Holy Pilgrimage – Temples in Madhya Pradesh State -4

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Holy Pilgrimage – Temples in Madhya Prades State




Tourism in Madhya Pradesh

Madhya Pradesh is called the Heart of India because of its location in the centre of the country. It has been home to the cultural heritage of Hinduism, Islam, Buddhism etc. Innumerable monuments, exquisitely carved temples, stupas, forts & palaces are dotted all over the state. Madhya Pradesh bagged the Best Tourism State Award in 2012.

The natural beauty

The natural beauty of Madhya Pradesh is equally varied. Consisting largely of a plateau streaked with the hill ranges of the Vindhyas and the Satpuras, the State has everything. The hills give rise to the main river system - Narmada and the Tapti, running from east to west, and the Chambal, Sone, Betwa, Mahanadi west to east. Spectacular mountain ranges, meandering rivers dotted with hills and lakes and miles and miles of dense forests offering a unique and exciting panorama of wildlife in sylvan surroundings.
 
One third of the state is forested and offers a unique and exciting panorama of wildlife. In the National Parks of Kanha, Bandhavgarh, Shivpuri and many others one has the rare opportunity to see the tiger, the bison and a wide variety of deer and antelope in sylvan surroundings.

World heritage sites

Although the modern state of Madhya Pradsh came into being in 1956, its cultural heritage is ancient and chequered. Innumerable monuments, exquisitely carved temples, stupas, forts and palaces on hilltops, raise in the visitors mind visions of empires and kingdoms, of the great warriors and builders, poets and musicians, saints and philosophers; of Hinduism, Buddhism, Jainism and Islam. The famous Sanskrit poet-dramatist Kalidasa and the great musician of the Mughal court, Tansen, were from Madhya Pradesh. They are known all over the world.
Several cities in Madhya Pradesh are extraordinary for their architecture and or scenic beauty.
Three sites in Madhya Pradesh have been declared World Heritage Sites by UNESCO:

Significant sites

Other architecturally significant or scenic sites include:
Madhya Pradesh being very large geographically, and the history being spread over several millennia, a developing a comprehensive picture of heritage and architecture is a monumental task.

National Parks

Madhya Pradesh is home to several National Parks, including:

Nature reserves


There are also a number of nature preserves, including:
  • Panpatha, Shikarganj

Fairs and festivals

 Customs and beliefs in each area in Madhya Pradesh have added colour to the fairs and festivals. Shivratri in Khajuraho, Bhojpur, Pachmarhi and Ujjain; Ramanavami in Chitrakoot and Orchha, Bhagoriya dance in Jhabua and the annual festival of dances at Khajuraho are events for the tourists to remember. The Malwa festival in Indore, Mandu and Ujjain, and the Pachmarhi festival bring alive the rich folk and tribal culture of the state in colourful celebrations.

Hill stations

 

Bhimbetka rock shelters, Madhya Pradesh

The Bhimbetka rock shelters (Devanagari: भीमबेटका पाषाण आश्रय) are an archaeological World Heritage site located in Raisen District in the Indian state of Madhya Pradesh. The Bhimbetka shelters exhibit the earliest traces of human life in India and deliver traces of dance from prehistoric times; a number of analyses suggest that at least some of these shelters were inhabited by hominids like homo erectus more than 100,000 years ago. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old (Paleolithic Age)
The name Bhimbetka is associated with Bhima, a hero-deity renowned for his immense strength, from the epic Mahabharata. The word Bhimbetka is said to derive from Bhimbaithka, meaning "sitting place of Bhima"

Location

The Rock Shelters of Bhimbetaka (or Bhim Baithaka) lie in the Raisen District of Madhya Pradesh, 45 km south of Bhopal at the southern edge of the Vindhyachal hills. South of these rock shelters are successive ranges of the Satpura hills.
The entire area is covered by thick vegetation, has abundant natural resources in its perennial water supplies, natural shelters, rich forest flora and fauna, and bears a significant resemblance to similar rock art sites such as Kakadu National Park in Australia, the cave paintings of the Bushmen in Kalahari Desert, and the Upper Paleolithic Lascaux cave paintings in France.

Discovery

As reported in the UNESCO citation declaring the Rock Shelters of Bhimbetka as a World Heritage Site, Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site, based on information gathered from local adivasis. Later, as V. S. Wakankar was traveling by train to Bhopal he saw some rock formations similar to those he had seen in Spain and France. He visited the area along with a team of archaeologists and discovered several prehistoric rock shelters in 1957.
Since then more than 700 such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha Juar group. Archeological studies revealed a continuous sequence of Stone Age cultures (from the late Acheulian to the late Mesolithic), as well as the world’s oldest stone walls and floors. There have been found also the oldest known petroglyphs of the world in 1990 - 1991 - 10 cupules and meandering line which could be up to 150,000 years old. . The earliest paintings on the cave walls are believed to be of the Mesolithic period. A broad chronology of the finds has been done, but a detailed chronology is yet to be created.
The caves have evolved over time into excellent rock-shelters, ideal sites for aboriginal settlements. The smooth shape of the rocks has led some scientists to believe that the area was once under water. The rocks have taken on incredible shapes in several stunning hues and textures. Apart from the central place the aboriginal drawings have in human history, the caves themselves offer interesting material for a study of the Earth's history.
Barkheda has been identified as the source of the raw materials used in some of the monoliths discovered at Bhimbetka

