons used to come to Baba and tell stories against Sathe. What is the appropriate name for such talebearers? They should be called 'enemies of beggars,' namely, barking dogs!

At Shirdi, Baba used to do two notable things. One was to receive money from whoever came to him. He used to ask for Dakshina (cash offering). He did not ask for large sums. It was two rupees or five rupees. He would receive the money and give it away immediately in their presence. He kept nothing with himself.

One day a man by name Pradhan came to Baba. He had intended to offer twenty rupees to Baba. In those days, there were no currency notes. Everything was in silver coins; not like the alloy coins of today. In those days, every rupee contained one full tola of silver. Pradhan thought instead of offering so many silver coins, it would be better to offer one gold sovereign to Baba. Baba turned the sovereign this way and that and remarked, "How is it that I have not seen such a coin before?" A person near Baba said, "It is a gold coin." Baba then observed, "I don't want this. Give me the money in rupees." He asked how much the sovereign was worth. At that time it was worth fifteen rupees. Getting back the sovereign, Pradhan gave fifteen rupees to Baba. Immediately Baba remarked, "Pradhan! You have to give me five more rupees!" Pradhan was a judge at the time. Pradhan as well as persons around him wondered why Baba was demanding five more rupees when a sovereign was worth only fifteen rupees.

Noticing Pradhan's hesitation, Baba told him, "First hand over the five rupees and then think about it." Pradhan gave the five rupees. Then Baba observed, "When you set out from your home, how much did you want to offer to Baba? You intended to give twenty rupees. You gave only fifteen. So I was entitled to ask for five more." When Pradhan heard these words he was stupefied. He admitted that Sai Baba was a good judge.

In this manner, Baba was in the habit of collecting money from those who came to him and to give it away to the needy.

One day, he summoned Kelkar and told him, "Today is Guru Poornima. Perform Guru Puja to me." No one threw the meaning of Guru Puja. Kelkar asked Baba what Guru Puja meant. Baba asked, "Who do you think is a guru? It is not those appointed of Maths [spiritual Organisations] who are gurus. Nor are Sanyasis (renunciates) gurus; God alone is the Guru (preceptor). He is Brahma, He is Vishnu, He is Maheshwara, He is the Supreme Absolute. Salutations to the Supreme Guru. The true guru is one who combines the three forms of the Trinity, the gods who preside over creation, protection, and dissolution. Thus God alone is the real guru," declared Baba.

On hearing this Kelkar asked, "Should I worship Brahma, Vishnu or Rudra?" Baba declared in a voice of assumed anger, "Eh, Saitan! Here I am! Offer worship to Me!" Thereby Baba made known that He was Brahma, Vishnu and Rudra. All those present felt that Baba was the Divine incarnate.

As the days passed, the residents of Shirdi developed hatred towards Sathe because he was collecting all the offerings to Baba in a hundi to use the money for building a Mandir. Just at the time, a silver chariot with silver horses, which was in Sathe's keeping, was stolen by some thieves. Sathe was the principal trustee. The people of Shirdi suspected Sathe of complicity in the theft. One day one of the residents planned to strike Sathe with an axe on the way. Getting wind of this, his maternal uncle called Sathe and urged him to leave immediately as it was too dangerous for him to stay there. He told Sathe that he could worship Baba wherever he might be. Reluctantly Sathe left Shirdi.

Baba used to ask for Sathe ceaselessly. But Sathe was not there. Baba appeared to be in great distress. Sathe was near and dear to Baba. The devotees felt that Baba was sorely affected by the absence of Sathe.

About this time, the parents of Shyam came to Shirdi with the two-year old child. Shyam's father had just retired from service and decided to settle down in Shirdi. The boy's name was Mohan Shyam. The parents called him Mohan, while Baba called him Shyam. The boy was put to school at Shirdi and in due course he completed his studies and received training as a teacher. He was appointed as a teacher at Shirdi. The school adjoined Baba's room. During the day, Shyam would be teaching at school. There was a ventilator in the wall separating Baba's room and the classroom. Shyam used to watch Baba at nights through the ventilator. He used to notice Baba talking to himself, getting angry at times, or laughing to himself, or doing other curious things. Baba used to sleep on an eighteen-inch wide plank suspended from the ceiling. Shyam was apprehensive that Baba might fall from his lofty but narrow perch during sleep.

Once he mustered courage to ask Baba while massaging his feet, "Swami! You don't seem to sleep at all at nights. You are laughing to yourself, or talking. What is the secret of all this?"

"You simpleton! Do you imagine you are the only person about whom I am concerned in this world? There are numerous persons who are praying to me. I am speaking to all of them," replied Baba. "When I turn my finger, I am turning their minds. When I laugh, I am amused at their follies. These are the things I am doing for my devotees, dear child."

Shyam prayed to Baba, "Swami! My classes don't take up much of my time. Let me stay with you during the rest of the time and serve you."

At that time there was a woman called Laxmibai who used to cook the food for Baba. Shyam used to go to her and assist her in the preparation of jowar rotis. Baba had great liking for brinjal. Shyam went to Laxmibai to learn how to prepare brinjal dishes. Shyam went on serving Baba in this way and he alone knew the joy he derived from such service.

Baba often used to fly into a temper. This was only an outward appearance. Sometimes he used to throw a stick at someone ten feet away. Shyam once asked him, "Swami! You are hurling the stick at the man in such a rage. Supposing something happened to him and he died, will you not get a bad name?" Baba replied sharply, "Saithan! You keep quiet! That fellows life is in my hands. He will die only if I permit him. You better mind your business. Why are you bothering about others? That man will come to his senses only if he sees me in this manner. If I am indulgent they will try to ride the high horse." Thus, in this way, Baba used to discipline people by threats and harsh words. "It is only with this aim in view I am displaying anger and not for any other purpose." This secret was revealed by Baba only to Shyam and none else. Baba's life is really a saga of love and nothing else.

Keeping Shyam near him and allowing him to serve him, Baba spent many years. One day, Baba called Pradhan and asked him to construct a small tank. Pradhan was thus the first to be involved in the building of a Samadhi for Baba.

It was year 1918. Pradhan's wife, who was living in her native village, had a dream in which Baba appeared to have passed away. Pradhan was in Shirdi. On waking up, Pradhan's wife started crying over the passing of Baba in her dream. At that moment she heard a voice in the house declaring, "Don't say that Baba has died. Say that Baba is in a state of Samadhi." Samadhi means equal-mindedness. "Life and death are alike. Joy and sorrow, profit and loss are the same. Hence, there is no such thing as death for Baba"—this is what the voice declared.

When she was trying to find out wherefrom this voice came, she received a message from her husband conveying the news of the passing of Baba. That occurred on Vijayadashami day in 1918. September 28^th (1835) was his date of birth. On Vijayadashami day he gave up his body. Although this year [at date of this discourse], Vijayadashami falls on September 29, in the year of Baba's Samadhi the date was different [October 15, 1918].

On account of the passage of time and circumstances, no one knew the exact dates of Baba's birth and passing. In this context, the mystery relating to Baba's birth should be noted. One devotee wrote a poem in which he offered his "salutations to the one born in Pathri, who lived in Dwarakamayi and who was the protector of devotees."

When Gangabhavadya and Devagiriamma were living in Pathri village, they were worshipers of Iswara and Parvathi. They had no offspring for a long time. They intensified their prayers. Gangabhavadya used to ply boats near the village for a living. One night, when it was raining heavily, Gangabhavadya left his house to take care of the boats, telling his wife that he would not be returning in the night. After the husband had an early meal and left, Devagiriamma ate and went to bed.

At 9 p.m. there was a knock at the door. Devagiriamma opened the door, wondering if her husband had returned. A very old man entered the house. He pleaded, "It is very cold outside. Please permit me, mother, to stay inside." As a pious woman, she allowed him to stay in the inside verandah and went in after bolting the inner door. She opened the door. The old man said, "I am feeling hungry; give me some food." Finding that there was no food, the woman mixed some flour with curd and gave it to him. Another knock sounded after some time. When she opened the door, the old man said, "My legs are aching, Mother, will you massage them?"

