The Tiger’s Cave – The first structure that we visited enroute to Mahabalipuram.This mandapam contains a shrine dedicated to the goddess Durga. There are large figures in front of the caves.

As you walk further into the campus, you stumble upon this piece of structure. A temple, a nandi and a rock with engravings on it.

Then came Arjuna’s penance. This magnificient structure was  carved in the mid 17th century. Measuring approximately 30meters in length  and 15meters in height, it is the most popular of all structures in Mahabalipuram. Arjuna’s Penance is a story from the Mahabharata of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Shiva’s weapon.

To the left of Arjuna’s Penance is where we find Krishna’s Mantap. It depicts the incident when Lord Krishna lifted the Govardana Giri mountain offering shelter to the people and cattle of the village against torrential rains.  This is a 12 column cave temple.

As you make your way towards the interiors, along the ocean sits the magnificent Shore Temple. The temple earned its  name because it overlooks the Bay of Bengal. It is one of the oldest structural stone temple in South India. One of the key monuments at Mahabalipuram, this is now protected by the UNESCO World Heritage Site.

Spend  a relaxed weekend unwinding and relaxing at  Club Mahindra Big Beach Resort in Pondicherry. Wake up to the sound of the ocean, and enjoy the laid back atmosphere for a perfect weekend getaway. When planning your weekend, remember it is the right time to visit Mahabalipuram now. The Dance festival happens in the months of January – February. There are quite a few historic places worth a visit in and around Pondicherry, and Mahabalipuram is one of them. it is in fact one of the many attractions between Chennai and Pondicherry, along the East Coast Road.

Not surprisingly, our decision to go to Tranquebar was met with raised eyebrows and strange glares. A five hour drive to a relatively unknown destination is not what most would call a good choice for a short weekend trip. But luckily for us Tranquebar turned out to be a quaint town and the perfect place to just sit back, relax and do absolutely nothing, but gaze at the azure waters of the Bay of Bengal. In fact the ocean looked so beautiful and serene, that it was hard to imagine that it was the same ocean that we had been keeping us company as we drove down from Chennai.

A former Danish trading centre, Tranquebar or Tharangambadi (meaning ‘place of singing waves’) was founded by the Danish in 1620, after getting into an agreement with King Raghunatha Nayak to pay Rs. 3111 per month as rent. Eventually bought by the Danish, it was later sold to the British in 1845.

As we drove through the once majestic Gateway of Tranquebar, now a dilapidated structure crying out loud for some restoration, we were transported back in an instant to an era gone by. The road leading up to the beach is lined on both sides by buildings built during both the Danish and British rule. The Zion Church and the New Jerusalem Church, built in 1701 and 1718 respectively are still active places of worship.

As the road turns left we caught a glimpse of the Dansborg Fort flanked by the grand Bay of Bengal.  A dull yellow structure and not exactly like the mighty forts seen elsewhere in India, the fort now houses a museum.

If Dansborg Fort is historically the most important structure in Tranquebar, then the most beautiful is undoubtedly, the Bungalow on the Beach, now a hotel with 8 rooms. A majestic white building with a slopping red terracotta roof, the bungalow was used as a Collector’s house in 1845 under the British rule.  The charming bungalow situated right on the beach offers breathtaking views of the ocean, dotted with numerous fishing trawlers, with the Dansborg Fort to the right and the mysterious Masillamani temple on the left. The oldest structure still standing in Tranquebar, the Masillmani temple originally had 3 mandapams of which only one survives. The one standing gopuram is in ruins and is barely protected from the sea by some big boulders to keep the water from hitting against the structure.

But nothing could keep us for long from returning to the bungalow, wanting to make the most of the time we had and to spend as many hours out on the pillared verandah that runs all along the first floor of the house, listening to the sounds of the waves crashing and watching the birds circle the clear blue sky.

There are not too many places that I have been to in the recent past that I have left with an almost certain feeling that when and if I do go back at some point in the future, I will see it looking better than when I saw it last. But luckily Tranquebar I believe will be one such place. The efforts being put in by the Danish Government, INTACH and several others towards restoring more jewels of Danish legacy will make Tranquebar only more beautiful if that’s possible.