 

Rock art and paintings

The rock shelters and caves of Bhimbetka have a number of interesting paintings which depict the lives and times of the people who lived in the caves, including scenes of childbirth, communal dancing and drinking, and religious rites and burials, as well as the natural environment around them.
Executed mainly in red and white with the occasional use of green and yellow with themes taken from the everyday events of aeons ago, the scenes usually depict hunting, dancing, music, horse and elephant riders, animal fighting, honey collection, decoration of bodies, disguises and masking and household scenes. Animals such as bisons, tigers, lions, wild boar, elephants, antelopes, dogs, lizards, crocodiles, etc., have been abundantly depicted in some caves. Popular religious and ritual symbols also occur frequently
The superimposition of paintings shows that the same canvas was used by different people at different times. The drawings and paintings can be classified under seven different periods.
Period I - (Upper Paleolithic): These are linear representations, in green and dark red, of huge figures of animals such as bison, tigers and rhinoceroses.
Period II - (Mesolithic): Comparatively small in size the stylised figures in this group show linear decorations on the body.
In addition to animals there are human figures and hunting scenes, giving a clear picture of the weapons they used: barbed spears, pointed sticks, bows and arrows. The depiction of communal dances, birds, musical instruments, mother and child pregnant women, men carrying dead animals, drinking, and burials appear in rhythmic movement.
Period III - (Chalcolithic) Similar to the paintings of the Chalcolithic, these drawings reveal that during the period the cave dwellers of this area were in contact with the agricultural communities of the Malwa plains and exchanged goods with them.
Period IV & V - (Early historic): The figures of this group have a schematic and decorative style and are painted mainly in red white and yellow. The association is of riders, depiction of religious symbols, Tunic-like dresses and the existence of scripts of different periods. The religious beliefs are represented by figures of yakshas, tree gods and magical sky chariots.
Period VI & VIl - (Medieval) : These paintings are geometric linear and more schematic, but they show degenerations and crudeness in their artistic style. The colours used by the cave dwellers were prepared combining manganese, hematite (soft red stone), and wooden coal.
Sometimes the fat of animals and extracts of leaves were also used in the mixture. The colours have remained intact for many centuries due to the chemical reaction resulting from the oxide present on the surface of the rocks.
One rock, popularly referred to as “Zoo Rock”, depicts elephants, sambar, bison and deer. Paintings on another rock show a peacock, a snake, a deer and the sun. On another rock, two elephants with tusks are painted. Hunting scenes with hunters carrying bows, arrows, swords and shields also find their place in the community of these pre-historic paintings. In one of the caves, a bison is shown in pursuit of a hunter while his two companions appear to stand helplessly nearby; in another, some horsemen are seen, along with archers.
It is a marvel that the paintings have not faded even after thousands of years. Many archaeologists ponder on the possibility that these paints were made of colored earth, vegetable dyes,  roots, and animal fat. Brushes were made of pieces of fibrous plants. Because of the natural red and white pigments the artists used, the colors have been remarkably well preserved. The oldest paintings are considered to be 30,000 years old, but some of the geometric figures date to as recently as the medieval period.
The colours used are vegetable colours which have endured through time because the drawings are generally made deep inside a niche or on inner walls.

 

Sanchi, Madhya Pradesh

Sanchi known for its "Stupas", is a small village in Raisen District of the state of Madhya Pradesh, India, it is located 46 km north east of Bhopal, and 10 km from Besnagar and Vidisha in the central part of the state of Madhya Pradesh. It is the location of several Buddhist monuments dating from the 3rd century BCE to the 12th CE and is one of the important places of Buddhist pilgrimage. It is a nagar panchayat in Raisen district in the Indian state of Madhya Pradesh. Toranas surround the Stupa and they each represent love, peace, trust, and courage. This world heritage site is well maintained and is open to public viewing from 8:00 AM to 5:00 PM. It takes about an hour and a half for a non-research visit of the site. Photography is allowed and audio guides are available.
The 'Great Stupa' at Sanchi is the oldest stone structure in India[1] and was originally commissioned by the emperor Ashoka the Great in the 3rd century BCE. Its nucleus was a simple hemispherical brick structure built over the relics of the Buddha. It was crowned by the chatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics. It has four profusely carved ornamental gateways and a balustrade encircling the whole structure. The construction work of this stupa was overseen was Ashoka's first wife, Samragyi (Empress) Vidisha Devi herself. 