Devagiriamma went inside, sat in the prayer room and prayed, "O Mother! Why are you testing me like this? What should I do? Should I serve him or refuse?"

Going out of the house by the backdoor, she went in search of someone who could be engaged to render this service. No one was available. Again there was a knock by the old man. At the same time, a woman knocked at the backdoor. She said, "It appears you came to my house and sought some help? I was away at the time. Please let me know what service I should render you?"

Feeling happy that Goddess Parvathi herself had [come to her rescue and] sent the woman in response to her prayers, Devagiriamma sent the newcomer to the verandah to serve the old man and closed the door. The old man and the new woman were none other than Parameswara (Shiva) and Parvathi, the Divine couple.

Parameswara told Parvathi, "Fulfill the cherished desires of this lady." Parvathi Iswara replied, "You are Supreme. Please shower your Grace on her Yourself." Iswara [another name for Shiva] said, "I came to test her. You came in answer to her prayers. Hence You must bless her."

There was a knock at the door again. This time Devagiriamma promptly opened the door because of the presence of another woman. Parvathi and Parameswara appeared before her in their divine form. Unable to contain her joy, Devagiriamma fell at their feet. Parvathi then blessed her, "I grant you a son to maintain the lineage and a daughter for kanyadan (a girl to be offered in marriage)." Devagiriamma fell at the feet of Iswara (Shiva). Iswara said, "I am immensely pleased with your devotion. I shall take birth as your third child." When Devagiriamma got up, the Divine couple had vanished. Feeling ecstatic by this experience, Devagiriamma eagerly awaited the return of her husband in the morning to relate to him the whole story.

When the husband came home in the morning she related to him all that had happened during the previous night. The husband said, "Devagiri! What is this fanciful tale! It is all a dream. Parvathi and Parameswara appearing before you and giving Darshan! It is pure fantasy!" Gangabhavadya dismissed the whole episode as incredible and fanciful.

As the years passed, Devagiriamma became pregnant and a son was born. A year later a daughter was born. Gangabhavadya was now convinced that the birth of the two children was the result of the blessings conferred by Parvathi and Parameswara. He told his wife, "You had the good fortune (to be blessed by the Divine couple). I did not have that luck."

When Devagiriamma conceived again, Gangabhavadya began to feel an urge to give up hearth and home and go in search of the Divine couple. He announced to his wife that he was leaving for the forest to do penance. The devoted wife that she was, Devagiriamma decided to follow him, though she was in the ninth month of her pregnancy. After proceeding some distance, she developed labor pains. She delivered a boy. Wrapping the babe in a piece of cloth, she left the child by the roadside and followed her husband.

Because of these circumstances, no one knew who the parents of the child were. The Fakir who found the child brought him home and took care of him. Baba's life-story is known only from the time of his arrival in Shirdi.

In 1917, Baba once called Abdul Baba, Nana Chandorkar, Mahalasapati, Dasganu and others and started asking each of them, "Do you know who you are?" Each of them replied, "I am your sishya (disciple)." Baba said, "Nonsense! Don’t use that term any longer. I have no disciples in this world. I have countless devotees. You do not recognize the distinction between a disciple and a devotee. Anyone can be a devotee. But that is not the case with the disciple. A disciple is one who carries implicitly the commands of the guru (the preceptor). The mark of the sishya is total devotion to the preceptor. Only the man who says, 'I have none in the world other than the preceptor,' is a disciple. How far have you respected my injunctions? How are you entitled to claim that you are my disciples? Only the one who follows me like my shadow can claim to be my disciple. The devotee is one who prays to the Lord wherever he may be. Hence, there is a big difference between a disciple and a devotee. The disciple and the preceptor are like two bodies with one spirit. The disciple should have no sense of separateness from the preceptor. He should feel, 'I and you are one.' There are no such disciples to be found in the world. There are millions of devotees, but no disciples."

On hearing this, Shyam was in deep pain. He felt within himself, "Apart from serving at your feet, I have no other concern." Baba then went into another room and called Shyam inside. "In this entire world, for me you are the only disciple. All others are only devotees." At that moment, Shyam fell at the feet of Baba, and cried out, "You alone, you alone (are my refuge)!" and breathed his last.

In all his life of over 82 years, Baba had never shed a tear in the presence of devotees. When Shyam passed away, he shed three drops of tears. The devotees present there said, "Swami! Why do you feel so grieved? All are in your hands." Baba replied, "Dear boys! I am not grieving at all. Almost all his sins had been wiped out already. By the three drops I shed, the remaining of sins (of Shyam) have been washed away."

All that Baba said or did was for the good of the devotees alone. Towards the end, Abdul Baba came to Baba. Baba told him, "I shall appear again and give you Darshan."

"When will that be?" asked Abdul. Baba told him, "It will be after eight years. The first advent of Sai was in Maharashtra. The second advent will be in Madras," Baba said. It should be noted that when this form (Sathya Sai) made its advent, Andhra Pradesh was part of Madras Presidency.

When he was asked, in what form the next advent would take place, Shirdi Baba told Abdul Baba alone, "I will give Darshan in the name of Sathya Sai for upholding Truth." That is the present advent.

The two bodies are different, but the Divinity is one. The first advent was for revealing Divinity. The second advent is to awaken the Divinity (in human beings). The next advent is for propagating Divinity. The three Sai's are Shirdi Sai, Sathya Sai, and Prema Sai.

The reason for relating all this is that today happens to be the birthday of Shirdi Baba (September 28, 1835). Baba attained Samadhi in 1918. Bodies are transient. These vestures are assumed only for the sake of devotees. Unless the divine comes with a form, no one can develop faith in the Formless. The Divine in human form is the preparation for comprehending the Formless Absolute.

The truth about God cannot be understood by anyone. He is infinitely vast. He is minuter than the atom. No one can know what is the macrocosm and what is the microcosm. Because of this mystery, one devotee sang:

Can anyone unravel your mystery, O Krishna!

You are vaster than the vastest; you are subtler than the atom.

Al the countless beings in the world cannot grasp your baffling mystery.

How can anyone know your Infinite Cosmic form, O Krishna!

Nor is that all. Among the great thieves, you are the greatest.

How can anyone know you, O Krishna!

During the discourse on September 27, 1992, Navaratri Celebrations

This day (the first day of Navaratri) has [a] special significance. Shirdi Sai Baba was born on September 27^th, 1838. He was born in a poor Brahmin family in the village of Pathri in Aurangabad District. For various reasons, the parents left the child. A fakir found him. As he was fondling, the fakir had no mutual affection for him. After some years the boy was handed over to one Gopal Rao Deshmukh, who was also called Venkusa by the people on account of his scholarship and wisdom.

The boy grew up in Venkusa's home for some time. However, he was not inclined to stay there for long. In 1854 he went to Shirdi. At Shirdi, Mahalasapati saw him entering the local temple. Looking at this appearance as a Muslim, Mahalasapati turned him out of the temple. The boy went back and sat under a Neem tree. He was 16 years old at that time. No one knew then what his name was. If anyone asked for his name, he would give no answer. He would sometimes retort saying, "Why do you want to know my name?" Because of this nobody could find out his name.

Some villagers from nearby places used to visit him under the tree and get relief for their ailments. He would take out some leaves, crush them, and give them to the ailing person as a medicine. In this manner, he cured many persons of their illnesses. News of the healing powers spread to all the surrounding villages. As a result a large number of persons used to come to him, receive the crushed leaves from him and get cured of their ailments.

Suddenly, one morning he disappeared. A futile search was made in the nearby areas to trace him. Later, in 1858, he came to Shirdi again after three years. There was a village called Dhoop in Aurangabad. One Chandhubhai Patel, belonging to a middle class family, lived in Dhoop. As no other form of transport was available in those days, people used to go on horseback.