Tranquebar is barely a couple of hours from Pondicherry , where Club Mahindra has a Zest property.  Do plan a trip to Pondicherry and Tranquebar the next time youtake a beach holiday

The city of Dwarasamudra that once encompassed Bennegudda was built by the kings of thousand-year old Hoysala Kingdom. The Hoysala dynasty came into existence in a time when the Chalukya Kings dominated the northern parts of Karnataka, while a struggle was on between the Cholas and Gangas for dominion in the south. The ancestors of the Hoysalas joined hands with the Gangas in the war against Cholas, and eventually built their own kingdom on the edge of Malnad region. They established their capital at Dwarasamudra in later half of eleventh century, now called Halebeedu. Their kingdom spread as far as Madurai in south and Lakkundi in the north as they grew stronger over generations. In the days of their prime, Vishnuvardhana, the Hoysala king who ruled in the first half of twelfth century, defeated the Cholas in Talakadu and supported construction of ornate temples of stone all along his kingdom. Many of these temples have survived even today as the evidence of a time when craft of carving excelled.

The Hoysaleshwara temple in Halebeedu is one of the finest examples of their architecture. The two shrines in the star shaped temple are dedicated to Hoysaleshwara and Shantalaeshwara, named after the king and the queen. Heavily decorated outer walls have eleven layers of friezes at the bottom, with rows of distinctly carved elephants, lions, horses, the mythical creature makara and stories from the puranas. One of those stories shows the gods and demons churning the ocean using Serpant Vasuki coiled around the mountain of Manadara. In another sculpture, Bheema is depicted going to after the enemy troupes in the war of Kurukshetra, killing elephants and piling them up on his way. Above the friezes are four-feet high statues of gods and goddesses carved to such a precision that even fingernails, teeth and lines on the hands can be identified clearly.

The best sculptures are seen on the south door of the temple, which was used by the king and the royal family. The door keepers here are framed to a fine detail, with every bead in their ornament highlighted distinctly. To the east are two Nandi Mantapas, each of them facing a deity of the temple. The Nandis are the sixth and seventh largest statues of the bull in the country.

South of Hoysaleshwara temple is the smaller Kedareshwara temple, which shares architectural elements with its neighbour. While the former is buzzing with activity of tour groups and guides, Kedareshwara Temple has a deserted calm, allowing the visitor to explore at one’s own pace.

On the way to Kedareshwara Temple is Bastihalli, a small hamlet that houses three Jain Temples dating back to the days of King Vishnuvardhana. The highlight of Parshwanatha Basadi, the largest of the three, is a mantapa with an array thick cylindrical pillars. Inside the temple is a 16-feet high statue of Parswanatha standing in the shade of a five headed serpent. The roof of the main hall hosts small statues of the twenty four tirthankaras. Besides Parshwanatha Basadi are two other temples dedicated to Shantinatha and Adinatha.

Located just below Bennegudda are the ruins of the old city, littered with broken remains of carved rocks. It is an Archeological Survey site that hosts remains of three temples, of which only the pedestals and some friezes have survived. However, the carved mass of rocks littering the area around the temple is an evidence of the glory days that the kingdom had once witnessed. Today, creepers have grown over the rocks that were once caressed by the hands of the sculptor.

With their vast empire and rich architecture, the stories of Hoysala kings have become an important part of our history. Here in Halebeedu, every corner has something to remind us of the grand days of the great kingdom.

Getting There

Regular buses connecting Bangalore with Chikmaglur stop at Belur. Halebeedu is 15km from Belur, and can be reached with the help of local buses or auto rickshaw. If you are driving, drive past Hassan on Belur road till you reach Hagare Village. Turn right at Hagare and drive for another 7km to reach Halebeedu.

For more details, log on to www.travelwise.in for the Hoysala Trail

At a time when the world had long ago discovered the greens and blues of Kerala, the alluring backwaters of Alleppy and the warm beaches of Kovalam (and perhaps getting tired of the same images), director Maniratnam put a small spot in North Kerala on the map. Thanks to his evocative shots of lovers torn apart by a hostile world (in his movie ‘Bombay’), suddenly the rain-drenched ramparts of Bekal became one of the most romantic destinations within Kerala. It seemed the perfect rendezvous, hidden in the heart of Kerala and far from prying eyes. And the canny Kerala government seized this opportunity with both hands and suddenly, God’s own tiny country was officially larger on the tourist circuit.