Etymology of Sanchi

Sanchi might have originated from Sanskrit and Pali word Sanch meaning To Measure. In Hindi, however Sanchi or Sancha means for Moulds of Stones

History

Sunga period

The stupa was vandalized at one point sometime in the 2nd century BCE, an event some have related to the rise of the Sunga emperor Pusyamitra Sunga who overtook the Mauryan Empire as an army general. It has been suggested that Pushyamitra may have destroyed the original stupa, and his son Agnimitra rebuilt it.  During the later rule of the Sunga, the stupa was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at ground level was enclosed by a stone balustrade with four monumental gateways (toranas) facing the cardinal directions. The buildings which seem to have been commissioned during the rule of the Sungas are the Second and Third stupas (but not the highly decorated gateways, which are from the following Satavahana period, as known from inscriptions), and the ground balustrade and stone casing of the Great Stupa.

Satavahana period

 The gateways and the balustrade were built and appear to have been commissioned by the Satavahana. An inscription records the gift of one of the top architraves of the Southern Gateway by the artisans of the Satavahana king Satakarni:
"Gift of Ananda, the son of Vasithi, the foreman of the artisans of rajan Siri Satakarni".
DC Sircar observes that palaeographically the Hathigumpha record is slightly later than Naneghat record whereas the letters of Sanchi inscription of Satakarni resemble the script of Hathigumpha inscription. Kharavela in his inscription mentions one Satakarni, who is identified as Satakarni II, who is also identical to the one who inscribed in Sanchi. If this be true, then the dating of Sanchi gateway and balustrade will be belonging to much earlier period of 180-160 bce.
Although made of stone, they were carved and constructed in the manner of wood and the gateways were covered with narrative sculptures. They showed scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives. At Sanchi and most other stupas the local population donated money for the embellishment of the stupa to attain spiritual merit. There was no direct royal patronage. Devotees, both men and women, who donated money towards a sculpture would often choose their favourite scene from the life of the Buddha and then have their names inscribed on it. This accounts for the random repetition of particular episodes on the stupa (Dehejia 1992). On these stone carvings the Buddha was never depicted as a human figure. Instead the artists chose to represent him by certain attributes, such as the horse on which he left his father’s home, his footprints, or a canopy under the bodhi tree at the point of his enlightenment. The human body was thought to be too confining for the Buddha.
Some of the friezes of Sanchi also show devotees in Greek attire (Greek clothing, attitudes, and musical instruments) celebrating the stupa.

Later periods

Further stupas and other religious Buddhist and early Hindu structures were added over the following centuries until the 12th century CE. Temple 17 is probably one of the earliest Buddhist temples as it dates to the early Gupta period. It consists of a flat roofed square sanctum with a portico and four pillars. The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, giving the temple an almost ‘classical’ appearance (Mitra 1971). With the decline of Buddhism in India, the monuments of Sanchi went out of use and fell into a state of disrepair.

Western rediscovery

Some of the friezes of Sanchi also show devotees in Greek attire (Greek clothing, attitudes, and musical instruments) celebrating the stupa.

Later periods

Further stupas and other religious Buddhist and early Hindu structures were added over the following centuries until the 12th century CE. Temple 17 is probably one of the earliest Buddhist temples as it dates to the early Gupta period. It consists of a flat roofed square sanctum with a portico and four pillars. The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, giving the temple an almost ‘classical’ appearance (Mitra 1971). With the decline of Buddhism in India, the monuments of Sanchi went out of use and fell into a state of disrepair.

Buddhist University

On September 11, 2012, the Government of Madhya Pradesh announced the University Of Buddhist and Indic Studies, which is being built in collaboration with the government of Sri Lanka and Bhutan and will be located at Sanchi, in close proximity to the stupa. Designed by Sri Lankan architect SW Isurunath Bulankulame, the University will have various facilities, combined with a green landscape and usage of natural energy.
The foundation stone for the University was laid on September 17,2012 by Sri Lankan president Mahinda Rajapaksa, Bhutan's Prime Minister Jigmi Yozyer Thinley, and Mahabodhi Society of Sri Lanka president Bangala Upatissa Nayaka Thero, amid high security due to a massive protest being organised by MDMK leader Vaiko against Rajapaksa, who had specially arrived in Madhya Pradesh with many protesters, but ultimately stopped.

Amarkantak, Madhya Pradesh

Amarkantak is a pilgrim town and a nagar panchayat in Anuppur District in the state of Madhya Pradesh, India. Also called "Teerthraj" (the king of pilgrimages), Amarkantak region is a unique natural heritage area and is the meeting point of the Vindhyas and the Satpuras, with the Maikal Hills being the fulcrum. This is where the Narmada River, the Sone River and Johila River emerge.

 Location

Amarkantak is situated in Madhya Pradesh in India. Amarkantak is located at 22.67°N 81.75°E. It has an average elevation of 1048 metres (3438 ft). Roads running through Rewa, Shahdol, Anuppur, Jabalpur, Katni and Pendra connect it. The nearest railway stations are Anuppur and Pendra Road (43 km)via keonchi and only 28 k.m. via Jwaleshwar. The nearest Airport is Dumna Jabalpur (Jabalpur Airport in the city of Jabalpur, Madhya Pradesh (240 km). Delhi and Mumbai daily flight service.