Chandubhai went on horse to Aurangabad on some urgent business. When he had finished his business there at the end of three days, he found that the horse was missing. Disappointed over the missing horse, Chandhubhai was returning to Dhoop passing through a dense forest on the way.

At one place, he saw a fakir sitting under a tree in a forest. The fakir appeared to be lost in his own thoughts. Suddenly, the fakir hailed Chandhubhai with the words, "Hey, Patel! Come here." The fakir liked to smoke Chilim (hookah). As there was no water nearby, the fakir hit the ground with a stick and water gushed forth from the place. He hit again another place with a stick and there was a fire. Using the water and the fire, he started smoking his hookah and offered it to Chandhubhai as well. Chandhubhai declined the offer.

The fakir asked Chandhubhai, "What is worrying you, Patel?" Patel asked, "How do you know I am Patel?" "I know everything," replied the fakir. "You are worried about your horse. You are keeping your eyes on top of your head! You must lower them to trace the horse. Your horse is grazing under the tree there." He had made the search for the horse in the same place with some workers, but could not find it. Now he saw it under a tree close to him. Chandhubhai was astonished that the fakir had produced water and fire out of the earth and had located his missing horse. He appealed to the fakir, "Swami! You have rendered great help to me. Please come with me and share my hospitality." "All right, let us go," he said.

About this time, the marriage of Chandhubhai's niece, who was residing in Shirdi, was settled. Chandhubhai had to go to Shirdi for the wedding. He requested the fakir to come along with him. They went in carts to Shirdi. Mahalasapati saw the fakir getting down from a cart, and went to him and said, "Ayiye, Baba! Ayiye Sai! (Come Baba, come Sai)". The name 'Sai' was given by Mahalasapati. Till then—no one had conferred a name on him.

Sometime later, Baba was involved in a criminal case. He had given evidence in a case, which related to the theft of some valuables from a rich man's house by a gang of thieves. The police caught the thieves and questioned them about the stolen articles. The thieves said that the valuables had been given to them by the fakir. Searching for the fakir, they came to Baba. They asked him, "Fakir, did you give these articles to them?" "Yes," he said. "Wherefrom did you get them?" was the next question. Baba replied, "They have come from the same place from which all things come." "Who gave them to you?" "I gave them to myself."

Baba gave such intriguing answers, which the police could not understand. "I am the giver of everything. How can anyone get anything without my sanction?" declared Baba. Feeling that it was futile to question him further, the police prepared a report. Baba received a summons from the magistrate to give evidence in the case. Chandhubhai Patel did not want Baba to go to the magistrate and so arranged for Baba being examined on commission (in Shirdi itself). During the examination on commission, Baba was asked, "What is your fathers name?" He replied, "Baba" (Baba means 'father' and the reply meant that the father's name was 'father').

Q: "What is your religion?"

A: "The religion of God."

Q: "Wherefrom did you come?"

A: "I have come from the Atma (soul)"

Q: "What is your caste?"

A: "The caste of the Divine."

Baba answered all the questions in this manner. Earlier he had been hailed as, 'Sai'. In this examination, he had given his father's name as Baba. By the combination of these two names, he was therefore called 'Sai Baba'. No one knew when and where Sai Baba was born and who gave him that name.

Later, many persons began to have doubts about his transcendental powers. One day, the birth anniversary of Dattatreya was to be celebrated (in the month of Margashira on Panchami day). Several devotees had assembled in Shirdi. Among them was a wealthy man, a great scholar called Kaijack. He is not to be confused with 'hijack'! His name was Balwanth Kaijack. As he was approaching the Masjid, Baba took a stick and waved it at the devotees, asking them to get away. He even beat some o them, shouting, "Saitan! Saitan!" No one could understand why Baba was behaving like this. "I am suffering labor pains. Get away, all of you!" he shouted. In those days, Baba not only used to shout at people, but also wield the stick on them on occasions. He used to even throw the stick at fleeing persons. Everyone used to be afraid of him. They all fled from the place.

Some time later, he called all of them to come. "Balwanth Kaijack, come!" he said. When Balwanth came, Baba went inside the Masjid. Balwanth went in and found that Baba was not there. He found a three-headed baby on the floor. Baba had declared that he was suffering from labor-pains and there was a baby there. The three-headed baby appeared to represent Dattatreya. It was a small baby with a number of hands. Balwanth recognised the child as Dattatreya and called other devotees to come inside. They went in and on seeing the child close their eyes. At that instant, Baba reappeared there. From that time onwards, people started looking upon Baba as the incarnation of Dattatreya.

A controversy arose among the local people as to whether Baba was a Muslim or a Hindu. At one time he used to say, "Allah is Great! Allah is Great (Allah Malik! Allah Malik!)!" At other times he would say, "Dattatreya is Great (Dattatreya Malik!)!" Whenever he shouted 'Allah Malik,' Muslims used to come to him in the Masjid. His appearance was very much like that of a Muslim. Hence, many Muslims used to come to him. Hindus used to also come and offer incense to him. The Muslims did not approve of what the Hindus were doing. The Hindus did not like the way Muslims revered Baba. Consequently, bitterness developed between the two communities.

One day Mahalasapati was sitting near Baba and doing some service to him. Mahalasapati was the priest in the Khandoba temple. The Muslims who were opposed to the presence of a Hindu priest near Baba, came with sticks and beat up Mahalasapati. At every stroke, Mahalasapati cried out, "Baba! Baba!". Each time he shouted the name of Baba, the blow was borne by Baba. Mahalasapati fell to the ground. Baba came out.

Muslims had great reverence for Baba. Baba roared at the Muslim crowd, "Saithan! On the one side you worship me and on the other you beat me. Is this devotion!?" Baba was bleeding all over the body. The Muslims saw it and asked Baba who had beaten him. "Did you not beat me? Did you not beat me?" said Baba pointing to several men in the crowd. They said, "We did not come near you at all. We only beat Mahalasapati."

"Who is in Mahalasapati? I am in him," declared Baba. "He has surrendered to me and hence all his trouble are mine."

On hearing this, the Muslims fell at Baba's feet and craved his forgiveness. Baba then summoned the Hindus and Muslims and told them, "Dear children, you are all the progeny of one mother." Thereby Baba demonstrated the Fatherhood of God and the Brotherhood of Man. He wanted all differences of caste and creed to be eschewed. What mattered for mankind was the heart. One who is only concerned about his creed (matham) will never discover the Divine (Madhava). You must seek the Divine within you. Baba pointed out that all caste and creed distinctions related only to the body. Therefore, you should seek the Supreme in your inner consciousness. Baba, who came to Shirdi with Chandhybhai Patel in 1858, did not leave the place till his passing in 1918. Baba lived for 80 years.

One day, a Pandit came to Baba and said that his biography should be written. His name was Hemanthpanth. He is the author of 'Sai Satcharita' [The gospel of Shirdi Baba's life]. He entreated Baba to disclose facts about the place of his birth, his parentage, his name and his early life. He could not get any information. Baba did not reveal anything to anyone. But on one occasion, when he was alone with Mahalasapati Baba disclosed his date of birth for him. Mahalasapati was no scholar. He had learnt only a few mantras to conduct the Puja in the temple. He noted down the date of birth, on a piece of paper. This came into the hands of Hemadpant. With this, he began to write the life of Baba.

No one knows the real truth about Baba. The world knows some facts about his life after his 16^th year. He was born on September 27, 1838, and attained Samadhi on Vijayadashami day in 1918. During his lifetime he taught many sacred things to the people and performed many remarkable deeds. He was worshipped by many devotees. Dada, Nana, Shama, Abdul Baba, Mahalasapati, Chandharkar and Dasganu were always with him. Abdul Baba was active till recently. He was a fervent devotee of Baba. In his view, it did not matter to what religion one belonged. All were one in their devotion to God.