Pic : Charu

We feel a rush of anticipation as we drive towards the fort, a visit that has been planned for many years about to materialize. At first glance, the Bekal fort is unassuming, especially after the excitement created by the plethora of signboards that guide you towards it, all the way from Mangalore to the North or Trivandrum deep down South. It sits lonely and tired at the edge of the waters. But as you make your way slowly to the top of the fort and then walk around the edges, seeing the Arabian Sea stretch out in front of you, the magic of the location sinks in.

There are groups of young girls in their bright salwar kameezes and school children in their staid uniforms inside the fort at the time we visit, adding noise and color to the otherwise peaceful scene. Still high in the sky, the sun is far from ready to call it a day and the sea is still rough though tiny boats are making their way bravely into the choppy waters. At Bekal beach nearby, crowds have already begun to troop in to watch the famous sunset on the Arabian Sea, and on top of the fort, young couples and families with small children have found themselves little corners from which to enjoy the evening breeze.

Pic : Charu

The fort seems to rise majestically from the sea itself, the waves washing over its walls the way they have done for centuries now. Bekal fort is made of the stuff that signifies unfulfilled romance, secret yearnings and patient waiting. Looking at the way it stands tolerantly weathering the torrid rains of August and the white heat of May, it makes me wonder how many such lovers the fort by the sea has seen.

A short history of the fort

The fort in Bekal is considered the largest in Kerala, spread over 40 acres, and certainly the best preserved. It was built by Sivappa Naik sometime in the 1650s and is known for its defence architecture, which includes cunningly placed holes in the walls of the fort that aim at different points and distances; the holes at top meant for aiming far into the sea while the ones below to catch the enemy as they approach closer.

Pic : Charu

The fort was later captured by Hyder Ali of Mysore in the late 18^th century and then Tipu Sultan, under whom it served most as a defence citadel, especially during his march down South to capture the Malabar province. Recent excavations at the fort have brought to light different kinds of religious structures within the fort from the time of Tipu Sultan’s reign, including a darbar hall and temples, revealing the secular nature of his regime. Once Tipu Sultan fell, the fort passed into the hands of the British, when Bekal became the headquarters of the newly created Bekal taluk in the South Canara district. The decline of the fort began when South Canara district came under Madras province, and Kasarod taluk was established as the regional headquarters in place of Bekal. Today, the Archeological Survey of India maintains it, along with the Kerala Government which is doing a lot to promote the fort, and the region itself as a major tourist attraction.

Apart from Bekal fort which is today the most popular spot in the region, there are several other attractions in Kasargod which make it one of the more interesting regions in Kerala for tourists today. Kasargod is the northern-most district of Kerala, just South of Mangalore and culturally, has the feel of both Karnataka and Kerala. Similarly, there is also a lot of remaining influence from the Muslim rule, which flourishes peacefully with the rest of the Hindu and Christian communities who are part of the region. The entire area has a charming laid-back atmosphere which is not yet exposed to the overwhelming crowds of the rest of the state.

Pic : Charu

Water, water, everywhere…

If Bekal is Kasargod’s most famous landmark, I would say Nileshwaram is its best kept secret. There is nothing spectacular about the town itself; it lies 30 km to the South of Bekal by the banks of the Nileshwaram river. The town seems to have sprouted organically along the National Highway 17, with houses and small shops lining both sides of the road. We stayed at Nalanda Resorts in Nileshwaram, with rooms facing the placid river. It was early in the morning, on a boat ride on the river that we discovered the magic of life on and by the river.

Cruising slowly down the shallow river, only the steady hum of the motor boat to break the silence of dawn, we watched the town come to life, lazily stretching its arms towards a new day. A man walks, lonely and thoughtful on the bridge, the sun just climbing high in the sky just behind him. Fishermen are at work, busy in their own worlds, while other men in similar boats scout the river for silt. Our boatman explains that the sand from the shallow river is used in construction all over the region. Tiny birds are sitting on electric wires stretched across the river, flying away noisily at the sound of our approaching boat.