The flora and fauna


Amarkantak has some extremely valuable medicinal plants, which are now gravely endangered. Two of these call for special mention, Hedychium coronarium, or Gulbakavali and Curcuma caesiaRoxburghii, or Kali Haldi. Gulbakavali belong to the family zinziberaceae. Gulbakavali grows on marshy land, with pure water and under dense shade on deep soil. Its natural habitat is Mai-ki-bagia, Sonmuda, Kabir Chabutara, Dudhdhara and some private gardens in Amarkantak. Kali haldi belong to the same family as ginger, turmeric and amba haldi. It tastes very much like ginger and is used extensively as an anti-inflammatory drug for dealing with sprains and bruised. The rhizome gives off new shoots in the rains, with the leaves being about 30cms. long and 15to 16cms. broad. The leaves are a deep, dark green in colour. Kali haldi prefers marshy land and is to be found in Kabir Chabutara, Chadha and the foot hills of Amarkantak. The rhizome contains essential oils and resins, sugar, starch, albuminoids, gums and organic acids and substantial coarse figure. With the other Curcuma Varieties including C. aromatica and C. augustifolia, kali haldi is an endangered species, especially because it is highly localised around Amarkantak, and it requires total protection.

Religious importance of Amarkantak

Amarkantak situated on the western edge of ancient Kingdom of Kalinga is a place of worship for all the three worlds. Gods and Gandharvas (Celestial beings), Asuras (demons), Saints and Sages have all achieved great spiritual powers here. It is believed that who ever dies at Amarkantak is assured of a place in heaven. Also if a lady makes offerings of fruits and flowers will gain the respect of her husband, and no doubt she will also achieve a place in heaven.
When Lord Shiva destroyed Tripura (The three cities) by fire, the ashes of one fell upon mount Kailash, the ashes of another fell upon Amarkantak, and the ashes of the third were saved by Lord Shiva and kept in heaven. The ashes that fell upon Amarkantak turned into crores of Shivalingas. Only one is visible at Jwaleshwar in Amarkantak.
Amarkantak is a Sanskrit word the literal meaning of which is immortal (amar) obstruction (kantak). The place was abode of Gods but was disturbed by the hindrances of Rudraganas and hence called Amarkantak. The poet Kalidas has mentioned it as Amrakoot. Myth is that the dense forests of this region were full of mango (amra) trees. So Kalidas named it as Amrakoot, which later became Amarkantak.

History of Amarkantak

Amarkantak and rivers originating from it do not find mention in Vedic literature, but these have been mentioned in Puranas, Ramayana, Mahabharata, Vashishtha samhita and “Shatapatha Brahmana”. After Mahabharata the history of a period of about 3000 years is in dark. Professor Arjun Chaube Kashyap concludes that the Puranic name of Amarkantak was Riksh parvat. About 6000 years back the Suryavanshi samrat Mandhata founded a town in the valley Riksh parvat and named it Mandhata. The queen of samrat Purukutsa, who was son of Mandhata, gave the title of Narmada to the river. Due to occupation of this area by Mandhata the descendants of Yayati moved from this area to west of Madhya Pradesh and settled on the banks of Narmada River.
According to tradition, this Vindhyachal area was included in the Kingdom of Ayodhya, Kapila Muni, Bhrigu Rishi and Markandeya Rishi had ashrams here. It is also said that Pandavas stayed here and gained spiritual benefits during their exile.
After about 3000 years of Mahabharata the Adi Shankarachrya was born in 788 AD and consecrated on the banks of Narmada River. He founded Pataleshwar Mahadev in Amarkantak at the origin of Narmada from the bamboo clumps. This place is known as Surajkund today. There is no bamboo clumps here now.
In more recent history, this area was given in dowry to the Kalachuri King by the Chedi King (10th to 11th century AD). The Kalchuri Maharaja Karnadeva (1042-1072 AD) had constructed temples at Surajkund. In 1808 Amarkantak was ruled by the King of Nagpur and later came under foreign rule. More recently, amarkantak selected by the UPA government as the place for India's first tribal university.

Places of tourist importance

Amarkantak being a unique natural heritage is very rich in biodiversity. It has got a number of places of scenic beauty. Apart from this it is source of origin of three important rivers. It is a great pilgrim center for Hindus. It is thus a great-unexplored tourism destination.

Narmadakund and temples

At the place of origin of Narmada River there is an open pool known as Narmadakund. Around this kund there are number of temples such as Narmada and Shiva temple, Kartikey temple, Shri Ram Janki temple, Annapurna temple, Guru Gorakhnath temple, Sri Shuryanarayan temple, Vangeshwar Mahadev temple, Durga temple, Shiv Pariwar, Siddheswar Mahadev temple, Sri Radha Krishna temple, Eleven Rudra temple etc.
 