Kaka Dixit was a Judge whose son stayed in Brindavan (Whitefield) for twenty years. The latter's wife is now in Brindavan. Kaka Dixit maintained a diary in which many facts about Baba have been recorded including his statement about when he would pass away.

No one can make any affirmations about the nature of the Divine. One's relationship with the Divine is spiritual—Atma to Atma (soul to soul). In this Kali or Dark Age, however, many become prey to doubts because of their preoccupation with the physical form. This is because of their being immersed in worldly attitudes derived from their perception of the physical elements. The phenomenal nature (Prakriti) is replete with sensory experiences. The spiritual life is based on detachment. Enduring bliss is experienced only when there is sacrifice or detachment.

Man today is not prepared for sacrifice. On the contrary, his desires are insatiable and he is losing all human qualities. The mind is polluted and truth has become a rarity. At every step, man is indulging in wrongdoing. Noble thoughts have taken flight. Envy and hatred are rampant. Men should learn to follow the dictates of their heart and act accordingly to the prompting of their conscience. This conscience is related to the universal consciousness.

During the discourse on October 6, 1992, Vijayadashami Celebrations

In my previous body (as Shirdi Sai Baba) everyone was taught through actions. For example, Dhamu and Nana were rendering service to the Lord (Shirdi Baba). Baba collected a few copper coins and was playing with them, by tossing them from one hand to another, and also testing them in various ways. He appeared to examine them individually. He did not exchange a word with Dhamu and Nana. He went on playing with the coins for half an hour in this manner.

Curious to know what Baba was doing, Nana asked him why he was scrutinizing the same coins again and again. Baba replied, "Beta (dear son), it is true I am repeating the same action again and again, repeating the same words. Look at the mango tree in front of you. It is in full bloom. The leaves are hardly visible. If all the flowers in the tree were to become fruits, will the branches be able to bear the weight? But it does not happen that way. Most of the flowers are swept away by the wind. Many others drop of their won account. Only some of them become fruits. Of these some are eaten by squirrels, birds, or monkeys. In this way ninety percent of the flowers do not result in fruits. Only ten percent remain in the tree. Is it not so?" They agreed, that it was so.

Baba continued, "In the same manner thousands of devotees are coming to me. Are they all ripening into good devotees? Many drop away in the middle. Some come for getting their desires fulfilled. Some seek wealth. Many are coming either for study or in connection with jobs, marriage or other personal desires of their own. In each of them, there is some defect or other. No one comes for My sake. I have a precious thing to offer in my coffers. But no one seeks it. It is for this reason that I am examining them (coins). Among these coins there are some which are worn out, some which are debased, and some which are twisted and worthless."

"Just as I am examining the defects in these coins, I am also looking for the defects among the devotees who come to Me. I am trying to find out what defects are there in these people and whether, with those defects; they can really comprehend My Truth. They want Me, but all their desires are related to mundane objects. How can they attain Me with this attitude? How can you reach your destination if you get into a wrong train going in some other direction? They want Me, but they don't make efforts for realizing Me. Among those who come to Me, it is only one in a thousand who really makes the efforts to realize Me."

"The minds of the so called devotees are turned in the wrong directions. If their desires are fulfilled, they praise Me. But, once a desires is not realized they go to the extent of even reviling Me. Even while they are attempting to understand Me, they harbor doubts from head to foot. Some even leave Me, when their worldly desires are not fulfilled. These are not sincere devotees at all. They are in fact worst sinners. How can they reach Me?" said Baba.

At one time, a wealthy man came with a lot of money to Shirdi Baba with the object of gaining Brahma Jnana (Supreme Wisdom). He boasted about his wealth. Baba asked him, "How long will you be here?" He replied that he had come by a taxi, with fixed 'to and from' charges, and had to return in a day or two. Baba said, "When you have greed for wealth, how can you realize God? It is not a goal that can be accomplished in a 'fixed' time. Get away." Baba noticed that he was still sitting and became furious. He chased him out, wielding a stick.

To one who sought His grace with purity of heart and selfless devotion, Baba conferred His grace abundantly. Mataji Krishna Priya was one such devotee. Living in Nagpur, she used to worship Krishna and considered Baba also as another form of Krishna. She frequently visited Shirdi to seek Baba's blessings with genuine devotion. Once she went to Simla. She was offering worship with unstinted devotion to Krishna considering Him as Baba.

She came to know that Baba had left His mortal coil at 2:30 p.m. on Vijayadashami day in 1918. Immediately after this, Ekadashi followed. Baba had told his close devotee, Kakaji, in year 1916, that Dada would be shedding his mortal coil in 1918. Kakaji thought that Baba was mentioning only about Dada Sahib, another devotee, and never thought the reference was to Baba himself.

On September 28, 1918, Baba developed a high temperature. Two days earlier he had collected food by seeking alms in some houses. He took that food and at noon, he expressed his wish to his devotees that he should be taken from the choultry to Bootywada. He hoped to have a quiet time there. In that ward, a Muralidhar temple had been built by a devotee by name Booty. He wanted Baba to install the idol of Krishna in the temple. But Baba was putting off the installation of the idol. He directed Booty and Kakaji to go and take their lunch. Feeling that Baba was better, they went out. Baba had nine rupee coins under his pillow. He took them out and gave them to Lakshmi Bhai. Then Baba summoned Shyam to come near him. Shyam sat close to Baba. Baba reclined on Shyam's shoulder and passed away.

Krishna Priya came to know of this and felt very sad the whole day. The next day she closed all the doors and windows in her house because of the sever cold in Simla. While she was resting in the house, a tall and well-built monk arrived at the next-door and inquired about Mataji's house. He made inquiry not because he did not know where Mataji lived, but only to make others know that he was physically present in Simla. The neighbour sent a servant with an umbrella as it was snowing, to show the stranger Matai's house. He knocked at the door.

Mataji opened and could not believe the evidence of her eyes. She wondered how Baba, who had passed away the previous day, could come to Simla? She asked, "How did you manage to come so soon? It takes at least three days to come from Shirdi to Simla."

Baba said, "Beti (dear daughter), I am everywhere. You have worshipped me in the form of Krishna. Is this all you know about me? I am feeling the cold. First get me hot tea." She prepared tea and offered it to Baba. After taking the tea, Baba said that he was hungry after his long journey. Krishna Priya brought him chapattis and brinjal curry, which Baba used to like very much. After taking the food Baba washed his hands and wiped them in a towel. He then told her, "The purpose for which I came is over and I am going away."

In those days nobody dared to exchange words with Baba. If anybody opposed or said anything to the contrary, Baba would wield the stick against them. He never allowed any contradiction. Hence, Krishna Priya could not tell Him anything. He gave her a jasmine garland.

Krishna Priya watched him as he went out walking through the bazaar. In Simla, on the roadside, there are usually deep valleys. As Baba was walking along, some workmen were engaged in some roadwork. Noticing that Baba had fallen down from the road, they ran to rescue him. But they could find nobody there. Baba had just disappeared.

Before taking leave of Krishna Priya, Baba whispered in her ears, "See me in 1926." She did not know where to see him, how to see him. When I went to Simla about 15 years ago, Krishna Priya came to see me. She was shivering on account of age and the cold weather. She asked, "Baba, have you forgotten the promise that you made to me long ago?" I told her, "It is you who have forgotten, not I. I never forget what I promise."

These are some of the aspects of the Shirdi manifestation. When Shirdi Sai brought to impart wisdom, it was not through discourses. Everything was taught by stern methods. It was because of the conditions prevailing in those days.