Pic : Charu

Thankfully, even today, Bekal fort or even the region of Kasargod is not as crowded with tourists as the South of the state is. Add to this good infrastructure and facilities, a combination that spells holiday heaven. For those tired of the well-publicized image of swinging palms and kettuvallams of South Kerala, here is the ideal getaway solution. This is the perfect place for anyone with a secret in his / her heart. And that is you and me and everyone else.

Pic : Charukesi

Or when you climb up Hemakuta hill, dotted with fifty odd small temples, the perfect place to spend a peaceful evening. Alternatively, stay in any of the small guest-houses in the bazaar area and find yourself staring at the gopura during breakfast from the mandatory roof-top restaurant of the place, or stare at the glorious silhouette of the temple tower in the evening as the sky turns colors before the sun finally sets for the day. Everywhere you turn in Hampi, you catch a glimpse of the Virupaksha temple.

Pics : Charukesi

In a town where all temples and places built by the Vijayanagar dynasty are now in ruins, the Virupaksha temple stands in amazingly good condition. Our guide Lokesh “full name Lokabhirama but too long to confusing” tells us that the Muslim invaders who destroyed most of Hampi, spared this temple on seeing the symbol of a boar (along with a sword and something else that I cannot remember now) etched on the wall near the entrance of the temple. Think of it – the invaders couldn’t have been all that clever if all it needed to keep them at bay was a boar in stone – nor for that matter, were the architects and builders very clever – why aren’t there more stone boars in temples, I say?

Pic : Charukesi

Now guides will be guides and invaders will be invaders and all that, so I have no idea how true this story is, but whatever the reason, the Virupaksha temple has survived through the centuries. Dedicated to Lord Shiva, or Pampapati (the husband of Pampa, or the goddess Bhuvaneshwari), this temple was built sometime in the early 15th century, and further renovated in the sixteenth century by Krishnadevaraya.

Pics : Charukesi

While the temple is aesthetically a marvellous example of the architecture of those times, the highlight is a small dark room at the Western end, way behind the main tower. Here, in the mornings, you get to see an inverted image of the main gopura (tower) on a wall, as light falls through a small window. The pinhole camera concept, explains our guide, as he moves his hand in front of the small window, thus altering the size of the inverted shadow on the wall.

Pics : Charukesi

And just outside, on your way back to the main gate are monkeys drinking milk straight out of plastic milk covers and the temple elephant, who gobbles up the bananas you offer and imparts his blessings only when money changes hands. There is also the pied-piper of Virupaksha, the old man who blows this long horn and poses for your camera, all for a small fee. You exit the temple straight into Hampi bazaar, with its “recommended in Lonely Planet” restaurants and little hand carts and stalls selling everything from cheap plastic-ware to the ubiquitous “ethnic” Rajasthani handbags. Alternatively, you can turn left just outside the temple and reach the banks of the Tungabhadra, it a lovely walk by the riverside.

Pics : Charukesi

And finally, straight from the heart, why I love Hampi so much and dream of returning…

Pics : Charukesi

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]]> http://www.clubmahindrablog.com/why-i-love-hampi/feed 6 http://www.clubmahindrablog.com/ajantha-caves-stepping-back-in-time http://www.clubmahindrablog.com/ajantha-caves-stepping-back-in-time#comments Thu, 05 Mar 2009 06:39:36 +0000 Deepak Amembal http://www.clubmahindrablog.com/?p=421 Ajantha caves, famous for its murals, are the finest surviving examples of Indian art, particularly painting. They were excavated (circa. 2nd century B.C. to 6th century A.D.) in the shape of a horseshoe, overlooking a narrow stream known as Waghora and each cave was connected to the stream by a flight of steps, which are now almost obliterated. The caves attained the name from a nearby village named Ajanta. Apparently, these caves were discovered by an Army Officer in the Madras Regiment of the British Army in 1819 during one of his hunting expeditions.

Pic : Deepak A

Totally, 30 excavations were hewn out of rock including an unfinished one. The earliest excavations belong to the Hinayana phase of Buddhism. These caves are datable to the pre-Christian era, the earliest among them being Cave 10 dating from the second century B.C.The object of worship is a stupa and these caves exhibit the imitation of wooden construction to the extent that the rafters and beams are also sculpted even though they are non-functional.