Ancient temples of Kalachuri period

The ancient temples of Kalachuri period are situated in the south of Narmadakund just behind it. These were built by Kalachuri Maharaja Karnadeva (1042-1072 AD). The Machhendranath and Pataleshwar temples are excellent examples of architecture. There is also Keshav Narayan temple built by the Bhonsle ruler of Nagpur in the 18th century.

Sonemuda

Sonemuda is the place of origin of Sone River. It is situated at a distance of 1.5 km from Narmadakund at the very edge of Maikal Mountain. The Sone River cascades from the mountain in a waterfall hundreds of feet long. From the viewing platform facing east, there is a panorama of forested hills and valleys. According to Megasthanes and other Aryan writers the river Sone gets its name from gold as gold dust is found in the water of Sone.

Mai ki Bagiya (Goddess garden)

A grove of trees in dense forests situated at a distance of one km from Narmadakund is named “Mai ki Bagiya” in honour of the goddess Narmada. In this natural garden there are Mango, Banana and other fruit trees along with Gulbakavli, roses and other flower plants.

Kapildhara (Kapil waterfall)

Six km northwest of Narmadakund is the Kapildhara waterfall with a fall of about hundred feet. According to scriptures, Kapil Muni lived here. There is a scene of natural beauty with mountains and dense forest down hills. According to ‘Vindhya Vaibhav’ Kapil Muni performed severe austerities here and received divine light. He also wrote ‘sankhya philosophy’ (an advanced treatise on mathematics) at this place. The Kapileshwar temple is also situated nearby. The surrounding mountains are full of caves where saints have been performing their spiritual practices.

Kabir chabutra (the platform of saint Kabir)

It is an old belief that the great saint Kabir performed austerities here and achieved spiritual powers. It is therefore a holy place for the Kabir panth sect. The local people, the Panikas, consider Kabir Chabutara as one of the holiest places of the Kabirpanthis because Sant Kabir spent many years here in meditation.At this very place Kabir and Nanak met and discussed spiritual matters and introduced the way of better living for human being. It is also the meeting point of three districts, Anuppur and Dindori districts of Madhya Pradesh and Bilaspur district of Chhatisgarh. There is also a Kabir waterfall here.

Shri Jwaleshwar Mahadev (the temple of Shiva)

The Jwaleshwar temple and the source of origin of the third river Juhila River is situated at a distance of 8 km from Amarkantak on Shahdol road. According to ‘Vindhya Vaibhav’ Lord Shiva himself established a Shivling here and also scattered crores of other Shivlings over Maikal Mountain. According to puranic traditions a rectangular area containing crores of Shivlings is known as ‘Maha Rudra Meru’ and is the abode of lord Shiva himself. There are only two ‘Maha Rudra Meru’ places Varanasi and Amarkantak. Lord Shiva and Parvati live here because of this special spiritual quality.

Shree Kalyan Seva Ashram Trust


Shree Kalyan Seva Ashram Trust is one of the big Ashram of Shri Mahant Tapaswi Baba Shree Kalyan Das ji Maharaj. It is an Ashram of Udasin Sampraday. Acharya Shri Shri Chandra Dev Ji is the Main Acharya of this dynasty. He was the Elder son of Guru Nanak Dev ji. • The current manager of this ashram is shri Himadri muni ji .
• This ashram runs various social works.
• This ashram runs a School(KKSN) and charitable hospital(Shree Chandracharya charitable hospital).-Bhawani.shankar
Gurudwara ( Sikh Temple ) at Amarkantak :- First Guru Of Sikhs Guru Nanak Dev Ji visited Amarkantak and Gurudwara is situated on the right side bank of Narmada river in Amarkantak city.

Shri Sarvodaya Digamber Jain Temple

 
The world's biggest ashtadathu Jain idol of Bhagawan Adinatha The new temple is being built at Amarkantak is similar to the Aksharadhama temple of Gujarat. About more that Rs. 20 crores is expected to be spent on this mega project which is spread over an area of 4 acres (16,000 m2). The temple is designed and constructed by more than 300 artists since 2 years under the guidance of Sri C.B.Somapura the Chief architect of the Aksharadhama temple. The ashtadathu idol of Bhagawan Adinatha measuring about 24 ft (7.3 m) in height and weighing 28,000 kilograms will be installed on the Kamala Simhasan made of ashtadathu weighing around 24,000 kilograms. The foundations of the temple are being worked out with the advanced engineering skills so that the temple survives for centuries to come. The temple measuring around 144 feet (44 m) height, 424 feet (129 m) length and 111 feet (34 m) width will be constructed here.
Shree Sarvoday Digamber Jain Mandir, Amarkantak is situated at a hill station of Madhya Pradesh from where the largest river of western India Narmada gets started. Param Pujya Aacharya Shree Vidyasagarji Maharajaji's one of the important "Atishay Kshetra" Temple is gating its shape at Amatkantak. a very huge temple of India designed by Shree C.B.Sompura is made with the use of 225,000 cubic feet (6,400 m3) of Bansipahadpur's pink sand stone

Bawangaja, MP

Bawangaja is a famous Jain pilgrim center in the Barwani district of Madhya Pradesh in India. Its main attraction is the world's tallest statue,(carved out of mountain) of the first Jain Tirthankara (saint) Adinatha. The statue is 84 feet (26 m) high, and was created early in the 12th century. The statue is supported from the back unlike one at Shravanabelagola in Karnataka, India. The center is located in the Satpura ranges and is 8 km from a Barwani town.