Once, Dada's wife brought her child to Baba with the intention of staying for some time in Shirdi. She got her husband's reluctant approval for the visit. At that time plague was rampant in Shirdi. On the second day of her arrival, the child developed fever and boils all over the body. The mother felt sorry that she had not acted on her husband's advice and lamented who could protect her child from the affliction. She immediately rushed to Baba and cried aloud, "Baba! Baba!" Baba asked her what for she had come. "Is your child having fever? Are there boils on his body? Not only the child but I am also having boils. You look at them." So saying, he lifted his Kafni (cotton robe) and showed the boil on his body. Mahalasapati, who was standing near, exclaimed, "Swami! What large boils are these?" He touched Baba's body and found that he was having high fever. The temperature might be as high as 105 or 106 F. The mother cried, "O Baba! Has the disease affected not only my son, but you also? Who will protect you?" She was in deep distress. Baba said, "Is there any other to protect the one who is the protector of all?" The mother immediately begged for Baba's forgiveness. A short while thereafter, Baba's fever came down.

The mother returned home feeling happy. She saw that the fever and the boils had vanished from the child. She exclaimed, "Baba, did you take on my child's illness?"

In this manner, Shirdi Baba used to demonstrate his powers as and when the occasion arose. What was the reason for this? It was solely due to Paripoorna Viswasam (total faith) which people had in Baba. The devotees followed implicitly whatever Baba directed them to do. It is not so these days. Whenever anything is said by Swami ten questions are raised. Besides the questions, they are racked by doubts from head to foot! This is traceable to the influence of modern education. This system is undermining faith in human values. Whatever help a man may receive, he is utterly ungrateful. He forgets all the good done to him and remembers only the harm done to him. Consequently, the demonic nature has grown in human beings.

In the old days, human beings retained at least human qualities. Today, men have only the human form but behave like animals. All their impulses are selfish. When their desires are fulfilled, they come smiling and uttering, "Baba! Baba!" If their desires are not fulfilled they have a different attitude. In such beastly beings, how can devotion to Baba exist? Only when men shed their animal natures, can they become human.

This is the anniversary of the day, when Shirdi Baba gave up his mortal body. The facts relating to his passing need to be understood. On September 28, 1918, Baba developed fever. For 17 days thereafter he was quite well. On October 15, Baba was not to be found anywhere. Nana, Kaka, Das, and Lakshmana Rao made a search for him all over the place. There was a small well nearby and they went to see whether he had fallen there. When they returned to Baba's abode, they found him standing near the door. Baba told them, "Where are you searching for me? I am in one place and you search for me elsewhere. I am in all pure hearts. You are searching for me in all polluted places. How can you find me?" He then sat down.

Baba left his body only on October 15. He developed high fever on September 28. He was keeping well for the next 17 days.

After Baba left his body, several controversies arose. Mohammedans came there and claimed that the body belonged to them. The Hindu's claimed that the body belonged to them. Baba used to declare from time to time, "Allah Malik! Allah Malik!" On account of this, Mohammedans claimed that Baba was a Muslim. At other times, Baba used to say, "Rama Malik! Krishna Malik!" For these reason the Hindu's claimed he was a Hindu. Because of these rival claims, the body was kept for 36 hours as no decision could be arrived at regarding the manner of disposal of the body.

To prevent clashes between the Hindu's and the Muslims, the Collector, the Police Superintendent and other officials arrived there. They asked all the residents of Shirdi to assemble there. They decided to take the vote of the people to find out how the majority of the local population wanted the last rites to be done for Baba. Everybody favored the Hindu way of disposal of the body. When this decision was arrived at, a pit was being dug in the Booty Mandir. Some persons opposed the digging. The dispute went on and ultimately the Collector and the Police arranged for the Samadhi to be consecrated in the Muralidhar temple. The temple is the present Samadhi shrine of Baba.

At this time, a remarkable incident occurred in Simla. The garland given to Mataji Krishna Priya was placed on the idol of Krishna by her in the presence of all in her residence. Many wondered why she was garlanding the Krishna idol when she was devotee of Sai Baba and there was a picture of Baba there. Bhajans were going on at that time. The garland placed on the Krishna figure dropped on the picture of Baba. The garland placed on the picture moved to the figure of Krishna. Everyone in Simla rejoiced in the discovery that Krishna and Sai Baba were one.

When all the people came there the next morning, they found that the garland given by Baba was no longer on the figure of Krishna. The garland was found on the Samadhi of Baba in the Booty Mandir.

Why did Baba manifest such miracles? In those days, there were bitter differences between Hindu's and Muslims. With a view to ending such communal differences, Baba wanted to show through his miracles the truth that Baba is the Supreme master of all beings. He has no differences of caste or community. His religion is common to people of all faiths. It is good for everyone. This is the creed for all mankind.

Spiritual wisdom is not something received from others. It has to blossom from within. Each one has to develop the faith by his own efforts. Those lacking such faith make themselves remote from God. Their own actions account for such lack of faith.

Many spend years here (in Prashanthi Nilayam). But for some reason or other, they go away. This is due to the effect of their karma. No man can escape the consequences of his actions. Whether one is a scholar or an ascetic, whether one is in a forest or a temple, can anyone avoid the consequences of his karma? Many who claim to be great devotees, fall away some time or other. The truth is that they were not true devotees even earlier. It is all make-believe. Whatever devotion existed will not go away; nor will devotion come where it was absent. This means that devotion was absent from the beginning. Those who used to proclaim their devotion by saying, "Swami is everything for us," really had no devotion at all. It was all a show. No true devotee will ever leave Swami. The one who leaves is never a real devotee.

In this context, it must be realized that the true nature of devotion cannot be comprehended by anyone.

Khajuraho - Temples of Love in India

2010-04-22T22:23:00.000-07:00

Khajuraho - Temples of Love in India

The name Khajuraho, ancient "Kharjuravahaka", is derived from the Sanskritkharjur meaning date palm. word

The Khajuraho Group of Monuments in Khajuraho (Hindi: खजुराहो), a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, are one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval HinduJain temples, famous for their erotic sculpture. The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site and , and is considered to be one of the "seven wonders" of India.

Khajuraho derives its name from the Khajur tree (the date palm tree) which abound a plenty in the region.The construction of these temples began in the reign of King Yasovarman. Eighty five of these temples were built of which around twenty two survive today. These temples are divided into three geographical blocks: the western, eastern and the southern. The western block is the biggest and the richest in artistry.
Khajuraho Temples are the most graphic, erotic and sensuous sculptures of India, the world has ever known. But Khajuraho has not received the attention it deserves for its significant contribution to the religious art of India – there are literally hundreds of exquisite images on the interior and exterior walls of the shrines.
Architecturally these temples are unique. While each temple in Khajuraho has a distinct plan and design, several features are common to all. They are all built on high platforms, several metres off the ground, either in granite or a combination of light sandstone and granite. Each of these temples has an entrance hall or mandapa, and a sanctum sanctorum or garbha griha. The roofs of these various sections have a distinct form. The porch and hall have pyramidal roofs made of several horizontal layers. The inner sanctum's roof is a conical tower - a colossal pile of stone (often 30m high) made of an arrangement of miniature towers called shikharas.
Major Groups of Khajuraho Temples
For the purpose of convenience, the village of Khajuraho has been divided into three directional areas in which are located the major groups of temples .
1- Western Group Temples
These groups of Khajuraho temples are entirely Hindu, and constitute some of the finest examples of Chandela art at its peak. The largest being the Kandhariya Mahadev, followed by a granite temple - Chaunsath Yogini. The Chitragupta Temple is dedicated to the Sun God, while the Vishwanath Temple sports a three-headed image of Brahma – the Creator of the Universe. The Lakshmana Temple is superbly decorated, while the Devi Jagdambi Temple is dedicated to Goddess Kali. Other temples in the Western Group include the Varaha Temple with a nine-feet high boar-incarnation of Lord Vishnu, the Matangeshwara Temple with a eight-feet high lingam, and the Brahma Temple.
2- Eastern Group Temples
This group of Khajuraho tempels comprises of two historic Jain temples – the Adinath Temple lavishly embellished with sculpted figures, and the Parsvanath Temple, the largest Jain temple, sculpted with charming detail. There are other shrines such as the Vamana Temple with apsaras in sensuous poses, and the Javari Temple that has a richly-carved doorway.
3-Southern Group
This group has two impressive Khajuraho temples, mainly belonging to the 12th century – the Chaturbhuja Temple, with a massive, carved image of Vishnu, and the Duladeo Temple, one of the last temples of the Chandela era, dedicated to Lord Shiva.