Everything about Sanchi can be described in a single word, simply splendid. Be it the beautiful descriptions on the four gates of the stupas or the famour Ashoka pillar or even the remains of the educational institute, everything in this place radiates a calmness invoking the divine presence. I spent some wonderful hours on a winter Sunday morning watching my mind completely bewitched by the radiance of Sanchi. Now, a world heritage centra, Sanchi Stupa is a grandeur in itself! The historians say that though Sanchi Stupa was built by Emperor Ashoka, it’s hardly mentioned in any of the doctrines. Stupa was built by emperor Ashoka around third century BC and Lord Buddha lived in 5th century BC. Its believed that Lord Buddha never visited Sanchi.

The Hill of Sanchi is situated about 9 kilometres south-west of Vidisha in Madhaya Pradesh, India. Crowning the hilltop of Sanchi nearly 91 metres in height, a group of Buddhist monuments commands a grand view even from a distance. It is unique not only in its having the most perfect and well-preserved stupas but also in its offering a wide and educative field for the study of the genesis, efflorescence and decay of Buddhist art and architecture for a period of about thirteen hundred years, from the third century B.C. to the twelfth century, A.D., almost covering the whole range of Indian Buddhism.

Pic : Medhini Seshadri

This is rather surprising, for Sanchi was not hallowed by any incident in Buddha’s life; not is it known to have been the focus of any significant event in the history of Buddhist monachism. Hiuen Tsang, who so meticulously recorded the details connected with Buddhist monuments, is silent about it. The only possible reference to it is contained in the chronicles of Sri. Lanka, according to which Mahendra, son of Asoka and his queen Devi, daughter of a merchant of Vidisa, (modern Besnagar near Bhilsa or Vidisha) whom Asoka had married during his halt there on his way to Ujjayani as a viceroy, is said to have visited his mother at Vidisa, and the latter took him up to the beautiful monastery of Vedisagiri built by herself. Mahendra had stayed there for a month before he set out for Sri Lanka.

The foundation of the great religious establishment at Sanchi destined to have a glorious career as an important centre of Buddhism for many centuries to come, was probably laid by the great Maurya emperor Asoka (circa 273-236 B.C.), when he built a stupa and erected a monolithic pillar here. In addition to his marriage with a lady of Vidisa, the reason for his selection of this particular spot may be due to the fact that the hilltop served as an ideal place for giving a concrete shape to the newly aroused zeal for Buddhism in the emperor, who is said to have opened up seven out of the eight original stupas erected over the body relics of Buddha and to have distributed the relics among innumerable stupas built by himself all over his empire. By its quietude and seclusion ensuring a proper atmosphere for meditation, combined with its proximity to the rich and populous city of Vidisa, Sanchi fulfilled all the conditions required for an ideal Buddhist monastic life. The dedicatory inscriptions at Sanchi unmistakably show that the prosperity of the Buddhist establishment here was, to a great extent, due to the piety of the rich mercantile community of Vidisa.The nearness of the city, the strategic situation of which – at the confluence of two rivers, the Betwa and the Bes, as well as on two important trade routes resulted in a great overflow of wealth, was in no small measure responsible for the flourishing condition of Sanchi even when the empire of the Mauryas was a thing of the past.

After a temporary setback following the break-up of the Maurya empire, when the stupa of Asoka was damaged, the cause of the Buddhist establishment of Kakanaya was taken up with a feverish zeal by the monks and the laity alike, not a negligible percentage of the latter being formed by visitors of Vidisa for trade and other purposes. The religious fervour found its expression in vigorous building activity about the middle of the second century B.C., during which the Sungas were ruling and which saw the stone encasing and enlargement of the stupa of Asoka, the erection of balustrades round its ground, berm, stairway and harmika, the reconstruction of Temple 40 and the building of Stupas 2 and 3.The same intense religious aspiration and creative forces continued unabated in the next century as well, when, during the supremacy of the Satavahanas, new embellishments, in the form of elaborately-carved gateways, were added to Stapas 1 and 3.