Chanderi, MP

Chanderi (Hindustani: चंदेरी (Devanagari), چندیری (Nastaleeq)) is a town of historical importance in Ashoknagar District of the state of Madhya Pradesh in India. It is situated at a distance of 127 km from Shivpuri, 37 km from Lalitpur, 55 km from Ashok Nagar and about 45 km from Isagarh. It is surrounded by hills southwest of the Betwa River. Chanderi is surrounded by hills, lakes and forests and is spotted with several monuments of the Bundela Rajputs and Malwa sultans.

Jainism at Chanderi

The Chanderi area has been a major center of Jain culture. It was a major center of the Parwar Jain community. There are a number of Jain places nearby- Gurilagiri (7 km), Aamanachar (29 km), Bithala (19 km), Bhamon (16 km), Khandargiri (2 km), Thuvanji (22 km) and Bhiyadant (14 km), and Deogarh, Uttar Pradesh (20 km, across the border).
At a distance of 19 km from present Chanderi town is situated the Buddhi (old) Chanderi. Buddhi Chanderi is situated on the banks of Urvashi river. It is believed that the Chaidnagar mentioned in Puranas is same as Buddhi Chanderi. There is a myth that when Raja Nala left Damayanti asleep in the forests of Narwar she moved through dense forests and reached Chaidnagar protecting her self from wild animals. The route through forests from Narwar to Chanderi is very short. A number of 9th and 10th century Jain temples are there in Buddhi Chanderi attracting thousands of Jain pilgrims from all over the country.

Chitrakoot, Madhya Pradesh

Chitrakoot is a town and a nagar panchayat in Satna district in the state of Madhya Pradesh, India. It is a town of religious, cultural, histoical and archaeological importance, situated in the Bundelkhand region. It borders the Chitrakoot district in Uttar Pradesh, whose headquarters Chitrakoot Dham (Karwi) is located nearby. The town lies in the historical Chiktrakoot region, which is divided between the present-day Indian states of Madhya Pradesh and Uttar Pradesh. It is known for a number of temples and sites mentioned in Hindu scriptures.
Many people gather here on each Amavasya. Somwati Amavasyas, Deepawali, Sharad-Poornima, Makar Sankranti and Ramanavami are special occasions for such gatherings and celebrations. It attracts crowds throughout the year including above occasions and for Free Eye Hospital Camps. Noted 'Ayurvedic' and 'Yoga' centres like 'Arogyadham' are located in Chitrakoot. 
Chitrakoot means the 'Hill of many wonders'. Chitrakoot falls in the northern Vindhya range of mountains spread over the states of Uttar Pradesh and Madhya Pradesh. The Chitrakuta region is included in the District Chitrakuta of Uttar Pradesh and the District Satna of Madhya Pradesh. Chitrakoot district in Uttar Pradesh was created on 4 September 1998.
Chitrakoot Parvat Mala includes Kamad Giri, Hanumaan Dhara, Janki Kund, Lakshman pahari, and Devangana famous Religious mountains.