Khajuraho Hotels

5 star hotels
Jass Trident
Hotel Chandela

3 star hotel
Hotel Khajuraho Ashok
Usha Bundela
Kairali Ayurvedic Health Spa

Tajmahal-The Symbol Of Love

2010-04-21T00:22:00.000-07:00

The Taj Mahal is an immense mausoleum of white marble, built between 1631 and 1648 by order of the Mughal emperor Shah Jahan in memory of his favourite wife. Taj Mahal means Crown Palace; one of the wife's names was Mumtaz Mahal, Ornament of the Palace. The Taj is one of the most well preserved and architecturally beautiful tombs in the world, one of the masterpieces of Indian Muslim architecture, and one of the great sites of the world's heritage.

The Taj Mahal stands serene and perfect in its garden of cypresses and reflecting pools on the banks of the River Yamuna. Its pure white marble shimmers silvery white in the moonlight, glows softly pink at dawn, and at close of day reflects the fiery tints of the setting sun. The Taj in all its timeless beauty is still the inspiration of poets and painters, writers and photographers. And lovers still meet here in the moonlight in the shadow of the world's most famous monument to love. Shahjehan built the Taj in memory of Mumtaz Mahal who died giving birth to their 14th child. No cost was spared to make it the most beautiful monument the world had ever seen. White marble and red sandstone, silver and gold, carnelian and jasper, moonstone and jade, lapis lazuli and coral were fashioned by 20, 000 skilled workers to make the emperor's dream a reality. It took 22 years to complete - a symbol of eternal love where Shahjehan too lies buried, re-united at last with his beloved Mumtaz.
Set at the north end of a formal Persian garden with water courses, paved walkways and rows of dark cypresses, the Taj rises on a high red sandstone base topped by a huge white marble terrace, its flawless double dome flanked by four tapering minarets. Within lies the jewel-inlaid cenotaph of the queen, and a little to one side - the only asymmetrical feature in the Taj - the richly decorated casket of the emperor. Both are enclosed by an octagonal screen of finely pierced marble. So perfect are the proportions of the Taj, so exquisite its workmanship, that it has been described as having been designed by giants and finished by jewellers.
The legend, the poetry and the romance that shroud was described by Rabindranath Tagore as "a teardrop on the cheek of time". Taj Mahal means "Crown Palace" and is in fact the most well preserved and architecturally beautiful tomb in the world. It is best described by the English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor's love wrought in living stones." It is a celebration of woman built in marble and that's the way to appreciate it. Taj Mahal stands on the bank of River Yamuna, which otherwise serves as a wide moat defending the Great Red Fort of Agra, the center of the Mughal emperors until they moved their capital to Delhi in 1637.

The Story of a Taj Mahal

According to popular legend, Shah Jahan decided to construct another Taj Mahal in black marble on the other side of the river Yamuna and to connect the two by a bridge. This structure was intended to be his own tomb. It has been recorded almost contemporarily by a French merchant Tavernier : "Shah Jehan began to build his own tomb on the other side of the river but the war with his sons interrupted his plan and Aurangzeb who reigns at present is not disposed to complete it".
Later gazetteers and guide books mention this story almost invariably. The irregular position of the cenotaph of Shah Jahan as compared to that of Mumtaz Mahal which occupies the exact centre of the hall is said to be proof of this assumption. The Mehtab Burj and the wall adjoining it opposite the Taj Mahal are generally said to be the foundations and remains of the proposed plan.
Many scholars, however, believe that this idea belongs to fiction rather than history. The traces which are identified as the foundations of the second Taj Mahal are actually the enclosing wall of a garden founded by Babar. The irregular position of Shah Jahan's cenotaph in comparison to Mumtaz Mahal's, is similar to that at the tomb of Itmad-ud-Daulah, and thus should not be of any striking significance. Besides, according to Islamic law, bodies are buried with their faces towards Mecca and legs towards the south, and the husband is placed on the right hand side of his wife. The interpretation that the cenotaph of Shah Jahan was not meant to be placed here appears to be superfluous.

Languages in India with MAP

2010-04-18T07:07:00.000-07:00

There are 1652 different languages in India and 350 are as major languages.

Most of the languages of India belong to two families, Aryan and Dravidian. Languages spoken in the five states of south India belong to the Dravidian family and most of the
languages spoken in the north are of Aryan family. The general script of the Aryan languages is different from the general script of the Dravidian languages. The Indians also distinguish between the general north Indian accent and general south Indian accent. Along with these two main language families, there are others from Sino-Mongoloid family spoken in the East India.
Indian literature dates back several millennia to the hymns of the Vedic Aryans. The oral tradition nurtured classical literature, and produced great works of philosophy and religious doctrine. It also accounted for compilations of anecdotes like the Panchatantra and the Jataka tales, as well as epics like the Ramayana and the Mahabharata. In southern India, the creative energies of the Tamil poets found expression in the great works of Sangam literature. The epic Tirukkural by Tiruvalluvar is a masterpiece of this age. In the north, dramatists like Kalidasa and Bhasa produced great dramas in Sanskrit.
The Constitution has recognized Hindi, in the Devanagiri script, as India's official language. However English continues to be the working language. For many educated Indians, English is virtually their first language, and for a great number of Indians who are multi-lingual, it will probably be the second. The regional languages have been recognized as official languages of the States. In many cases, the state boundaries are drawn along linguistic lines. Listed below are the 22 languages officially recognized by the Indian Constitution. Four of them, namely Bodo, Dogri, Maithili and Santhali, have been recently added to the eighth schedule.

Assamese is the language of Assam and is spoken by nearly 60 per cent of the state's population. It has developed as a literary language from the 13th century.

Bengali, one of the leading Indo-Aryan languages is the official language of West Bengal. It developed as a language in the 13th century and is now spoken by nearly 200 million people in West Bengal and Bangladesh.

Bodo, the language very popular in Assam. The Bodo language group, to which belong the Kacharis, Rabhas, Lalungs, Morans and Chutiyas to some extent, dominates the Tibeto-Burman family. Most of these tribes have different dialects, both spoken and written, but all of them have tremendously contributed to the formation, development and growth of the Assamese language.

Dogri is the language spoken in the hilly parts of the northwest covering the states of Himachal Pradesh, Jammu and Kashmir and in some areas of Punjab.

Gujarati is the official language of Gujarat and is spoken by 70 per cent of the State's population. It is now one of the most developed languages in India.

Hindi is numerically the biggest of the Indo-Aryan family and is the official language of India. It is spoken by about 45 per cent of the population. Among the various dialects of Hindi, the dialect chosen as official Hindi is the standard Khariboli, written in Devanagiri script.

Kannada is the state language of Karnataka and belongs to the Dravidian family. It is spoken by 65 per cent of the state's population. This language originates in 9th century.

Kashmiri is a language of the Indo-Aryan group and is often mistaken as the state language of Jammu and Kashmir. Urdu is the state language of Jammu and Kashmir. 55 per cent of the population speaks Kashmiri. Kashmiri literature dates back to ad 1200.

Konkani, the official language of Goa, is principally based on classical Sanskrit and belongs to the southwestern branch of Indo-Aryans. It is spoken by thousands of Konkanis in Maharashtra, Karnataka and Kerala also.

Maithili is one of the popular languages from the 'Mithilanchal' zone of Bihar. It is the mother tongue of most Maithils and itself has many regional forms. It is derived from Sanskrit and contains many Sanskrit root forms. The language's most famous proponent is Vidyapati - 14th 15th century poet from Mithila who wrote in Maithili, Hindi, Bengali and Sanskrit and is famous for his songs on Radha and Krishna.