Pic : Medhini Seshadri

The political vicissitude which northern India went through immediately before and after the Christian era, when the Scytho-Parthians and Kushans invaded and annexed a large part of the land, had perhaps its repercussions at Sanchi as well, resulting in a slackening of structural activities. The establishment of a foreign power in the Malwa region under the Kshatrapas, engaged in chronic warfare, hardly provided any incentive for the dormant workshop. However, like the contemporary Buddhist centres of north and south-east India, Sanchi freed itself, during the period, from the earlier aniconic tradition, but its contribution to the evolution of the image of Buddha was nil, and it depended for such images on imports from Mathura.

After a prolonged period of stagnation and lassitude under the Kashtrapas, there was a revival of sculptural activity at Sanchi during the reign of the Guptas who, after conquering the Kshatrapas (circa A.D. 400), provided peace and prosperity essential for the growth of artistic pursuits. The discovery a few images in Mathura, sandstone executed in the early Gupta tradition, proves that Mathura continued, even in the fourth century A.D., to meet the demand of the clientele of Sanchi.

But soon afterwards the local art of Sanchi once more came to the fore, and to this period belong the four images of Buddha seated under canopies against the berm of Stupa 1 facing the four entrances. But even in the best days of the Guptas, the figures of Buddha from the ateliers of Sanchi fell short, in standard and number of their counterparts at such Buddhist centres as Sarnath.

The Gupta period, which ushered in a new epoch in the history of Indian temple-architecture, saw at Sanchi as well as resuscitation of structural activity. In Temple 17 which has withstood the ravages of time, we find one of the earliest Gupta temples noted for their well-balanced proportion, restraint in ornamentation and elegance.

After the glorious days of the Guptas centrifugal forces became once more rampant. And then came the shock of the Hana invasions, which resulted in the seizure of a large part of western and central India by that tribe. But that occupation was short lived, to be shattered by Yasodharman’s victory over their chief Mihirakula in the first half of the sixth century.

On the ashes of the Gupta empire rose a number of small kingdoms, none of which was powerful enough to bring any large part of India under its aegis, till Harshavardhana (A.D. 606-647) achieved some sort of political unity in northern India. His espousal of the cause of Buddhism brought a fresh lease of life to that religion. The vestiges of the seventh and eighth centuries, which saw at Sanchi the building of several monasteries and temples, reveal a prosperous condition of the Buddhist community at the place. The number of the images of Buddha made during the period was fairly considerable; executed in late Gupta tradition, they, however, lack the charm and grace of their prototypes and are almost lifeless and mechanical.

Pic : Medhini Seshadri

After the death of Harsha, northern India once, more became a prey to the ambitions of different dynasties. The Pratiharas, who had established themselves in the Malwa region by the eighth century, were followed by the Paramaras in the next century. But Sanchi seems to have been hardly affected by these political changes, as the existence of a number of medieval monasteries and temples testifies to a period of continued prosperity. Temple 45, for example, which is now a mere shell bereft of its original splendour, has the same architectural pompousness and exuberance of decoration as would characterize the contemporaneous north Indian architecture. From the find of such images like Vajrasattva and Marichi, it is abundantly clear that Vajrayana did extend its roots here as well.

It is not known how end came to the Buddhist establishment at Sanchi. No Buddhist monument can be assigned to the thirteenth century A.D. on the other hand, to this period belong a number of Brahmanical plaques containing representations of Vishnu, Ganega, Mahishasuramardini, etc. We do not know if the Buddhists deserted the place or gradually lost their vital forces to maintain their individuality thus succumbing to the all absorbing force of Brahmanism, which was one of the potent causes of the extinction of Buddhism in the land of its birth.