History

Chitrakuta’s spiritual legacy stretches back to legendary ages: It was in these deep forests that Rama, Sita and his brother Lakshmana spent eleven and half years of their fourteen years of exile; the great sage Atri, Sati Anusuya, Dattatreya, Maharshi Markandeya, Sarbhanga, Sutikshna and various other sages, seers, devotees and thinkers meditated; and here the principal trinity of the Hindu pantheon, Brahma, Vishnu and Mahesh, took their incarnations.[2]
It is said that all the gods and goddesses came to Chitrakuta when Rama performed the Shraddha ceremony of his father to partake of the shuddhi (i.e. a feast given to all the relatives and friends on the thirteenth day of the a death in the family). The first known mention of the place is in the Valmiki Ramayana, which is believed to be the first ever Mahakavya composed by the first ever poet. As Valmiki is said to be contemporaneous with (or even earlier than) Rama and is believed to have composed the Ramayana before the birth of Rama, the antiquity of its fame can well be gauged.
Valmiki speaks of Chitrakuta as an eminently holy place inhabited by the great sages, abounding in monkeys, bears and various other kinds of fauna and flora. Both the sages Bharadwaja and Valmiki speak of Chitrakuta in glowing terms and advise Rama to make it his abode during the period of his exile. Lord Rama himself admits this bewitching impact of this place. In the 'Ramopakhyana' and descriptions of teerthas at various places in the Mahabharata, Chitrakuta finds a favoured place. In 'Adhyatma Ramayana' and 'Brihat Ramayana' testify to the throbbing spiritually and natural beauty of Chitrakuta. Various Sanskrit and Hindi poets also have paid similar tributes to Chitrakuta. Mahakavi Kalidas has described this place beautifully in his epic 'Raghuvansha'. He was so much impressed with its charms that he made Chitrakuta (which he calls Ramgiri because of its time-honoured associations with lord Rama) the place of exile of his yaksha in Meghdoot.
Tulsidas, the saint-poet of Hindi has spoken very reverently of this place in all his major works-Ramcharit Manas, Kavitawali, Dohawali and Vinaya Patrika. The last-mentioned work contains many verses which show a deep personal bond between Tulsidas and Chitrakuta. He spent quite some part of his life here worshipping Rama and craving his darshan. It was here that he had what he must have considered the crowning moment of his achievements—i.e. the darshan of his beloved deity Lord Ram at the intercession of Hanumanji. His eminent friend, the noted Hindi poet Rahim (i.e. Abdur Rahim Khankhana, the soldier-statesmen-saint-scholar-poet who was among the Nav-Ratnas of Akbar) also spent some time here, when he had fallen from favour with Akbar's son Emperor Jahangir.

Rama left Chitrakuta

When Bharata was asked by his ministers to take his seat upon the throne of Ayodhya, he refused and came to Chitrakuta to meet Lord Rama. Here at place called Bharat Milap, Bharata met Lord Rama and requested him to return to Ayodhya and rule; but Lord Rama would not. Then Bharata returned to Ayodhya and installed the sandals on the throne, and, living in retirement, carried on the government as their minister. Now Lord Rama decided for two reasons to leave Chitrakuta: first, inasmuch as hosts of rakshasas, out of hatred of him, annoyed the hermits of that place; and, secondly, because the host of men from Ayodhya had tampled and defiled the place; and, moreover, it reminded him too sharply of brother's grief and the citizens' and queen-mothers'. He went, therefore, with Sita and Lakshmana toward Dandaka forest.

Places of tourist importance

Ramghat

The ghats that line the Mandakini river are called Ramghat. Here, amidst the chanting hymns and the sweet fragrance of incense, holy men in saffron sit in silent meditation or offer the solace of their wisdom to the countless pilgrims who converge here. The evening arti here witnesses a deep and abiding faith in the sanctity of Chitrakuta. During the exile period Rama, Lakshmana and Sita took bath here and believed to have appeared before the poet Tulsidas. Tulsidas has expressed that historical and religious incidence in the following metre in Hindi .

Kamadgiri

Kamadgiri, the original Chitrakuta, is a place of prime religious significance. A forested hill, it is skirted all along its base by a chain of temples and is venerated today as the holy embodiment of Rama. Lord Rama is also known as Kamadnathji which literally means fulfiller of all wishes.'Contact:

Bharat Milap

 
Bharat Milap temple is located here, marking the spot where Bharata is said to have met Rama to persuad him to return to the throne of Ayodhya. It is said that the meeting of four brother was so emotional that even the rocks and mountains of chitrakut melted . Foot prints of Lord Rama and his brothers were imprinted on these rocks and are still present today and seen in Bharat Milap Mandir.

Janaki Kund

Janaki Kund is situated upstream of the Ramghat where it is believed that Sita bathed in the crystal clear waters of Mandakini river during the years of her exile with Rama.

Sati Anusuya ashrama

Sati Anusuya ashrama is located further upstream, 16 km from the town, set amidst thick forests that round to the melody of birdsong all day. It was here that Atri muni, his wife Anusuya and their three sons (who were the three incarnations of Brahma, Vishnu and Mahesh), lived and are said to have meditated.
As per description of Valmiki at one time there was no rain in Chitrakuta for ten years. There was a severe famine and nothing was left to eat or drink for animals and birds. Sati Anusuya performed hard and intensive austerities and got the river Mandakini down on earth. This led to the greenery and forests to grow which removed the sufferings of all sages and the animals.
Sati Anusuya ashrama at present is a very peaceful place where various streams from the hills converge and form the Mandakini River. It is said that Rama along with Sita had visited this place to meet Maharishi Atri and Sati Anusuya. It is here Sati Anusuya explained to Sita the grandeur and importance of satitva. The dense forests of Dandaka start from this place. It was ruled by Ravana. Ravana had appointed strong rakshasas like Khara and Viradha as its rulers. The place was infected by the terror of rakshasas.

Sphatic Shila

A few kilometres beyond Janaki Kund is another densely forested area on the banks of the Mandakini. One can climb up to the boulder, which bears the Rama's footprint and Sita. It is said that Lord Rama with his own hands did Shringar of his wife Sita and where Sita was pecked at by Jayant in the form of crlow.