Malayalam, a branch of the Dravidian family is the official language of the state of Kerala. Malayalam developed as an independent language by the 10th century AD. It is the youngest of all developed languages in the Dravidian family.

Manipuri belongs to the Indo-Tibetan branch of language and is the state language of Manipur.

Marathi, the Indic language, dates back to the 13th century. It is the official language of Maharashtra. Though Marathi separated from the main Indo-Aryan stock at a very early date, it has today fully developed as a literature of the modern type.

Nepali has 6,000,000 speakers in India in West Bengal, Darjeeling area, Assam, Arunachal Pradesh, Bihar, Haryana, Himachal Pradesh and Uttar Pradesh.

Oriya, a branch of the Indo-Aryan family, is the official language of Orissa state, where Oriya speaking people comprises some 82 per cent of the population. Oriya is found recorded as far back as the 10th century. However, its literary career began only in the 14th century.

Punjabi belongs to the Indo-Aryan family and is the official language of the State of Punjab. Punjabi, though very old, turned literary around the 15th century. It is written in Gurmukhi script, created by the Sikh Guru, Angad.

Santhali, is the language of tribals called the Santhals, which follows a both the roman and he devanagri script. Ethnically Santhals are Proto-Austroloids and speak the dialect Santhali of the Austro-asiatic language family. They mostly reside in the state of Jharkhand but can be also found in neighboring Bihar and West Bengal.

Sanskrit, the classical language of India, is also one of the oldest languages in the world- perhaps the oldest to be recorded. It starts with the Rig Veda, which appears to have been composed around 2000 BC.

Sindhi, a member of the Indo- Aryan family, is spoken by a great number of people in the Northwest frontier of the Indian subcontinent comprising parts of India and Pakistan. Tamil is the oldest language of the Dravidian languages and is the state language of Tamil Nadu. Tamil literature goes back to centuries before the Christian era. More than 73 million people speak it.

Telugu is a Dravidian language spoken by the people of Andhra Pradesh. It is perhaps the biggest linguistic unit in India. Telugu is found to be recorded in the 7th century AD. However, it is only in the 11th century that it broke out into a literary language

Urdu is the State language oh Jammu and Kashmir and is spoken by more than 28 million people in India. Urdu and Hindi have proceeded from the same source i.e., Khariboli. Urdu is written in the Persio-Arabic script and contains many words from the Persian language.

States	Capital	Languages
Andra Pradesh	Hyderabad	Telugu and Urdu
Arunachal Pradesh	Itanager	Miji, Apotanji, Merdukpen, Tagin,Adi, Honpa, Bangini-Nishi.
Assam	Dispur	Assamese
Bihar	Patna	Hindi
Chhattisgarh	Raipur	Hindi
Goa	Panaji	Marathi and Konkani
Gujarat	Gandhinagar	Gujarati
Haryana	Chandigarh	Hindi
Himachal Pradesh	Shimla	Hindi and Pahari
Mizoram	Aizawl	Mizo and English
Jammu & Kashmir	Srinagar (Summer) Jammu (Winter)	Kashmiri,Dogri, Urdu, Ladakhi, Pahari,Punjabi and Dadri
Jharkhand	Ranchi	Hindi
Karnataka	Bangalore	Kannda
Kerala	Trivandrum	Malayalam
Madhya Pradesh	Bhopal	Hindi
Maharashtra	Bombay	Marathi
Manipur	Imphal	Manipuri
Meghalaya	Shillong	Khasi, Jaintia and Garo
Nagaland	Kohima	Ao, Konyak, Angami, Sema and Lotha
Orissa	Bhubaneswar	Oriya
Punjab	Chandigarh	Punjabi
Rajasthan	Jaipur	Rajasthani and Hindi
Sikkim	Gangtok	Bhutia, Hindi, Nepali, Lepcha, Limbu
Tamil Nadu	Chennai	Tamil
Tripura	Agartala	Bengali, Tripuri, Manipuri, Kakborak
Uttar Pradesh	Lucknow	Hindi
Uttaranchal	Dehra Dun	Hindi
West Bengal	Calcutta	Bengali

Languages of India with MAP

STATES AND CAPITAL OF INDIA

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STATES AND CAPITAL

States	Capital
Andhra Pradesh	Hyderabad
Arunachal Pradesh	Itanagar
Assam	Guwhati
Bihar	Patna
Chhattisgarh	Raipur
Goa	Panaji
Gujarat	Gandhinagar
Haryana	Chandigarh
Himachal Pradesh	Shimla
Jammu and Kashmir	Summer Capital: Jammu Winter Capital: Srinagar
Jharkhand	Ranchi
Karnataka	Bangalore
Kerala	Thiruvananthapuram
Madhya Pradesh	Bhopal
Maharashtra	Mumbai
Manipur	Imphal
Meghalaya	Shillong
Mizoram	Aizwal
Nagaland	Kohima
Orissa	Bhubaneswar
Punjab	Chandigarh
Rajasthan	Jaipur
Sikkim	Gangtok
Tamil Nadu	Chennai
Tripura	Agartala
Uttaranchal	Dehradun
Uttar Pradesh	Lucknow
West Bengal	Kolkatta
Union Territory	Capital
Andaman & Nicobar	Port Blair
Chandigarh	Chandigarh
Dadra and Nagar Haveli	Silvassa
Daman and Diu	Daman
Delhi	Delhi
Lakshadweep	Kavaratti
Pondicherry	Pondicherry

Topest Historical Places in India

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Topest Historical Places in India

India is a diverse country steeped in history. Its past has seen a melting pot of different religions, rulers and empires -- all of which have left their mark on the countryside. Many historical places in India are listed as World Heritage sites due to their cultural importance.
Visit these popular historical places in India and take a trip back in time to ancient India. You'll marvel at the architecture of what are some of the most stunning and captivating historical attractions that India has to offer.

1. The Taj Mahal

The Taj Mahal looms fairytale-like from the banks of the Yamuna River. It's actually a tomb that contains the body of Mumtaz Mahal – the wife of Mughal emperor Shah Jahan. He had it built as an ode to his love for her. Dating back to 1630 AD, the Taj Mahal is made out of marble and took 22 years and 20,000 workers to complete. One of the most captivating things about it is the way its color appears to gradually alter in the changing light of the day.

2. Hampi

Now a laid back village, Hampi was once the last capital of Vijayanagar, one of the greatest Hindu empires in India’s history. It has some extremely captivating ruins, intriguingly intermingled with large boulders that rear up all over the landscape. The ruins, which date back to the 14th century, stretch for just over 25 kilometers (10 miles) and comprise more than 500 monuments. An incredible energy can be felt at this ancient place.

3. Khajuraho Temples

If you want proof that the Kama Sutra originated in India, Khajuraho is the place to see. Erotica abounds here with over 20 temples devoted to sexuality and sex. The temples are best known for their erotic sculptures. However, more than that, they show a celebration of love, life and worship. They also provide an uninhibited peek into ancient Hindu faith and Tantric practices. No where else will you find such unique temples with meticulously detailed carvings.

4. Ajanta and Ellora Caves

Astonishingly carved into hillside rock in the middle of nowhere are the Ajanta and Ellora caves. There are 34 caves at Ellora dating from between the 6th and 11th centuries AD, and 29 caves at Ajanta dating back to between the 2nd century BC and 6th century AD. While the Ajanta caves are rich in paintings and sculpture, the Ellora caves are renowned for their extraordinary architecture. The most incredible thing about these caves is that they were crafted by hand, with only a hammer and chisel.