Pic : Medhini Seshadri

View of Stupa 3 with carved gateway 1st Century A.D.The relics of Sariputra and Maha Moggalana, the two foremost disciples of the Buddha, were found by Colonel Cunningham in 1851 in this stupa,enshrined at the centre of at the centre of the dome on the level of the terrace.From the fourteenth century onwards, Sanchi was left deserted and unnoticed, till in the year 1818 General Taylor brought it to public attention by discovering its ruins, of which he found

Supas 1, 2 and 3 intact. The great interest which this discovery created accounts to a large extent for the immense damages suffered by the monuments at the hands of amateur archaeologists andtreasure-hunters. In 1822, Captain Johnson, Assistant Political Agent in Bhopal, opened up Stupa 1 from top to bottom on one side, thus leaving a great breach which resulted in the collapse of the. West Gateway and a part of the enclosing balustrade. Stupa 2 was also partially destroyed. Alexander Cunningham, together with Captain F. C. Maisey, excavated Stupas 2 and 3 in 1851 and found relic caskets within. They also sank a shaft at the centre of Stupa 1, which, however, failed to yield any relies. These operations coupled with the depredations of villagers and the growth of vegetation, wrought havoc to the stupas. The pillar of Asoka was broken into pieces by a local zemindar to be utilized as a sugarcane press.On the gates of the stupas are inscribed Buddha’s many incarnations. And each of these four gates has a tale to tell. These comprise a few tales from the ataka stories. When our guide explained to us the meaning of the symbols, we were spellbound. Here’s one of the story I liked :

One of the interesting stories depicted in the gateways:When prince Siddhartha realized about the miseries of the world, he decides to abandon the palace and move to the forest for search of truth. In order to avoid any disturbance to son Rahul and wife Yashodhara (who in turn may cause emotional turbulence to Siddhartha and result in giving up his search for truth), he commands his servants to carry the horse on which he is seated so as to avoid the sounds of the horse’s shoe made on the smooth floor of the palace. The picture on the gateway shows four servants carrying the horse on which the prince is mounted and on returning the horse is empty.

Buddhism is divided into two main divisions- theravada and Mahayana.
When the stupa was being built, the followers were mainly Theravada.
They worshipped the abstract form of Buddha. Among the four gates, not
one of them has the statue of Buddha. Instead Buddha is represented by
1. Bodh tree
2. two parallel lines
3. full moon
4.umbrella

Only the insides of the stupa contains idols of Buddha,supposed to be erected by the Mahayana followers.

After the decline of Buddhism in India these stupas were lost in thick jungles around Sanchi. In the early nineteenth century renovation work began under the guidance of British officers. The question of repairsand preservation was not, at all considered till 1881, when Major Cole took up the work in right earnest and succeeded, in the course of the next three years, in clearing off vegetation, filling in the breach in the dome of Stupa 1, setting up its fallen West and South Gateways and a part of its railing and restoring the gateway in front of Stupa V.

The other monuments, however, were left uncared for and no attempt was made to expose the structures lying buried under debris. This work was later on undertaken creditably by Sir John Marshall, Director General of Archaeology in India, who, between the years 1912 and 1919, brought the monuments to their present condition. His work entailed a large-scale clearance of jungle, excavation and thorough conservation of the edifices, which included the complete dismantling and rebuilding of the south-west quadrant of Stupa 1, setting up of its balustrades and erection of the crowning members, reconstruction of the dome, balustrade and crowning members of Stupa 3, resetting of the out-of-plumb pillars of Temple 18 repairs to the perilously decayed Temple 45, rebuilding of the retaining wall between the Main Terrace and Eastern Area, re-roofing and repairs of Temples 17, 31 and 32 and provision of an effective drainage. The site was next turfed and
Planted with trees and flowering creepers. A small museum was also built to house the loose antiquities found in the course of these operations.

Five reasons why you should visit Sanchi:
1. World heritage centre
2. Very well maintained
3. Accomodation facilities are good.
4. Well connected by buses
5. Sculptures are wonderful

How to Reach Sanchi by Air: The nearest airport is Bhopal the capital city of Madhya Pradesh. Bhopal is an important domestic airport in central India, which is served by several airlines. Regular flights connect Bhopal to key Indian cities like: Delhi, Mumbai and so on.

How to Reach Sanchi by Road: Sanchi is located close to important cities in Madhya Pradesh. A good network of roads connects Sanchi to Bhopal (46kms), Vidisha (10kms), Indore (232kms).

How to Reach Sanchi by Rail: The nearest Railhead from Sanchi is also located at Bhopal. A
well-laid rail network links Bhopal to several Railway Stations in India. so you can reach Bhopal from any part of the country.