Gupt-Godavari

Gupt-Godavari is situated at a distance of 18 km from town. Here is a pair of caves, one high and wide with an entrance through which one can barely pass, and the other long and narrow with stream of water running along its base. It is believed that Rama and Lakshmana held court in latter cave, which has two natural throne-like rocks.

Pampapur

It is situated in the valley of Devangana. Here we find sacred caves. Sacred caves related to Lord Rama.

Hanuman Dhara

Located on a rock-face several hundred feet up a steep hillside is a spring, said to have been created by Rama to assuage Hanuman when the latter returned after setting Lanka afire. A couple of temples commemorate this spot, which offers a panoramic view of Chitrakuta.

Bharat Koop

Bharat Koop is where Bharata stored holy water collected from all the places of pilgrimage in India. It is small, isolated spot a few kilometres from the town.

Deur Kothar, Madhya Pradesh

Deorkothar (Devanāgarī: देउर कोठार, also Deur Kothar) is a location of archeological importance in Madhya Pradesh, Central India. It is known for its Buddhist stupas and was discovered in 1982.These stupas are credited to Mauryan emperor Ashoka the great.

 Location

It is situated about 5 km north-west of village Katra in Rewa district at a distance of 75 km from Rewa on Rewa – Allahabad Road. Deorkothar village is located at Longitude 81°40' East and Latitude 24°56' North in Tyonthar tehsil of Rewa district. The Deur Kothar stupa may have been established by the Maurya king Asoka in the 3rd century BCE. In the ancient times, the site was located on the Dakshinapatha (Southern Trade Route) running east-west from Patliputra (Patna) to Pratishthana in Maharashtra through Central India. Being situated centrally amongst the famous Buddhist places like Sanchi, Sagar, Kaushambi and Sarnath, Deur Kothar used to be visited by Bhuddhist monks frequently.

Architecture

The Deorkothar complex boasts four brick stupas, the most ever found at a site of this period. The varying sizes of bricks used in construction point to an early date. Such motifs as twirling lotus, conical lotus bud, and a simple flower pot on a three-tiered pedestal-the carving of which foreshadows early Buddhist art, can be seen on the railing posts of the largest brick stupa, which rises to a height of nearly 30 feet. The stencil-cut effect of the friezes, along with their simple ornamentation and the paucity of human and animal figures, suggests these are early attempts at stone railing art. It would therefore seem that the stupa at Deorkothar was built before the famous early free-standing stupa at Sanchi.
The site of Deorkothar also comprises monasteries, a water channel system, an ancient pathway, and 30 stone stupas, many of which contained sherds of high quality northern black polished ware, the pottery of everyday use between 700 and 300 B.C. Such sherds are absent from Sanchi, further indicating that Deorkothar predates that site.
Dotting the site of Deorkothar are 63 rock-shelters, many with art dating to the first century B.C., that were likely used by monks for meditation. One painting depicts a stupa and a tree surrounded by a railing. Others show social or hunting scenes; men, women, and animals; weapons; and designs.
Although the pillar bears the trademark Mauryan polish, it is made not of the Chunar sandstone characteristic of Ashokan sculpture, but of local sandstone. Also found at the site were pottery, pieces of stone caskets and bangles with exquisite polish, some copper fragments, a lead strip coiled ear stud, iron nails and clamps, few coins (one punch-marked), pieces of terra-cotta toys, and beads. Worthy of particular mention are several pieces of Mauryan polished chattra (the multi-tiered "umbrella" at the top of a stupa) with evidence of radial ribs. To the west of the main stupa, iron slag, a lump of iron ore, and white nodules of lime indicate the presence of an iron-smelting furnace nearby.

Subjected to destruction

The ancient Buddhist text Divy Adanam speaks of the death and destruction brought about by Pushyamitra Sunga, who ruled in the first quarter of the second century B.C., in a bid to glorify Hinduism. During his reign, Buddhist monuments were wantonly destroyed. This Mauryan pillar lay in more than fifty pieces directly on the flagstone flooring along with the balustrades broken into smithereens. Even the chhatra (umbrella) lay in the rubble of systematic annihilation. The devastation continued on the brick body of the stupa which is understood by the brickbat debris uniformly overlying the fragments of the balustrade. This wanton destruction has been temporarily assigned to the first quarter of the 2nd century BC. Although archaeological evidence is meager in this regard, it seems likely that the Deorkothar stupa was destroyed as a result of Pushyamitra Sunga's fanaticism. The exposed remains at Deorkothar bear evidence of deliberate destruction datable to his reign. The three-tiered railing is damaged; railing pillars lie, broken to smithereens, on stone flooring. Twenty pieces of pillar have been recovered, each fragment itself fractured. The site offers no indication of natural destruction.

 




Om Tat Sat
                                                        
(Continued...)                                                                                                                              



(My humble  salutations to the great devotees ,  wikisources  and Pilgrimage tourist guide for the collection )

Posted by gopalakrishna Friday, February 1, 2013
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