5. Fatehpur Sikri

A city that was once the proud capital of the Mughal Empire in the 16th century, Fatehpur Sikri now stands deserted as a well preserved ghost town. It was abandoned by its occupants after only 15 years due to insufficient water supply. Constructed out of red sandstone, Fatehpur Sikri is full of regal palaces and courtyards. You can almost feel yourself being transported back to medieval times here.

CLASSICAL DANCE OF INDIA

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CLASSICAL DANCE OF INDIA

Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni
The classical dance forms which have developed, have set rules that have been followed traditionally over the years. On the basic model, various gurus incorporate their own imaginative innovations, leading to various schools within a particular dance form. Apart from the gracious hand & leg postures & movements, the dancers have to acquire the skill of portraying various emotions faithfully in each expression on their face & each fluid movement of their hand, legs & in fact their whole body. Every part conveys some meaning in their graceful motion.

Eight classical dances

1. Bharatanatyam - Tamil Classical Dance
2. Odissi - Oriya Classical dance
3. Kuchipudi - Telugu Classical dance
4. Manipuri - Manipuri Classical Dance
5. Mohiniaattam - Malayali Classical Dance
6. Sattriya - Assamese Classical Dance
7. Kathakali - Malayali Classical Dance
8. Kathak - UP Classical Dance

Bharatanatyam - Tamil Classical Dance

Odissi - Oriya Classical dance

Kuchipudi - Telugu Classical dance

Manipuri - Manipuri Classical Dance

Mohiniaattam - Malayali Classical Dance

Sattriya - Assamese Classical Dance

Kathakali - Malayali Classical Dance

Kathak - UP Classical Dance

Kathak - UP Classical Dance

2010-04-18T02:15:00.000-07:00

Kathak - UP Classical Dance

Kathak (Hindi: कथक, Urdu: کتھک) is one of the eight forms of Indian classical dances, originated from northern India.
Kathak is the major classical dance form of northern India. The word kathak means "to tell a story". It is derived from the dance dramas of ancient India. When the patronage shifted from the temples to the royal court, there was a change in the overall emphasis. The emphasis shifted from the telling of religious stories to one of entertainment. Today, the story-telling aspect has been downgraded and the dance is primarily an abstract exploration of rhythm and movement.

Performance of the Kathak Dancers

Kathak can be divided into two main parts, namely nritta and abhinaya on the one hand, and tandava and lasya on the other. The nritta portions are presented in a sequence beginning with the traditional entry, known as the amada. Through the amada, the dancer makes his entry into the stage and the invocations to the Hindu god Ganesa were changed into the salami or the court salutation.

List of Famous Kathak Classical Indian Dancers

Sitara Devi (Kathak)
Shovana Narayan (Kathak)
Pandit Birju Maharaj (Kathak)

Kathakali - Malayali Classical Dance

2010-04-18T02:10:00.000-07:00

Kathakali - Malayali Classical Dance

Kathakali is a highly stylized classical Indian dance-drama noted for its attractive make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion.
Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portray various roles which are character-types rather than individual characters. Various qualities, human, godlike, demonic, etc., are all represented through fantastic make-up and costumes.

Origin of Kathakali

Kathakali as it is known today is not more than three to four hundred years old, even though its actual roots can be traced to at least 1500 years earlier. The art of Kathakali incorporates the characteristic features of many of the dances and dramas and it is safe to conclude that Kathakali evolved out of the earlier dance forms like the Chakiayarkoothu and Koodiyattom in Kerala, various ritual dances associated with the cult of Bhagavathy, such as the Mudiyattu, thiyyattom and Theyyattom, the socio-religious and material dances such as the Sastrakali and Ezhamattukali and the lately evolved dance - dramas such as the Krishnanattom and Ramanattom.

Indian Kathakali Dancers

One of the great living performers this art today in Kerala is Guru Ramankutty who both teaches and performs all over the world with his troupe. Another well known Guru and practitioner of this style in Bombay is Guru Gopalakrishnan.

Sattriya - Assamese Classical Dance

2010-04-18T02:07:00.000-07:00

Sattriya - Assamese Classical Dance

Sattriya, or Sattriya Nritya, is one among eight principal classical Indian dance traditions. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the Assamese Vaishnav saint Srimanta Sankardeva, in 15th century Assam
The Sattriya dance of Assam is a classical form of dance which is highly devotional in character with the spiritual aspect being predominant.
The word Sattriya is derived from Sattra which means monastery. Since the dance developed and grew within the Satras, it is named after these religious institutions. Specifically, it emerges from a 500 year old comprehensive theatre tradition nurtured in the Vaishnav Monasteries of Assam.
In the mid 15th century, Srimanta Shankardev, a poet and religious leader united the various sects of Assam through his teachings and established a universal social brotherhood of Neo-Vaishnavism through congregational prayer which included the music, the dance and the drama based on the life of Lord Krishna. The monks who lived in these Sattras performed these dance dramas as a votive offering to their Lord.
The popular artists of the Sattriya dance are Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Gosai Prabesh, Jhumura, Nadu Bhangi, Manchok Nritya, Bar prabesha, Natua Nritya, Gopi Pravesha, Rasa Nritya, Rajaghariya Chali Nritya, and Sutradhara.

Mohiniaattam - Malayali Classical Dance

2010-04-18T02:02:00.000-07:00

Mohiniaattam - Malayali Classical Dance

Mohiniyattam, also spelled Mohiniattam (Malayalam: മോഹിനിയാട്ടം), is a traditional South Indian dance from Kerala, one of the eight Indian classical dance forms. It is considered a very graceful dance meant to be performed as a solo recital by women.
Mohiniyattam is a dance form said to have originated in Kerala. It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava. In the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali.

History

Kuchipudi originated from a hamlet in Andhra Pradesh, called Kuchelapuri or Kuchelapuram, in the 3rd century B.C. This dance style, like many other classical dance forms, was initially presented at temples and was performed by the Brahmin men (known as Bhagavathalu). These dances were meant to prove as offerings to the deities and women were never allowed to participate in the dance group. The very first group of Brahmin performers (Bhagavathalu) was formed in 1502 A.D.

Manipuri - Manipuri Classical Dance

2010-04-18T01:56:00.000-07:00

Manipuri - Manipuri Classical Dance

Manipuri is the classical dance from the north East Indian state of Manipur. Its themes are devotional and are performed on religious occasions and in temples throughout the area. It is even often referred to as "sankirtan". The term Manipuri actually covers a number of dance forms from the region. The most important being the Ras Lila and the Pung Cholom.

Origin of Manipuri Dance

In the quiet north-eastern corner of India, where the majestic Himalayas coils toward the sea, the brilliant valley of Manipur, the jeweled city lies with its sheer grace and charm. Manipur is the home of the Meities, the artistic race who since ages have redefined their lifestyle amidst the expression and appreciation of art and indeed through the grace of their Nritya and lasya. The Meities love to dance. All their delights and grieves, desires, hopes and aspirations, are interpreted through their dance. Their lovely, cadenced yet carefully-disciplined movements create their own vivid imagery, while bringing out the unedited realisms of life. It was against this background Manipuri dance evolved and later developed as a distinct dance form in India.

Kuchipudi - Telugu Classical dance

2010-04-18T01:12:00.000-07:00

Kuchipudi - Telugu Classical dance

The famous dance form of Kuchipudi originated in the Kuchipudi village located in Krishna District of Andhra Pradesh. It is a dance drama tradition originally performed by men only. It is yet another precious pearl in the majestic crown of India's rich culture. The Kuchipudu dance form is famous for its grace, elegance and charm. Kuchipudi was nurtured, protected and refined by the great artists, who are responsible for its present form.

Make-up and costumes are the unique characteristics of Kuchipudi dance form. Apart from the make-up, the female characters also wear ornaments and jewelry, such as Rakudi (head ornament), Chandra Vanki (arm ornament), Adda Bhasa and Kasina Sara (neck ornament), and a long plait decorated with flowers and jewelry. Most of the ornaments worn by the artists are made of a light weight wood, called Boorugu.